22.06.09 by Jeff

Martin Wilson

Martin Wilson painstakingly shoots rolls of 35mm film in sequence so that when the strips are laid out in the contact sheet larger images appear. No cheating in Photoshop, if he makes a mistake, he starts over.

martin wilson photographer photography contact sheet film 35mm

martin wilson photographer photography contact sheet film 35mm

martin wilson photographer photography contact sheet film 35mm

martin wilson photographer photography contact sheet film 35mm













Jeff
Jeff Hamada is the Founder and Editor of Booooooom. He lives and works in Vancouver.



  • brodie

    brilliant!

  • Except that the first image is 99 frames, just under 3 rolls? Even bulk loaded, and hand developed, this is not done manually in camera, sorry. and the 3rd is 108 images, so he is not shooting entire rolls to get the image. Still impressive.

    • how do you come to the conclusion that it’s not done in camera? i don’t know enough about photography perhaps

    • Hi Wayne, your counting is quite correct. I do try to use the whole film whenever I can, however sometimes I just can’t get the image to work this way. I tried the spiral with various iterations but the best shape seemed to come if I just didn’t use the last few frames in the roll. One Hundred also has a few unused frames. I do feel it is somehow less pure when I don’t use the whole roll, but in the end, if the image looks best that way, that’s what I do.

      I plan them out on paper first, then compose them all in the camera to match my sketch. I does take ages, and I admit that I do waste a lot of film in mistakes!

      all the best
      Martin

      • Yvette

        This is so beautiful martin! Also, I think that electing not to use every exposure in the roll is a pretty damn analog method of shaping the image, and if anything adds to your process. Love your work :D

  • Oh! it’s so great that you posted these! I saw a print of the Eiffel Tower in a tiny little gallery in London, but it was closed and I never found out the artists name.

    How fortuitous.

  • Amazing!

  • wow, this is awesome. such persistence!

  • oscar

    now that is just stupid :)

  • darn – i’d like to try this sometime…

  • wow, these are amazing, just had a why on earth didn’t i think of that moment! I love them

  • Wow this is genius! I love contact sheets anyway, they always tell a story – but he’s just taken that idea and pushed it further.

    I disagree with Wayne though – even if he doesn’t use the full roll of film it doesn’t make it any less amazing. So he didn’t use the last few shots on the roll, that doesn’t mean anything.I’ve just been looking at his website and he says he does the final piecing it together in Photoshop but alters nothing else. And if you look at the details on the website the numbers on the film strip are consecutive.

    • yea i still don’t understand how he jumped to his conclusion

  • Kim

    Oh wow, they are awesome!

  • awesome! one step forward to photography…

  • Pingback: Cool sequential 35mm film photo art from Martin Wilson()

  • this is absolutely incredible

  • Pingback: what consumes me, bud caddell » Martin Wilson - BOOOOOOOM! - CREATE * INSPIRE * COMMUNITY * ART * DESIGN * MUSIC * FILM * PHOTO * PROJECTS()

  • wow! im speechless! amazing work there!

  • C J Archer

    Dear Martin
    We saw your message to the bears at the Royal Academy and loved it. We have bought it as a surprise for my son’s 21st and look forward to collecting from you. Can you tell us where the original was framed as we thought it was perfect for the photo?

    We look forward to hopefully meeting you as we often go to Northwood, I lived in Stanmore and my father still lives in Hatch End !

    regards Catherine

  • Pure genius

  • Pingback: PedroStabile.com/blog » Contact art()

  • Amazing stuff martin! I’m inspired to try this out for myself as well! Great stuff! :)

  • Pingback: Recordis Photography » Blog Archive » Martin Wilson()

  • spg

    Wow!





23.05.17 by Jeff

Akira Covers for Epic Comics

Came across this great archive of Katsuhiro Otomo’s art and put together a little selection of my favourite Epic Comics Akira covers. More images below.

Read More

23.05.17 by Jeff

LG Partners With Parsons School for Design

LG is partnering with leading design institutions to provide their new 34″ UltraWide monitors to help students studying architecture and design work more efficiently. The dimensions are eye-catching at 21:9 and the design actually curves around the user, offering as much real estate for visual information as possible.

