Q&A Sessions for Dylan Ellis Gallery blog on the Contact Photo Festival show “Ancient Splendour – World Heritage Sites” April 22- June 30, 2016.

 

Contact Photo: Location, Location, Location

Easter Island

Why world heritage sites?  

I have always had a fascination with history and the stories of the past. It is the romance of wondering what it would have been like to live (or at least step back) in time.

UNESCO has already designated more than 1000 locations of outstanding cultural or natural historical significance.

These World Heritage Sites are a concerted effort to preserve history, whether it is the natural beauty that has not yet been destroyed by progress, or architectural remnants of civilizations that thrived long ago. I love places where you can lose yourself in time and place. Places that ask more questions than give answers. Thought provoking places that challenge you to ask questions. What were their stories? What was it like to be here long ago?

I would hope that through my exploration and personal vision of these amazing sites that my photography can play even a small part in historic preservation. By engaging a wider audience that may not be able to have direct access to these locations (or aren’t even aware of them), to see the beauty of the place, engage their curiosity and perhaps teach people something about our world. Hopefully instilling the idea that these locations are worth the effort (and money) to preserve for future generations. We have already lost so much. Awareness is a start.

Which region was the most interesting?

It is impossible to choose. Each area is special in its own way and a part of an experience of exploration, observation and capturing the essence of the moment. Some regions, such as Europe or Asia have an overwhelming number of historically important places to visit, while other regions have such stunning natural beauty that you are left speechless with wonder. Sometimes the unexpected creates the most interesting experience and visual surprise.

I have already had many once-in-a-lifetime trips to my dream locations all of which I wouldn’t hesitate to go back to time and again. But there is so much more of the world to explore and so many places I have yet to see. Even those places that may not initially be high on my list always prove to be outstanding. Regardless of the location, all it takes is to “see and feel” the place. The magic of the moment has less to do with what I see and more to do with the way I see and feel. Finding the extraordinary in the ordinary (or in the case of World Heritage Sites, the outstanding) from the smallest details to expansive vistas beauty surrounds us.

Did you notice commonalities between the sites?

Every one of these places is in jeopardy of some kind. Not all locations have the resources to protect these amazing places. Senseless destruction occurs due to thievery, vandalism, destruction, excessive tourism, deterioration or natural phenomena including weather.

Unfortunately, it also seems that recently the determined tourist, phone in hand, appear everywhere. They are completely unaware (or uncaring) to the harm they are doing in their quest for that good “selfie” just to make their friends jealous. Artifacts are destroyed, sensitive natural habitats invaded, animals threatened.

UNESCO World Heritage Convention’s mission to identify, safeguard, and promote unique cultural and natural heritage around the world deemed to possess outstanding universal value for all humankind.

Once recognized as a UNESCO world heritage site there are preservation guidelines and safeguards to deal with deterioration and destruction but there are definitely no guarantees.

 

 

Contact Photo: Process and Materials

 

Angkor, Cambodia

What equipment did you use?

All images taken prior to 2007 were on 35mm film primarily with Pentax cameras, but more recently the Canon 5D Mark II has become my constant companion while travelling.

I never use a tripod or flash. My images are spontaneous and capture a moment in time always using only available light.

Why did you choose to print Tricolour and Platinum Palladium?

Bob Carnie, printer extraordinaire, steered me in this direction. My imagery of historical locations calls out for a print and process that honours the past in appearance and technique. Each print is truly unique and also permanent, therefore ensuring that images of these locations will still be around a long time into the future.

The ability to combine historical techniques with modern technology in these alternative printmaking processes allows us to produce unique hand printed works of art that have a historical feel so that the images themselves have a timeless quality.

The Tri-Colour Pigment over Palladium prints have a dream-like painterly quality to them and the Platinum Palladium prints have an amazing tonal range, lovely surface quality and an expressive feel.

Who or what are your influences

Growing up I was always encouraged to be creative. I also spent a lot of time dreamily wandering around the countryside on horseback noticing natures little wonders but also thinking of far away places. After seeing images in books and magazines, such as National Geographic, learning about different countries or hearing tales of travel from family and friends; my imagination was turned on high. A fascination with historical subjects and locations was really developed during my studies at university. An education that encompassed classical art history, architecture, and ancient civilizations from exotic locations fuelled a strong desire to see and experience our amazing world.

I find that all locations visited are visually inspiring in one way or another. My Fine Art background has provided me with a strong understanding of composition, colour theory, form, line and texture enhancing the way that I perceive things.

I look for the beauty that is all around us, from smallest details to astounding vistas. It is a way of seeing for me. Though self taught, I find that through photography I am able to capture images that are an expression of my vision.

Travelling to many natural and historically significant locations has definitely inspired my photography. My goal is to capture the essence of the moment and place. I may choose to travel to specific locations because I have a desire to experience them but I do not plan my travels based on photography alone.

