“Because I was working with different films, and due to the chaotic nature of the work, I wanted a uniform aesthetic. They were scanned and converted to mono with slight adjustments here and there. I also added the scratches, but this was done by literally kicking the negatives around in my cellar. The act of re-exposing the negs was a destructive one and I wanted to continue that destructive process after I’d got the processed films back from the lab.”

Al Brydon in conversation with Cary Benbow (4/4)

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