Nick Fancher 9/28/20 Nick Fancher 9/28/20

Fungus in Lens Creates Ethereal Glow in Images

The above image is a raw file— straight out of camera with no editing. It was created by shooting with a kit lens— which are very inexpensive and poor quality to begin with— that was made worthless by most anyone’s standard once it grew a fungus inside. I found this flawed treasure on eBay and have been exploring its possibilities over the last year, with this latest shoot being the most successful by far...

Nick Fancher 9/24/20 Nick Fancher 9/24/20

Back to Life: Opioid Recovery Campaign for the West Virginia Department of Health and Human Resources

Back in June I drove down to West Virginia with my assistant Seth to shoot portraits of two different subjects who have recovered from opiod addiction for the state Department of Health and Human Resources. I was working alongside a video crew (who was shooting a tv-spot) and under the direction of the agency Fahlgren Mortine to create multiple exposures showing the subject’s new life without chemical dependency as part of the Back to Life campaign.

Nick Fancher 9/20/20 Nick Fancher 9/20/20

Fractals: Photographing Time and Space

Though I’ve been exploring long exposures and shutter drag in my portrait photography for years now, I’ve recently began to explore it in a new way. For some time now I’ve implemented intentional movement into my shoots but I was always doing the moving— not my subject. I’d shoot at exposures longer than 1/30th of a second and I’d move my camera around as my subject sat there. I’d mix in a strobe light with a continuous light source so that at least part of the subject was sharp while the rest of the frame fell away to blurred movement. Lately, however, I’ve decided to ditch the strobe and fully embrace the blur…

Nick Fancher 9/17/20 Nick Fancher 9/17/20

Dwell Magazine: Lolly Lolly Ceramics

Lalese Stamps is the genius behind Lolly Lolly Ceramics. A designer by trade, last year she decided to start a ceramics project making a new, uniquely-handled mug each day for 100 days. Between that and a lot of press due to the Black Lives Matter movement her following has skyrocketed. I had the opportunity to photograph her work as well as her studio— which like mine is also at The Fort— for the Sept/Oct issue of Dwell magazine.

Nick Fancher 9/14/20 Nick Fancher 9/14/20

Getting Spooky with Rachel (Digital Pinhole)

Last week I shot with frequent collaborator Rachel Luree and made a range of ghosty images, including some digital pinhole images. If you’re unfamiliar with pinhole photography, it’s essentially any light-tight object with photo sensitive material inside and a tiny hole which acts as the aperture. An entire room can then be a pinhole camera (see camera obscura). I’ve made pinhole cameras out of LEGO, oatmeal boxes, film canisters, and cigarette tins. While each iteration has offered unique results, exploring digital pinhole has been a quicker and easier experience by far.

Nick Fancher 9/9/20 Nick Fancher 9/9/20

My Travel Gear Kit

This is my travel kit. I’ve whittled down my gear over the years to get the leanest and meanest kit possible. With this two camera, two lens, two light setup I can easily travel and solo shoot, creating a broad range of indoor and outdoor scenarios.

Nick Fancher 9/3/20 Nick Fancher 9/3/20

Nathan Ward's Winter Triangle

Aside from being a great photographer, Nathan Ward is also a multi-instrumental musician. His first album until the name Winter Triangle is a lush, layered, ambient endeavor in the vein of Daniel Lanois and Harold Budd. Needless to say I was stoked when he asked me to shoot his portrait for the album promo. After listening to the album I knew I wanted to used a projector and smoke machine to create pins of light. The native color temperature of the projector was on the cooler side and I leaned into the blue tones as I colored graded the files in post. I also decided to add a bit of grain to give the images an older feel. The final images look like his music does in my head.

Nick Fancher 8/28/20 Nick Fancher 8/28/20

Liquid Color

This was a fun little test shoot with Jona. For some of the frames I projected video footage onto her and made multiple exposures. Other frames I used a pulsing, multicolored LED and had Jona do the moving. There was an element of control and chaos in each scenario, and all of them led to discovery and delight.

Nick Fancher 8/24/20 Nick Fancher 8/24/20

My Photography Studio: From Basement to Loft

This is my studio. Not even 5 years ago my studio was in my basement. The ceiling was just under 7ft and the foundation leaked every time it rained. My lighting kit was little more than a couple battery-powered flashes and a desk lamp. Though I only had a tiny space and limited gear, it was my space. I learned to use every inch of that studio and gear…

Nick Fancher 8/19/20 Nick Fancher 8/19/20

Wilted Flowers, Crumpled Leaves, and Other Pretty Dead Things

We had a bouquet of flowers on our dining room table for the last two weeks, and it had been dead for easily half that time. When I finally got around to tossing the dead flowers I caught myself and decided instead to bring them to my studio to photograph. Though I’ve been photographing flowers and plants for years I’ve never thought to document them after their prime. I added in some dead leaves from one of our ailing house plants to round out my decay study. I enjoyed these studies so much that I may begin a new series around it.

