fLIP Magazine / Online Feature

Haslingfield Scarecrow Festival

by Brian David Stevens

In keeping with the whimsical spirit of fLIP’s Summer FANTASY issue, Brian shows his lighter side with a project shot at
the biannual Haslingford Scarecrow Festival, and a round of word association related to themes in his photography (see below).

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Haslingfield Scarecrow Festival by Brian David Stevens
Haslingfield Scarecrow Festival by Brian David Stevens
Haslingfield Scarecrow Festival by Brian David Stevens
Haslingfield Scarecrow Festival by Brian David Stevens
Haslingfield Scarecrow Festival by Brian David Stevens
Haslingfield Scarecrow Festival by Brian David Stevens
Haslingfield Scarecrow Festival by Brian David Stevens
Haslingfield Scarecrow Festival by Brian David Stevens
Haslingfield Scarecrow Festival by Brian David Stevens
Haslingfield Scarecrow Festival by Brian David Stevens
Haslingfield Scarecrow Festival by Brian David Stevens
Haslingfield Scarecrow Festival by Brian David Stevens
Haslingfield Scarecrow Festival by Brian David Stevens
Haslingfield Scarecrow Festival by Brian David Stevens
Haslingfield Scarecrow Festival by Brian David Stevens
Haslingfield Scarecrow Festival by Brian David Stevens

 

Experiment? “yes please, I think thats what life is for isn’t it?”

Parallax? “everything runs in parallax, parallax error is always interesting”

Portrait? “picturing the effects of life”

Personal? “the most important work you will ever make”

Window? “do you look out or do you look in?”

Layers? “how many layers can you add before you trigger a collapse?”

Nature? “I need a lot of nature”

Graffiti? “don’t like the term, but I like messages left by people”

Screen? “the modern window?”

Which project or series of yours holds your attention most, or is your favourite to work on?

Each project tends to have very different working methods, They That Are Left for example is only shot on one day of the year (Remembrance Sunday) and the pictures are all shot in the same way while the Doggerland project relies on going out and exploring and finding the pictures, a sort of photographic archeology if you will. You have to get your hands dirty and dig!

The Brighter Later set is really all about methodology (Brighter Later is a set of pictures from around the coastline of Britain looking away from the country), and the pictures I’m expecting to all look very similiar but to work as a whole. It will probably be the most optimistic body of work I’ve produced.

driftingcamera.blogspot.com

 

On the theme of FANTASY, Summer 2011