Critical Selections

One of our artists, Guilia Mangione, let us into her process:

“For my project Oleana I decided to work with analog film photography. The process is a bit lengthy but, in my opinion, totally worthy. In my working flow I alternate digital and analogue techniques to reach the final print. After the rolls of film have been developed by the photo lab, I usually go to the darkroom to make some contact sheets. On these prints I can see small reproductions of the entire negative on one sheet of photosensitive paper. Through these, I make a rough selection of the images I think are more interesting or better framed, and mark them. After that I move to the digital lab and I scan the images I selected in high resolution in order to see them in large size on my computer screen. After making the very final selection, I go back to the darkroom and print only the one image from one shooting session that I think looks best.”

NSU’s Archive is a treasure trove of impressions – unexpected photos, books, leaflets, costumes and documents. If only we could have had Guilia’s process throughout the years of our history: a slow, considered look at the flickering pieces of the past, making it possible to delicately select the most powerful piece to keep in the collection.

Archivists: How on earth do you choose what stays and what goes?

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