Books, magazines, TV shows and films about nature and historical subjects continue to inspire me to venture on and explore somewhere new. My past experiences, a desire to show others the wonders that I have seen, and also the good reception from viewers that my images have received are strong inspirations to continue on this journey.

Contact Photo: Looking Forward, Looking Back

Huangshan, China

Do you have any funny or interesting stories from the road?

I usually travel with my husband, but also with some close friends. I really appreciate the fact that my travel companions are (or have learned to be) very patient with my photographic process and habits.  It is unsurprising to find that I have disappeared and it often takes a bit of time to find me, often off in an unexpected direction to what is considered the regular tourist view. Since we generally rent a vehicle and head out on our journey of exploration, certain driving skills have been adopted: when I say STOP, it is understood that it means 1.  Look in the rear view mirror, 2. Assuming it is clear, slam on the breaks and pull over NOW.  I am out of the car and heading back down the road almost before the car has one to a complete stop.  There is often no planning involved in finding that special scene or moment. It just happens as I see it.  Because inclement weather conditions are often involved in the view that I wish to capture, I regularly return to the vehicle with everyone staring at my wet and bedraggled state and wondering what on earth I saw to insist on heading out to capture it.

Where do you want your work to be seen?

I never think about who will see my work or where it will be seen.  My passion is to capture a special moment in time or the emotional feel of a unique place.  I take images to please myself, but I am grateful when others appreciate my work.

What’s next for you? 

To continue exploring interesting and unique places around the world.  There is so much to see and I would love to see it all!

 

 

Contact Photo: Location, The Okavango Delta

 

The Okavango Delta, one of the most incredible wilderness sanctuaries in Africa, is an area 15 000 square kilometres of permanent and seasonal rivers and water channels, lagoons, swamps grasslands, woodlands and islands. Each year, floodwaters flow down the Okavango River from the central African highlands over 1000 km away into the fan-shaped Delta, to create this wondrous wetland within the arid Kalahari. It is the largest intact inland delta in the world, one of the very few major delta systems that does not flow into a sea or ocean. One of natures masterpieces, this vast and virtually untouched freshwater wetlands is in the heart of a desert yet supports a rich abundance of wildlife, and is a setting of dazzling natural beauty.

It is one of Africa’s last remaining great wildlife habitats and supports and provides refuge to huge concentrations of game. The Delta’s habitats are species rich with 1000+ plants, 89 fish, 64 reptiles, 482 species of birds and 130 species of mammals. Included are some of the world’s most endangered species of large mammals, such as cheetah, white and black rhinoceros, African wild dog and lion, and at least 24 globally threatened bird species. Botswana also supports the world’s largest population of elephants, numbering around 130,000, making the Okavango Delta the core area for this species’ survival.

The Okavango Delta became the 1000th site to be officially inscribed on the UNESCO World Heritage List in 2014. A quintessential Okavango experience is the opportunity to watch wildlife at eye level while gliding silently in a mokoro (dugout canoe).

Mokoro excursions offer an authentic and unobtrusive insight into this incredible fresh water oasis and wetland paradise. Moving from wetland to dryland – traversing the meandering palm and papyrus fringed waterways, passing palm-fringed islands, and thick woodland, resplendent with lush vegetation, and rich in wildlife – reveals many facets of this unique ecosystem.

The amazing array of flora and fauna and the supreme tranquility and serenity of an untouched delta with its scenes of extraordinary natural beauty create an astoundingly emotional experience.

 

 

Contact Photo: Q&A with printer Bob Carnie

 

Italy

Why platinum palladium and tri-colour?

We have chosen these two processes as they have the look, texture and feeling of work done in the very beginning of photographic printmaking. These images are of historically significant subjects that have been preserved, but also worn down by time. Contemporary prints cannot give us the colour palette and physical sense that these two processes offer. In both cases the paper is arches platine, which is produced in France and has been offered for over three hundred years.The noble metal of platinum palladium sinks into the very fabric of this paper and any resulting pigment is layered on top for an exquisite image.

Why is it important to print using these permanent processes

We know that through exhaustive research on print permanence that the noble metals of platinum palladium will not fade, in fact the paper will decompose before the metal will go away.The tri colour prints that we are making use the same pigments that are in some of the wall graphics Monica photographed. We feel that the sites she is portraying are significant and our prints reflect the endurance of these structures and locations. If by chance complete ruin due to Natures or Mans device happens, these prints may be the only permanent physical record in our digital age.

Can you explain the procedure and how long it takes?

The procedure to make these prints (tri colour) is to first separate the supplied image into five layers or negatives. One is to use as a positive for future negative registration, one negative to produce a black and white image on the arches platine; the other three negatives are Yellow, Magenta and Cyan negatives, which are the subtractive colours that when combined on top of the platinum palladium creates a full tone rendition of the original scene Monica creates. Each step takes hours to create so for every single image it could take days to produce.