How to Create Synchronicity With Art
Do you wonder how I create synchronicity with art? In this post, I will share with you how I found synchronicity in a little Italian village. First, let’s define synchronicity:
synchronicity is a noun for the adjective synchronous, meaning:
My favorite definition is from Webster’s Third New International Dictionary Unabridged, 1993: a representation in the same picture of two or more events which occurred at different times.
This definition amazingly explains my process in taking photographs.
Synchronicity in a Picture
When I multiply expose the film, I am combining many moments in time onto one picture. I bring three slices of time together.
You can best see how I create my photographs by looking at a picture of the contact sheet for Ischian Holiday:
As you can see I only circled three images of the 30 shown here. These three have that special something – good composition, a balance of tones, a visual story and feeling.
Synchronicity in Ischia di Castro
In 2017, my friends and I visited Rome, Italy. While in Rome we decided to leave the simmer city and travel to Ischia di Castro, the village that one of my companions spent his childhood summers. We arrived late in the evening, but because the air was cool locals sat outside a cafe enjoying cool wine.
We parked outside the town wall and walked into the medieval village encircled by a stone wall.
In the morning, I woke to a rooster cock-a-doodle-dooing, or since it was an italian rooster, “chicchirichí”.
After we enjoyed a breakfast of fresh fruits and breads, we went out to explore the village.
Going out for a Walk
Since I took a bunch of photos in Rome, I had one roll of film left with me. Putting in my last roll, Ilford Delta 100, I hoped it would be a good shoot.
We began our walk in the center of the village exploring the narrow streets and wondering at the lovely colors. Then we spiraled out to the caves where hermits once prayed and lived.
Coming to the end of the roll, I rewound it to the beginning and then reloaded it into the camera. As we wandered on the outer paths, I photographed a second layer. When I came to the end of the roll a second time, I rewound and reloaded it again.
Three Exposure Layers on One Frame
We wandered on all the passageways weaving in and out and found our way back home. At the end of our walk, I finished the third pass over the film roll.
The first layer is the beginning of our walk, the 2nd the middle, and the third the end. Where we ended our walk is where we began it.
Ischian Holiday is a good example of how I create synchronicity by using my Pentax K1000, 35mm film and in-camera multiple exposure methods.