Only The Sunny Hours:
Contemporary Photography with a Brownie 127

Jane Grisewood

Curated by Cally Trench

Only The Sunny Hours: Contemporary Photography with a Brownie 127

Jane Grisewood writes: For some time I have been revisiting the inherent qualities of analogue cameras and processes - pinhole cameras, silver gelatin prints and photogravure. This project provides an opportunity to continue my ongoing interest in dark and light, and in exploring time through repetition and durational processes. On first seeing the 127 negatives, I immediately responded to the ‘repetition’, ‘doubling’, ‘contrast’, and I was simultaneously transported into the black-and-white world of photographer Ray Metzker - composites, doubles, sequences, light, darkness and shadows.

Brownie 127 photography by Jane Grisewood

Jane Grisewood, Double Vision: Gemini+ (2015)
127 Rera Pan 100 ISO B/W film. Silver gelatin print
Brownie 127 photography by Jane Grisewood

Jane Grisewood, Double Vision: Gemini- (2015)
127 Rera Pan 100 ISO B/W film. Silver gelatin print
Brownie 127 photography by Jane Grisewood

Jane Grisewood, DoubleVision: Gasholder+ (2015)
127 Rera Pan 100 ISO B/W film. Silver gelatin print
Brownie 127 photography by Jane Grisewood

Jane Grisewood, DoubleVision: Gasholder- (2015)
127 Rera Pan 100 ISO B/W film. Silver gelatin print

After loading the 127 black and white film, and using the Brownie for the first time along the canal at Kings Cross near where I live, the process became very familiar - a flashback to many years of analogue photography. It was refreshing to be reminded of pre-digital days and the thrill of seeing the negative images emerge on the film, developing the prints, or collecting them from the photo lab. Besides the quality, perhaps most significant for me is the limitation of exposures using film. As a result, I am reminded to give more consideration to content and composition, and to reducing the number of images I take when using my digital camera. After taking the photographs on the Brownie, I am experimenting with merging images, with doubling, and with the positive and the negative, before producing a sequence of silver gelatin prints. Further developments and changes may occur as the work progresses.

Jane Grisewood is a London-based artist who gained her Masters and PhD at Central Saint Martins, where she teaches. Her ongoing interest in time includes dark/light, invisible/visible, which she explores through repetitive and durational processes across media. Recent artist residencies at the observatories in Arizona, Chile and Hawaii have focused on analogue and digital photography, with subsequent exhibitions in London and Berlin this year. She has several of her photographic books in collections, including Tate, V&A, MACBA, MoMA, Brooklyn, Yale, and Separations in Photo-eye Best Books for 2011 award.

Jane Grisewood's website

Only The Sunny Hours: Contemporary Photography with a Brownie 127