‘Impossible’ Interview with Penny Felts
We’re delighted to be working closer with The Impossible Project team as we continue to branch out and expand our reach with all things related to mobile photography. Analog post-processing of mobile images is becoming more and more popular and we’re going to make sure our readers are fully briefed on this very exciting development.
The Impossible Project is in many ways leading the way, but there is also a growing community of mobile artists and photographers experimenting with other analog post processing techniques in an attempt to make their mobile images stand out even more, in galleries, magazines and the like and we have viewed some outstanding images and techniques.
A good deal of my formal photographic training (many years ago) was spent in a huge college darkroom and it is an area that I’ve always enjoyed, I think you will too. I also had a very close working relationship with Polaroid built up through my years as Technical Editor for various UK photography print magazines/titles.
Today we are publishing the seventh of a series of ‘Impossible’ articles, this time with Penny Felts. Penny lives alone in Nannini, Nashville, Tennesee. She’s a non-professional photographer and she works as an MRI technologist.
This is an interview that was conducted by the team at Impossible and they have given us kind permission to republish it here. We think you will enjoy this very much…
How long have you been shooting Polaroid/Impossible film?
I started seriously shooting Polaroid films about two years, just before they went out of business. I started shooting Impossible film as soon as the first pack was made.
What cameras do you use?
I use every type of Polaroid camera that I can get my hands on. I have a ridiculous collection. The classic SX-70s are my favorite. I love the feel of them, the lens, how they open, the way look, and most importantly, the magical photos that they make.
‘A few of my favorite things’ – Penny Felts
Where do you shoot most often?
These days, I shoot mostly at an abandoned lumber warehouse. The light there is amazing. I use mostly the newest IP color films, but every now and then, I use some Polaroid or Fuji pack films.
‘The art of silence’ – Penny Felts
How would you describe your work?
Dreamy is the style I strive for. I try to have a story or project to shoot. I’m not great at just going out with a camera without a plan.
Tell us a little about the four works you have chosen as your favorites?
Honestly, I love the IP films so much, that choosing only four favorites was very difficult. I just tried to choose a variety. The first one; ‘A Few of My Favorite Things’, was shot with some of the very first IP film made. I absolutely love the creaminess of it. ‘During the Storm’, has always been a favorite of mine because of the colors and light. ‘Bee Keeper’, is another one that I am love with because of the tones. And, finally, I chose ‘The Art of Silence’ because I wanted to show the newest PZ film. I scanned this before it was completely done developing because I love the blue stage that the film goes through. Every photo I shoot is like a page in a diary to me. There are fun little stories that I get to remember when I see them again.
‘During the storm’ – Penny Felts
Do you have any helpful creative techniques or advice you would like to share?
I really love layering lifts. It is challenging and fun to figure out what you can put together.
Do you have any upcoming exhibitions/publications?
I created a little group last year called the 12:12 project, with the help of some of the most amazing girls I know. We are hoping to have a few shows around the world, and possible a book. It has taken most of my free time recently, so I have not made plans for anything personal.
Who are your favourite photographers?
Deborah Turbeville, and Imogene Cunningham are the first two that come to mind. There are so many though.
‘Bee Keeper’ – Penny Felts
What are you hoping for from Impossible during the next year?
The two things that instantly come to mind would be completely getting rid of the ‘divot’ from all future packs of film, and making the development time less. As far as new stuff, I’d love some new formulas that would mimic the look of some old favorites… softer, bluer possibly. And, I am hoping that the color 8×10 will be out soon.
Joanne Carter
Joanne Carter is a British photography journalist, editor, curator, and the founder of *TheAppWhisperer.com*, one of the world’s leading platforms dedicated to mobile photography and art. Since its launch in 2009, TheAppWhisperer has become an international hub for artists of all levels to discover, learn, exhibit, and engage with contemporary photographic practice.Built on principles of inclusivity, accessibility, and artistic excellence, Joanne has spent almost two decades championing mobile photography as a serious artistic medium. Through interviews, critical essays, exhibitions, competitions, and education, she has helped shape and document the evolution of mobile art on a global scale.Her work has taken her internationally, lecturing on photography and mobile art at institutions and events including the Museum of Art in Seoul, South Korea, alongside appearances in the UK and Europe. She has served as a juror for international photography and mobile art awards across Portugal, Canada, the United States, South Korea, Italy, and the UK.Joanne is also the founder of *TheAppWhispererPrintSales.com*, one of the first online galleries dedicated exclusively to collectible mobile art, connecting artists with collectors across Europe, the United States, and Asia.Before founding TheAppWhisperer, Joanne worked extensively in print journalism and photographic publishing, including roles at a paparazzi photo agency and as deputy editor of a leading photography magazine. Her freelance journalism, criticism, and commentary have been published widely in both the UK and the US, with bylines in *The Times*, *The Sunday Times*, *The Guardian*, *Popular Photography*, *NikonPro*, *DPReview*, *Which?*, *Vogue Italia*, *LensCulture*, the *BBC*, and more recently, the *Financial Times*, where her published letters on photography continue to contribute to wider conversations around the medium.Alongside her editorial and curatorial work, Joanne’s own photographic practice has been exhibited internationally across the UK, Europe, South Korea, and the United States. Her work increasingly explores themes of grief, loss, death, memory, and the body.Her current research interests centre on grief, death, and poverty, with forthcoming postgraduate study leading towards doctoral research in these areas.Joanne is currently developing new long-form writing and photographic projects and is available for commissions, editorial projects, speaking engagements, and collaborations.Contact: joannetheappwhisperer@gmail.com)
One Comment
Maryjane Sarvis
Wonderful work! Very exciting to see this combination of portraits and technique. I’m going to investigate ‘layering lifts’. Hope to see more too!