Tom Hutts

Edinburgh based photographer, Tom Hutts reflects on what keeps him excited about shooting film, and the spaces that are building the analog photography community in Scotland, alongside three of his own images with curated tracks...

How did you first become interested in photography, particularly film? 

It was my first day of studying photography at uni, I was 17 and desperate look cool and fit in. A  course mate asked if I ever shot 35mm film. I told him I did, but the truth was I had absolutely no  idea what he was talking about. It was completely alien to me. Next thing I know, he’s signed the both of us up to be inducted to the darkroom facilities at Napier. I’m bluffing the entire time but  begin getting a feel for it. The same Christmas my dad gets me an Olympus OM2, I’ve been shooting pretty much exclusively on film since then.

 

It’s incredibly generic to say I love the ‘feel’ of film, the nostalgia of it. We’ve seen it a million times. But I’d be lying if I told you that wasn’t true. Shooting on digital, I’d take 100 photos of the same thing and spend hours agonising over the  smallest detail. Film sort of taught me to get over myself and embrace the moment for what it was.

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What do you feel is really changing in your local photography community right now?  

I’ve definitely noticed a massive increase in the number of people shooting film in the last few  years. I think on a local level, the benefit of Edinburgh being so small is that a lot of the community  is pretty interconnected, both with each other as individuals but also with the groups and institutions like Stills, Canister Camera Club, A&M, and more recently Filtr Collective. These places and initiatives foster a really special culture that I think can only benefit the future of analog photography (maybe except the rising film prices).

 

I’ve made a number of long-lasting friendships that started on the foundation  that we both shot film and swam in similar circles in Edinburgh, it’s great. It’s pretty cheesy but I know life would certainly be lot different if I never took up film photography. 

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Could you tell us about the role you feel spaces and institutions such as Stills play in  encouraging film photography in Scotland right now?  

I think institutions like Stills are vital to the revival and sustainability of film photography in Scotland. A lot of people think of Stills as just a gallery, but there’s a huge number of courses and great facilities. Just last week there were people developing Super 8mm Film in coffee grounds and dish-soap. Providing these spaces for experimentation keeps the medium alive and exciting. 

More generally, I think having spaces for learning that are open to people from all backgrounds  provides such an incredibly rich experience for everyone involved. Here’s an example; on the  Sound Editing and Recording course at Stills there’s a person who’s researching a phD in the acoustics of bumblebees… and on the same course there’s a 17-year old who’s looking for some more experience in audio editing to add to their UCAS application for uni. I love that.

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Find out more about Tom's work via his Instagram

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