Analog Anarchy

“This was an early experiment I tried on an assignment in Arizona in 1998. It was shot on a Nikon 28Ti, which is my all-time favorite camera because it was a point-and-shoot and I could carry it with me all the time. I ended up just scratching these words straight into the actual negative, so the original negative still looks like that to this day.”—Stephen Wilde

Analog Anarchy The Calculated Chaos of Stephen WIlde's Photography

In today’s fail-safe world of digital photography, few things feel risky—and even fewer things feel truly dangerous.

With LCD screens constantly flashing back images for immediate review, it’s easy to repeat shots until the desired result is achieved. Photographers no longer need to rely on their intuition, on that proverbial “sixth sense,” to know when they’ve captured the perfect moment.

Gone are the days of rushing to the darkroom to develop freshly exposed film in anxious anticipation of what would appear on the other side. The stress of shielding lead-lined film containers filled with the irreplaceable gems of a once-in-a-lifetime assignment—and of keeping them from airport X-ray machines at all costs— is mostly a thing of the past.

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