Alaric Macdonald

Hi Alaric, please introduce yourself.

I’m from New Zealand originally which I feel is one of my many blessings. For the last 8 years though I’ve been living in London, UK which I feel is one of my many curses.

My interest in photography stems from its innate foundation of intuition, curiosity and receptivity. You can use a camera in many different ways, especially now, but these are the traits which I find most rewarding to practice and refine. There’s a way of living that revolves around these traits and that certain way of living is the point, is the art. The camera is only there to encourage. Analog photography helps me stand closer to that point. I did study which was a waste of time.

What does analog photography mean to you? What excites / fascinates you about it?

As above, the image isn’t important. I want to remove as many facets that try and turn the focus to it. The screen on the back of the camera, 1000 image capacities, hours on a computer editing. I want to live in the relationship feeling between us not in the ash that remains after that moment subsides.

In your opinion, what are the advantages and disadvantages of analogue photography?

There’s an ongoing cost to film but is it anymore expensive in the long run than keeping up with technological advancements if say you were making comparisons between digital and analog? Well every painter needs to buy his canvas.

Do you concentrate on a certain topic in your work? ​

Myself.

Are there (analogue) photographers who have influenced your aesthetic and approach?

We are the amalgamation of everything that’s come before us.

Do you have certain cameras and films that you prefer to work with?

The Hexar AF is my most trusted friend. It’s been lovingly nicknamed the Leica G2 and it goes without the price tag of either of its namesake. I’ve been enjoying Cinestill 400D. Anything but portra which I’ve found incredibly boring and lacking any sense of impressionism.

Speaking of films: What does your workflow look like? ​

I put my films in an envelope, I drop them in the postbox at the end of the street and they go to Southsun in Wales. They develop and scan and send me the files and the negatives. Maybe a little colour balancing on top of what the lab have done but usually its bang on and that’s essentially it.

What advice would you have for other photographers who are reading this interview?

I learned through my body and soul that it was necessary to sin, that I needed lust, that I had to strive for property and experience nausea and the depths of despair in order to learn not to resist them, in order to learn to love the world, and no longer compare it with some kind of desired imaginary vision of perfection, but to leave it as it is, to love it and be glad to belong to it. — Herman Hesse

If you publish your work on Instagram: curse or blessing?

It is what you make it. These are only tools, do with them as you wish.

Which 3 photo books can you recommend / should you definitely own?

„Romance“ (Pierrot), „Diary II“ (Quentin De Briey) and „Emma Private 2“ (Shunji Okura).

Thank you so much for your time!