I Am Not A Camera

David Roddis, “Dahlia Cosmology” (2014). Archival pigment print, 30 x 45″. Edition of 5.

About two years ago, when I became bored with the tedious predictability of digital photography’s process and results, I started to use my camera transparently, side-stepping the precision and clarity that digital is celebrated for. Photography is about the surface of things, specifically, the surface that reflects the light; but I wanted to penetrate the surface, so I could stop taking pictures of my preconceived ideas.

I began using a makeshift light-table, illuminated above and below with flash units, and more often than not hand-holding my camera. Employing this method, the results are various combinations of sharp and blurred, but in a way I can’t, and don’t want to, plan. “Dahlia Cosmology”, with its “incorrect” exposure and hot color palette, is imbued with an electric energy that is very likely more truthful than the pretty picture I would have taken as a beginning photographer.

David Roddis, “Petal Study: Cool Spectrum” (2014). Archival pigment print, 30 x 45″. Edition of 5.

Another method I’ve pursued is a deconstruction and reconstruction of my subjects, tearing and rending, in a rather perverse act that the followers of Dionysus referred to as “sparagmos”. “Petal Study: Cool Spectrum” is an exercise in pure color and form, and I think this may be my way of tricking my viewers into taking time to observe. I’m not bothered by “what is it?” or “I don’t like it!” when the alternative is to hear the dreaded “oh, how pretty!”, and know that I’ve missed the mark.

David Roddis, “Aubade” (2014). Triptych: three archival pigment prints face-mounted to acrylic; each panel 30 x 20″; overall dimensions 30 x 63″. Edition of 3.

Although I don’t substantially alter the images I choose for post-production, I sometimes composite them into larger structures. “Aubade” is a beautiful word that denotes a serenade performed at sunrise. I created a triptych from three related but not actually contiguous images. Triptychs were originally altarpieces and devotional objects, and “Aubade” riffs on the concept of apotheosis; but instead of plainchant, may I suggest jazz?

Images and text © David Roddis 2014

David Roddis Photographer Bio

David Roddis was born in Toronto, Canada in 1955, and his first creative efforts were in the field of classical music.  He pursued these studies at the University of Toronto and then privately in London, England, where he lived from 1974 to 1990. In London he also added teaching and acting to his CV.

He began taking photographs with intent in 2006, achieving obsessive status in a short space of time. Apart from a photography course at the Art Gallery of Ontario (with an emphasis on art history) and his Nikon user’s manual, he is completely self-taught.  

His work encompasses both portrait/headshot photography for theatre and business professionals, and fine-art photography.  Flowers are his “thing”.  

David sums up his approach to photography as follows:  “Learn the rules until you can break them in your sleep.”

David lives and works in Toronto.

Websites: FlowerPhotography.ca

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