Read More

23.05.17 by Jeff

Photographer Spotlight: Yves Marchand and Romain Meffre

A selection of images from “Theaters” by photographers Yves Marchand and Romain Meffre. More images below.

Read More

23.05.17 by Jeff

Kutcorners for OURO Collective

OURO Collective – photo by Teppei Tanabe

 

This week Vancouver-based dance collective OURO is debuting their first full-length show “Tangent” at the Orpheum’s Annex theatre (May 25th/26th), and we are proud to be a media partner for the event. If you’re looking for some creative inspiration come check this out, we’ll be at both shows! Tickets are going quick, so if you’re interested get tickets HERE!

Yesterday we shared a clip of OURO’s rehearsal footage (watch here) and today we have an interview with Kutcorners, who created three original tracks for “Tangent”. The New Zealand-born, Vancouver-based producer is one half of LIVE EVIL, the guys that made all those amazing live mixes we featured over the years (watch one here). You can stream or download the music Kutcorners created for OURO on Spotify, iTunes, and Bandcamp.

 

Vancouver producer, Kutcorners – photo by Hana Pesut

 

Jeff Hamada: How would you describe the music you make?

Kutcorners: This is always a hard question, because I actually like to make many different types of music. But ultimately things under “Kutcorners” usually are a derivative of R&B music, old or new, with a twist.

I sometimes say I make “pop” music, but my music isn’t really that popular in the traditional sense. More like “pop art” really.

Jeff Hamada: I like the idea that it’s pop art. Who are some of the artists influencing you right now?

Kutcorners: Mura Masa, Toro Y Moi or Les Sins, Caribou, Dj Dahi, Knxwledge, Pomo, Kaytranada, U-Tern (Oliver), Nosaj Thing, Prince and MJ will inspire me forever.

 

If you don’t have Spotify you can listen to the tracks here.

 

Jeff Hamada: Had you ever collaborated with dancers prior to this project with OURO?

Kutcorners: No, this is the first time and I hope to do more of it.

Jeff Hamada: That would be cool to see an on-going thing. How would you describe the work that they’re creating?

Kutcorners: I would describe it as a melange of disciplines coming together to form a modern take on traditional dance performance. It’s very refreshing and inspiring work.

Jeff Hamada: Can you talk a little bit about the experience of watching their rehearsals and then turning that into sounds?

Kutcorners: Well, we talked a lot about sounds they like when they rehearse, which gave me inspiration to draw from idea I had started already, and also on some new arrangements.

Getting people to describe sounds they like can be quite hard, because people hear sounds and articulate them differently from person to person. It’s fun to hear how we all describe the sounds we like and how they affect movement.

 

 

Jeff Hamada: Did this experience offer any sort of new perspective on your work?

Kutcorners: Yeah, it showed me that I make movements in music too quick! It’s more effective to use little sounds and build things slowly rather than to cram everything in to a 3-minute song.

Dance is very much related to how music works and why it’s made. In retrospect, I would have benefitted from dancing more in my life. It really helps connect you to the physical side of music, which is so important when creating it.

Jeff Hamada: What things are you working on now?

Kutcorners: I’m working on making more original music for my own releases, which I plan to put out on record and online. Working with singers too, to help bring these instrumentals to life.

 

Kutcorners on Bandcamp

Kutcorners on Soundcloud

Kutcorners on Instagram

OURO Collective Website

OURO Collective on Instagram

23.05.17 by Staff

Los Angeles Warehouse Transformed into a 150,000 Square Foot Art Exhibition

British artist Simon Birch and a team of 20 collaborators have constructed an elaborate series of interconnected installations in a vacant warehouse on the outskirts of downtown Los Angeles. Covering 3 acres of space with a mix of sculpture, video, paintings and performance pieces, the exhibition is a direct response to the current political climate. A celebration of creativity, diversity and unity, Birch explains: “Given the current fragile state of the world, we need unity more than ever… and we need action.”

While encouraging positivity, possibility and a safe space for people to come together, The 14th Factory is exactly that — a call to action that doesn’t shy away from provoking a response (or at least an Instagram photo). One installation is an exact replica of the iconic room from 2001: A Space Odyssey, while another is filled with 300 pitchforks hanging from the ceiling above the guests!

Check out more images from the project below or on display at 440 N. Ave 19 Los Angeles, California until May 31.

Read More