When talking about photography, it is considered by many that the creation of a great image is an instance of luck. More often than not, you can hear people talk about how photography is a matter of being at the right place, at the right time and with the right resources.
Then, there is film photography. Where a lot of “What-ifs” come into play: What if you under or overexposed your image? What if your vintage camera fails mid-shoot? What if the perfect idea comes to mind only when you have no shots available? But what if you purposely ruin your negatives?
The souping of film is a process that actively damages your negatives and makes it impossible to recover the images as they were shot. Instead, you have photographs that are the result of the film’s chemicals being imbalanced, making the outcome variable and hard to control.
You are now depending on many instances of luck: a lucky shot, a lucky soup, and finally, lucky alchemy when processing and scanning the film.
Relationships depend on time and place, chemistry, societal acceptance and uncountable factors that are out of reach of those involved. In this body of work you will watch two different relationships unfold, if you start by looking at the first image to the last, one narrative is presented, but once you follow from last to first images, another comes to play.
The mediator of this story is the chemical imbalance caused by the film soup, the colors were created by chance, but they also add to the subtext, the colors of the characters guide you through their relationship. You may think there is no way this was a lucky strike, but I would like to extend you the question: How much do you depend on luck?