Nick Fancher 8/15/20 Nick Fancher 8/15/20

FaceTime Photo Shoot with Mrs. Piss (Chelsea Wolfe) for Revolver Magazine

Stoked to have photographed @cchelseawwolfe and @jessgowrie’s new project @mrspisss via FaceTime a couple months back. These are in the latest issue of @revolvermag. Design by @toddweinberger. Long live print!

Nick Fancher 8/12/20 Nick Fancher 8/12/20

Making My Own Alternative Camera (Pinhole)

Back in 2002 I was halfway through the BFA program in fine art photo at OSU and I’d just started a course called “alternative camera” taught by the great Ardine Nelson. The umbrella of “alt camera” encompassed everything from finding/modifying toy cameras to making your own cameras from scratch. The course awakened in me a drive to explore and push the boundaries in my artmaking and I really learned to lean into the element of chaos and the beauty of imperfection that accompanied exploration. I crafted a range of cameras during those three months. I made a LEGO pinhole camera that shot 4x5 film. I modified my grandmother’s broken stereoscopic 35mm film camera to shoot hazy, ethereal pinhole images. But my favorite camera ended up being one I made from an old cigarette tin…

Nick Fancher 8/10/20 Nick Fancher 8/10/20

Tim Hortons x Fruit Loops

A few weeks ago I shot a range of social media images for Tim Hortons’ recent crossover with Fruit Loops. When it came to the visual approach I wanted to mimic old print ads from the 50s and 60s, which translates to hard light and shifted color hues. I think it gives the images an elevated look.

Nick Fancher 8/6/20 Nick Fancher 8/6/20

Discovery with Marissa Nadler

A couple weeks ago I drove down to Nashville to photograph @marissa_nadler. I’d been a fan of her music for almost 15 years so I was super excited to work with her. I didn’t have any visual plans for the shoot— no mood board or pre-conceived ideas. In recent years I’ve really embraced improvisation when it comes to shoots. I bring a few key pieces of equipment with me— enough to cover a broad range of techniques— and then I allow the space, the subject, and the moment to dictate what happens within the session. Sometimes it backfires and I come away with nothing. Other times magic happens. Either way, it’s my favorite element of a shoot…

Nick Fancher 7/31/20 Nick Fancher 7/31/20

Nick Fancher X Adobe Lightroom

I’ve been an Adobe Lightroom user since 2007, when it first dropped. When it comes to post-processing, I use it almost exclusively, only rarely opening Photoshop. It has not only elevated my color grading game but it has also probably added a year to my life with the time it’s saved me. All that to say I was honored and flattered when they reached out to me to write some tutorials on how I use their software…

Nick Fancher 7/27/20 Nick Fancher 7/27/20

Ephemera: A Collaboration with Hana Mendel and Celeste Malvar-Stewart

Last week I collaborated with Hana Mendel (an amazing photographer, illustrator, guitarist, etc) and clothing designer Celeste Malvar-Stewart. In an effort to maintain social distance guidelines, Celeste dropped off her garments, giving us permission to style and shoot them as we saw fit. Hana showed up ready to shoot and I kept my distance, wearing a mask the whole time. Save for the addition of wearing a mask, the shoot wasn’t any different from my other personal shoots— I always work with a minimal or non-existent crew…

Nick Fancher 7/21/20 Nick Fancher 7/21/20

Remotrait (FaceTime Photo Shoot) with Sara Lando

Sara Lando is my friend. She’s also a brilliant photographer, artist, and teacher based in Bassano del Grappa, Italy. Last week we hopped on a FaceTime call and she graciously sat as my subject for an hour-long shoot.

Nick Fancher 7/14/20 Nick Fancher 7/14/20

She's on Fire

A couple weeks ago I shot with photographer/model/stylist Hayle Cordle and I leaned back into my passion for color. Since I wrapped writing for Chroma two years ago I have shifted my focus from color to experimenting more with abstraction and texture. This felt more like a simple study of mood, via color. I need to give myself permission to do more of these simple, fun explorations. It’s restorative.

Nick Fancher 7/6/20 Nick Fancher 7/6/20

Trauma Portraits (Series)

In 2017 I began a series exploring trauma. I invited participants to come share their story with me, which was followed by a brief portrait session. I had subjects gather several images (or a video) that represented a time of significant trauma in their lives, which they brought to my studio to share with me. When they arrived we took some time to sit and discuss their story. After chatting I took the imagery they brought, loaded it into a slideshow, and projected it onto them while I created multiple-exposure portraits. As the photographic layers began to stack up, the projected images of trauma became less and less recognizable and only the colors and fragmented shapes remained. Old photos representing terror and loss began to disintegrate. Scars transformed into beauty marks, wounds and wholeness inextricable.

Nick Fancher 6/30/20 Nick Fancher 6/30/20

Exorcise Routine

Yesterday I shot with Katy and really leaned into creating dreamlike (nightmarish?) images. I’ve been experimenting with mylar for over a year now and continue to find new ways of interpreting the material. I love the soft reflection it offers, which give the photos a painterly quality. With the warping of the material, otherwise dreamy images turn into those depicting an exorcism.