Rosie Matheson’s Boys series is, in this humble digihuman research monkey’s opinion, bloody gorgeous. The light is beautiful, and somehow in each shot she captures something with simmering intensity and yet an overriding intimacy and sensitivity throughout the whole series. She has an incredible talent for getting touching the heart of her subject in each shot. Beautiful example of why film is still such a beautiful, vital medium.
How can we explain these exorbitant numbers? Are people unaware of the dangerous health threat tobacco poses? While denial may play a role, mere misinformation is unlikely to be the reason. Anti-smoking campaigns continue to increase, and with cigarette packs featuring printed warnings like “smoking kills”, it’s hard to ignore the fact that fags simply aren’t good for you.
The reason that millions of people choose to inhale toxic fumes every day—against their better knowledge—is the strong temptation of instant rewards such as the relaxing effects of nicotine or social acceptance from peers. The human drive for immediate gratification and the challenges this imposes on our self-control are powerful factors affecting our choices. While little tricks can help us overcome the emotional pull of tempting rewards, long-term success in abstaining from negative habits crucially relies on our level of future-orientation, i.e. the extent to which we consider future outcomes.
Rosie Matheson is typical of the new wave of professionals who have embraced film. At the age of 22, the portrait and documentary photographer has worked for Adidas and Nike, and for Vice and i-D magazines.
“My parents had an old 35mm film camera lying around, and I picked it up around age of seven and started to use it,” she recalls. “I started shooting digital when I was a teenager but I never fell in love with it. The images looked compressed to me, [they] didn’t look authentic. The darkroom is for me almost therapeutic, going into your own world, listening to music, bringing these images to life.
Watching it all happen, a physical experience. We’re now in such an instant world, with iPhones, digital cameras. It’s good to have this slow process, ripping off the wrapper around the film, putting it in the camera.
Film photography focuses your mind but with digital, the brain tends to wander off when you’re still taking the pictures
“With digital, on a shoot you’ll have a team of anything from five to 30 people looking at your pictures on a screen, and then someone jumps in with their own point of view about your pictures, and directs you how to shoot. With film, it’s just about what you see through your viewfinder, and your subject. No one else is involved. That shows in the photographs: there’s more sense of feeling and atmosphere. People are intrigued by a slow process. It means more.”
It’s our 100th episode today (cue squeaky wee geeky squeal). So Digital Human flipped the script and we’re bringing you the Analogue Human! Edited and broadcast from TAPE!
With the help of artists, musicians and photographers Aleks asks if the endless possibilities we’re offered by digital tools are as liberating as we think or paradoxically are they paralysing, making it impossible to choose one product, picture, tindr date over another.
In this sneak pic, musician Damon Krukowski explains the difference between the clean, perfected sound of the digital world, compared to the organic noise in analogue world. And how in cutting out the messiness of noise, we may risk losing layers of complexity, beauty and meaning in the world.