Hand-held long exposures are used to create an exaggerated sense of movement and softness. The deliberate tight cropping of each photograph enables the grain of the negative to be much more pronounced, making the subjects look almost like ash and dust.'

REFLECTION:
Zhou's use of a slow shutter speed has allowed them to capture almost the spirit of their subjects, and further reading into Zhou's intentions of capturing 'ash and dust' we start to see a reflection of our own mortality. Instead of a defined, detailed subjects we see only the presence of them - more powerful than maybe capturing the photos at the 'correct' shutter speed. In the top right photo we really focus on the presence of the subjects face - or lack there of - because they've worn a dark coloured top the light bounces of their face - this photo is clearer than a lot of the others in the series, we can say that the subject lives amongst the midst of the dead and the living - a limbo. The others [top and bottom left] are a lot more blurrier, and we really get to see the grain more pronounced and defined rather than the subject itself - the particles are defined and not the collective. Overall, there is a sense of slow movement, of 'a dissolving' even though they are still images, this ghost that they are trying to convey is definitely coming across.

REFLECTION:
In this series Wesseling shows their 'appreciation of the little things' by manipulating light and shadow, making things such as a candelabra, a mug etc. appear larger than life. Here we see the co-existence between the light and dark, shadows working with the light - complimenting each other on from very different scales. Especially now, where we're left to our own vices, Wesseling has used the things around them, silhouettes, shadows. Rather than focusing on the object itself has captured the essence and presence of it - as has Zhou HanShun - in a lot of my past work I haven't really experimented with shadows, sometimes even looking at them as unwanted elements, but here Wesseling has brought to the front what is usually put at the back (physically and conceptually). There's a sort of sense of calm when looking at these images, brings me to a moment of tranquility.

REFLECTION:
My favourite type of photos tend to be diaristic photography and Perino definitely does that, capturing situations and the people around them - doing it through close-up framing and really honing into what is important to the photographer. These images specifically I love because of the way they are a small part of a bigger scene, focusing on the textures within the frame such as the plastic bag/wrapping, close-ups of hands, water, a folded blanket. A more abstract or maybe conceptual way of framing simple things amongst your environment. A good selection of these images seem to be quite sensory, you can imagine the way something feels or smells or sounds or moves.