A small degree of comfort can be taken from the predictability of human behaviour, as during times of extreme, the pendulum of change oscillates in retaliation to create balance.
In the age of saturated digital imagery, perceptions and expectations of ‘image’ have become permanently altered as a glut of mediated imagery – care of everyone’s pocket photographic retouching studio – accelerates the hyper-real.
New analogue fashion magazine Pylot is one such example of this swing. Produced using film and using no post production re-touching, the magazine’s point of differentiation is a harp back to craft, whilst championing the need for un-manipulated imagery.
Now on their second run, the ‘Family Issue’ features fashion, fine art photography and critical commentary printed on semi-gloss stock and an uncoated cover.
The first issue was crowd-funded to help pay for production, as this is no a cheap undertaking – a fact that highlights the limitations induced by laborious analogue techniques and limited access to necessary finance and skills.
Will Pylot’s endeavours create a tide of similar projects? Well if a revaluation of the craft of photography and subsequent preservation of necessary skillsets are to increase – particularly in educational environments – then providing young creative producers ‘access’ will be what is needed in order to drive the current niche print phenomenon.
‘Analogue is dead. Long live analogue,’ we heard you say.