This is a private page displays most of the prints my brother Stanley Connell-Longman, my cousin Sandy Connell and my humble self have put together, framed and sold at this year’s BOS25.
The Artists
Excerpts from the Œvres
I have brought to London all prints I had made in the last twelve months since the last exhibition plus a few cyanotypes and prints from the Cryotopia series which got exhibited last year already. Additionally, I had made my first darkroom black&white prints in A3 format during the two weeks leading up to the exhibition — of which I was happy to sell three pieces. Originally, I had wanted to print photographs of our Mexican Standoff project on three identical tiles using photo-sensitive emulsion but this turned out a mission impossible with 32°C in the darkroom during the hot summer phase in Potsdam and was also subject to meticulous investigations as to how the emulsion can best be applied and subsequently sustained. This is thus reserved for another time.
Stanley was looking forward to preparing his sweetest prints during the final run-in in the weeks leading up to the festival but instead had to suffer a severe physical setback that cost him all his timely resources. The prints he brought to the table were little in quantity but to utmost and delicious satisfaction in erms of quality.
Sandy covered the adjacent walls to the kitchen entrance with myriads of crispy selections from his previews years of photographic activity, including several newly created prints and solarisation experiments, zine cut-outs and testprint samples.
Mexican Standoff (click for information)
During my birthday week in March 2025 the three of us took pictures of each other taking pictures of each other — resulting in three prints, shot by three photographers of those three photographers taking the shots. I had solarized these prints and sized to three identical frames I had at hand and they now embellish the corridor of the Château in Cranfield 35. The images below are un-solarized one-time prints on old Grade 3 Tetenal Work paper which had contracted light during frantic darkroom sessions, as can be seen by the black margin in the thinner end of the paper. These now hang on the ceiling beamer in the living room, not visible to most who don’t look up.
A3 BW Darkroom Prints | 12×16″
All 12×16″ prints I had made in the two weeks leading up to the exhibition.
Digital Scans of original Negatives
A4 BW Darkroom Prints | 9.45×12″
The 9.45×12″ print range back to last year’s edition for which I had printed the Cryotopia selection from the frozen film. All other prints of this size were done throughout the remaining year of 2024 and early 2025.
Digital Scans of original Negatives
These are the BW negatives that featured in frames or in the archive books. Samples from Cryotopia are not included as negatives, since they can be found as full texture samples here.
Photographs taken during my visit
All photographs taken during my visit to London were captured on my small Olympus RC35 manual camera.
The first of the two films was A Rollei RPX 400 shot at box speed:
The second film was a regular Kentmere 400 but rated at 800 ISO:
I was also given an almost 70-year old Agfa Isolette II 6×6 120 fully manual camera which I tested with an Ilford XP2 while in London. Unfortunately, I had not finished the film while in London and while standing at the security check in Heathrow Airport I learnt that the staff is actually prepared to check the camera manually — this did work with the Olympus RC35 (photos above) but the Agfa Isolette II was way deep down in my bag and inaccessible, especially with myriads of eager passengers scarping their hoofs and breathing heavily into my neck. I succumbed and literally exposed the negatives in the camera to the Airport’s evil eyes… Now the film got stand developed in a regular Kodak HC-110 formula and here are the fascinating results:
The digital contact sheet of the film shot in the Agfa isolette II is also attached:
