Abstract Interpretation, Mark Cornick

ABSTRACT INTERPRETATIONS

MARK CORNICK ARPS

Ever since I discovered the work of Doug Chinnery, Valda Bailey and Joshua K Jackson, I knew that I wanted to express the way I see the world in an abstract way. I often find that I have a far stronger emotional connection to the abstract images that I make, and also to those made by other photographers.

I love abstraction in photography, as for me, it is one of the key techniques that can be used to create mood, mystery and beauty in our images. The ability of abstraction to challenge the viewer to make sense of what they are seeing, or to find their own interpretations and connections with an image is something that greatly appeals to me.

The locations I like to photograph are all distinctly different - the coast, the city, or exotic leaves and plants at botanical gardens - but I believe the techniques used to create them ties my different portfolios of work together. I use Intentional Camera Movement and Multiple Exposure to create the majority of my images, sometimes combining both in-camera or in post production.

For me, effective use of colour is crucial in creating successful abstract images. In my work, I use colour to create mood and atmosphere. When shooting at the Coast, there is an abundance of colour to take advantage of - in the sky, the sand or the way the ocean interacts with light. Golden hour colours are spectacular, but so are winter storms! The City, and urban environments come to life at night, or they did before 2020! Shop windows, bars and neon signs create endless opportunities for making abstract images.

All you need to do is to experiment and have fun with the surroundings you are photographing. I am writing this piece during the second national UK lockdown, and as such, have had to adapt my own shooting style. Unable to visit the Coast or City, I have taken to shooting macro abstracts of Autumn leaves, using both ICM and in-camera multiple exposure. It has been a great exercise to keep the creative juices flowing.

Although controversial to some, I have never enjoyed using tripods. I much prefer the freedom of shooting handheld, and being able to move around a location quickly and easily. That is why ICM photography is so appealing to me. It allows me to play with time and motion, and on a practical level, work with minimal kit. Whether shooting at the coast or the city, all I need to have with me is my camera, and for shooting during the day or golden hours, a six and ten stop filter.

I have always been jealous of people who can paint - It just so happens that I have found a way of doing it with a camera instead of a paintbrush.