Photos: Henry Driver DRONE Installation
by Beauchamp Art
Installation of Henry Driver’s DRONE at the Emergence exhibition in King’s Lynn.
The multi-screen set up was not too complex to photograph, though after discussions with Henry I deliberately underexposed the images (by lowering the ISO and other adjustments, rather than increasing the shutter speed, as this would cause the image to break up given the refresh rate of the CRT screens), I also adjusted the colours somewhat, though as each screen had slightly different colour values (of the middle two, the upper was distinctly magenta the lower green, and the upper right screen was also notable different from the one below it) but I did not modify all the screens to e identical, as this would not be an honest representation of the installation and would deviate from reality too much, and would misrepresent the work, rather than enhancing it. I would usually have taken a greater range of images, but due to the limited time and other circumstance, I was more selective in my approach.
As I prefer to photograph videos whilst the are playing, rather than pausing them, then this means I have to work with the video to pick out and select moments that I perceived to be the strongest visual elements of the sequence, rather than having the flow halted, disturbing the narrative and atmosphere of the video and installation. In much the same way I object to the use of external lighting equipment or anything that distorts the space from how it would be seen by an audience (besides darkening the photos upon request, as the other works in the space required greater lighting). Nevertheless, when the photographer from the EDP newspaper appeared and requested pausing videos and using a more complicated lens set up, I thus refrained from taking an excessive amount, and focused on making the pictures I had taken the highest quality possible. Minimal equipment and minimal interference maximises the potential for the subject to displays its unique properties in the space, this I believe to be my role as a photographer for other people’s artwork; not to just take clean, neutral pictures, but to appear in their most virtuoso state.
In addition to documenting the work, I also assisted in the transportation and installation of the equipment (effectively acting as an art-roadie) which gave me more of an opportunity to discuss the merits of the composition of the monitors in extending the video, which depicted the intercutting of clouds, drone bomber footage, and clips from a video game, forming a demonstration of the drone light simulator Henry had been working on. Some of the theme being felt with here also occur within my own practice, particularly the confounding of the real-world representational and the digital synthetic imagery.