Walter Hugo’s first solo show exhibiting glass photography is the tip of the iceberg for a growing backlog of work which embraces “any person on the street.” Previous projects have included a completely original process of developing images
Walter Hugo’s first solo show exhibiting glass photography is the tip of the iceberg for a growing backlog of work which embraces “any person on the street.” Previous projects have included a completely original process of developing images directly onto walls and pavements, created by first erecting a pop-up darkroom on location. His latest project sees Walter immortalise, in glass, future faces from the world of art, fashion, film and music. Using ancient photographic techniques, the photographer brings a much-needed moment for reflection, and time spent on the craft of photography, in an age of what he describes as “the instant, throwaway and re-touchable.”
Why did you decide to do this project?
I've always been fascinated with the original techniques of photography, and have collected ambrotypes and old cameras for years. The combination of the scientific complexities and the potential to explore something new with what is generally regarded as an ancient process is incredibly alluring.
What were your reasons for photographing this particular group of people?
Probably a combination of things: on one hand, I wanted to capture a cross section of creatives at this particular time and place. Also those faces that are more familiar highlight the style and process much more. We’re so used to looking at images that are re-touched and heavily worked on, that I think it has affected the way we regard beauty. With just one moment, one chance, to capture someone, and with the intensity that is drawn out of every subject, partially due to the process they go through when sitting for the glass plates (bright lights glaring in their eyes and having to hold still), the images really draw something else out.
Considering the contemporary nature of the subjects and the historic techniques used, are you looking forward or are you looking back
Well obviously there is a respectful nod to the history of the photographic process, but the piece is definitely looking forward. I'm a big fan of the complex and the scientific sides of things, I love to investigate how things work and then take those processes further to make things that we can relate to now. With the advent of the digital age which gives anyone the ability to take photographs, and instantly replicate techniques which previously would have taken years to master, there seems to be a trend of people throughout the creative fields of fashion and art that are working more to master their crafts. This often means utilising and researching older techniques, and thinking laterally to develop new techniques. In my mind, this is a definite positive step to the future.
Will you be developing this further?
Yes, I'm planning to do 50 portraits in total. I'd also love to develop the project to do some even larger glass plate pieces – a full, life-size one would be amazing. As far as I know, it would be a first historically (I think there was one done of a landscape in Paris, in the 1890's, that was 5ft by 3ft). It'd be such a massive project just building the camera, the developing trays, making lots of the equipment myself...
Text by Zoe Maughan
Walter Hugo’s exhibition Reflecting the Bright Lights, Capturing a Moment with Silver Nitrate is on show from today.
