Silver Ladder
The project Silver Ladder, created by Owen Patrick, an art photographer based in London, brings to our attention the ephemeral connection between the experience in a dream and reality, the moment of transition between the physical states. The state of a dream, in this story, brings forward an element of heightened senses that allows exploring movement and stillness enhanced by the ambiance created and the decision to work with camera blur.
Owen talks about his work and explains, “I’m interested in delicate portraits, semi-silhouettes, and anonymity (sometimes posed), but also the movements between poses, in photographs of people, but not about people.” The delicate dance-like movements, the light fabrics, and the lighting technique emphasize the dream-like state in an attempt to bring the viewer closer to the atmosphere created on set.
‘Silver Ladder has something about internal conflict and restraint found in dreams, an impossible choice between stillness and quiet and expressiveness and movement.’
Silver Ladder has something about internal conflict and restraint found in dreams, an impossible choice between stillness and quiet and expressiveness and movement. The high contrast between light and dark pulls Aya in different directions. Dreams can also have linked elements between people where intentions and feelings are shared outside of everyday communication. A moment of realisation was felt by both through glances, movement, and repetition.
Aya and I had worked together before and discussed collaborating again, but this time including styling to enhance the story and looking to create a coherent set of images based on the fabrics and ethereal nature they can bring. After sharing ideas about the sorts of images we liked, the session on the day was very much open space.
‘Usually, I’m not concerned about hair and makeup and am much more interested in the engagement of those I’m working with, letting them move expressively and experiment with ideas.’
Usually, I’m not concerned about hair and makeup and am much more interested in the engagement of those I’m working with, letting them move expressively and experiment with ideas. Textures and atmosphere are the focus of the images — once stripped of any distractions from colour.
I worked with a digital camera, which is quite new for me, alongside my more usual Hasselblad 500 C/M medium format camera. We used several lighting setups and techniques to match and coordinate with the styling and the shapes we wanted to create. For some sets, this meant a very still and quiet mood, while with others we accentuated the movement of the clothes.
For my favourite set, we used low shutter speeds to introduce camera blur. I knew this was going to allow us to create a hazy dreamlike view, dissolving the edges around the light fabrics. I’m interested in delicate portraits, semi-silhouettes, and anonymity (sometimes posed), but also the movements between poses, in photographs of people, but not about people.
