The ‘moving image versus the static image’ argument is one that can long be debated. Does the multi-faceted nature of film make it easier for the sum of the parts to push harder? Or does photography’s demand for focus make the single image more impactful? Perhaps it’s the restraints of technology and storage that have meant so many have taken one corner over the other in the past. But the advent of the digital age in the last 15 years has meant that each and every one of us can now capture, search, store, alter – and most prevalently, show off – content of all forms, which will no doubt be forcing a blur between advocates of the moving and advocates of the still.
One man who clearly is of this modern persuasion is award winning British cinematographer Trevor Forrest. Of course the skills required to be a top class photographer will – and must – always marry with those of being a top class cinematographer. But not often do we hear of a hugely accomplished cinematographer setting their mind to capturing a set of imagery dedicated to documenting ‘moments that are left behind’, especially considering the near irony of the fact film shoots arguably use a country as context and backdrop to make the film real, authentic and beautiful – only to quickly ‘leave it behind’ once the cameras stop rolling.
Trevor’s work entitled ‘Ghost Atlas’ is a photographic study born out of his travel and curiosity while in locations around the world during 10 years of work. The images were taken from a position of privilege – close enough to be connected to the location and people in a way that a passerby or tourist seldom has. The first of the exhibits is planned for April 2014 and will show images from the first collection (Cuba) along with a preview of the cycles to follow – Japan, Nova Scotia, Mumbai, Iceland, New York and England.
Keep an eye on his website and twitter feed for updates as to where it will be showing. This is going to be a great body of work and one that is sure to inspire. Do not miss.