Together, We Wither Away and Know Worries:

Dylan Rozzelle (@objectsofridicule)

Andrew D. McClees (ADM): So, for the readers, Can you introduce yourself, and give a quick overview of your photowork? (beyond the examples we've incorporated here?)

Dylan Rozzelle (DR): I currently live and work out of Richmond, Virginia. My work is entirely based on life as it’s happening around me. I can’t say I’ve ever set out to hone a particular style, I just enjoy documenting things in an unadulterated way. The process of shooting has just become ingrained into my lifestyle. After learning how a camera works, everything else just sort of fell into place for me. Humanity creates my images, I just have to focus and press the button.  

ADM: I remember from having talked with you before, your instagram handle "@objectsofridicule" is actually the name of an overall project, is it more your zinemaking/bookmaking output, or your overall body of work? also what's the story behind the Name, and how does it interplay with the work you select for it?

DR: It’s more or less a moniker that just ended up just sticking with me. I like making things for friends and people with similar interests as myself. Photo zines, poetry, pins, patches, anything I was creating and giving out in numbers really, I just started stamping with the name. It was never meant to be taken too seriously, and still isn’t. I’m not trying to create a brand in anyway, it’s just something that’s become an ongoing project -- one that as of recently has shifted away from my own work and moved towards others as well. I have a love/hate relationship with the name, but I think that’s inevitable with anything you’ve submerged yourself into for multiple years, and grown older with. 

ADM: From the zines I've read of yours, a lot of your work seems to be done while traveling rather than in any given/set location -- is there a primary reason for that, and what is it specifically that draws you to travel, and how has it influenced your work?

DR: It’s not planned that way specifically. I carry a camera on me at all times, so anywhere I happen to be, I’m taking pictures. Last year a lot of time was spent meandering different countries, so the zines just happened to follow the experiences. When traveling alone, I shoot a lot more, but the focus tends to turn more towards the streets. Being alone and in new places, I find myself less distracted than any other time I’m out shooting, mainly because the only comfort I have is in holding a camera. It’s easy to romanticize new places, though, and shooting daily life is just as important to me.

If you’ve ever gone to a local library and looked through the photo archives of where you’re living, it will teach you not to take for granted what you see on a routine basis. Every city is consistently under construction and will be vastly different decades from now. The hand painted ads, cars, clothing, those things that gives older photographs their charm just happened to be the way life was existing then. There’s no true proof of the past other than the photos that were taken. Time has made mediocre photographs much stronger now than they were when the shutter first opened. Everyone that is documenting the places they have lived will have much more compelling content 40 years from now. The factory your father worked in as a teenager is now a tacky condominium and the record store you used to catch punk shows at is now an Urban Outfitters. You can’t get those stories from street photography in foriegn places. I try to find a balance between the two, because I see the value in both. 

AM: Got it. I take it we/I/your audience in general can look forward to at least one, if not more Richmond based zines in the near future? The nod to documenting your life as part of history is interesting -- did you grow up in Richmond? 

DR: I have a few things in the works, absolutely. In July I put out a zine titled Together, We Wither Away which is comprised of images from the east coast, with a large focus on Richmond. In the brief period between getting back from overseas to releasing that zine, I had gone home (a town called Norfolk about 100 miles south of Richmond) twice -- both of which were for funerals of people who played valuable roles in my life. As soon as I got back from the second funeral, I formatted that zine and then put it into print. It was an attempt to make a statement against detrimental lifestyles and self-harm, as well as a way to help cope with my grief after their deaths.

Since then I started putting my efforts into a project called Know Worries. They are 4-way collaborative anti-profit zines. Once I curate and publish them, each artist receives 25 copies to do what they will, other than to make money. Know Worries II was released last week. 

AM: Your portfolio is entirely black and white, and it has a pretty distinctive edge to it -- how did you settle on it? what were some of your influences for your look?

DR: I shot strictly color through cheap cameras for years. I was soaking films in any chemical I could think of to get bizarre color shifts, and completely destroying emulsions, cross processing as well, just to see what would happen. I didn’t care, I just liked to shoot and experiment. I ended up becoming good friends with a guy who was vastly more knowledgeable than I about photography. He helped guide me towards better cameras and glass, showed me books by the greats and it shifted my focus. That’s when I began to start taking it a little more serious. I switched to black and white because we were processing the film ourselves in my apartment. In turn, the cheaper it is to get images, the more careless and often you can shoot. Good photos are subjective and completely by chance in my experience. The more you shoot, the more chances you have of getting something you’ll be happy with. We ended up living together and turned my bedroom into a darkroom. Fully submerging ourselves into the process. I learned a lot during those times and it helped shape my style for sure. I attribute a lot of where I am today to him. Shout outs to Josie.   

I’ve tried shooting color since then, but I just feel like it doesn't carry the same weight and feeling for my own images. I don’t look for colors, I rarely even think about them -- but maybe I’m just too far gone in that thought process. I’m sure it doesn't help that 95% of the books that I buy are black and white. I don't think one is better than the other, I just think it happens to work better for me personally. 

Most of the photographers I admire were living and working sometime between the 1970s and the 1990s. Having not lived my youth through those eras and being attracted to the subcultures that sprug during those decades, I’m fortunate for the ones who decided to pick up a camera and were shooting back then. In current times, color point and shoot photography is one of my favorite styles to admire because I know the importance it holds for the future. It plays a large influence in my work even if I’m not doing it. There is nothing about it not to love, and anyone who knocks it is just trying to put themselves on a pedestal. That purist mentality is what ruins art forms and discourages people from getting into it rad stuff -- no matter what scene you’re in, I feel that it almost never does any good. I encourage anyone I meet that shows the slightest interest in photography to buy and a point and shoot with decent glass and just blow through frames to get started. Whether you enjoy color, or black and white, who gives a shit. I think it’s all irrelevant if you’re having fun and it’s going to leave future generations more content to be enamored by. If you don't want to learn the technical side of things, I don't think you should have to. Elitist culture is pathetic. Getting pictures is the point of what we do, right?

ADM: Agreed! That’s really rad  -- and a smart suggestion for people thinking about getting into photography, or film photography specifically. Elitist culture makes it really difficult to just get new folks into whatever they’re gatekeeping -- usually to their own detriment. Could you share a few of the books and photographers that you’d admire, and recommend to someone just getting started, that’s been out shooting a fair bit but hasn’t really immersed themselves in the history of photography beyond say instagram (not that there’s anything wrong with that)?

DR: I think it’s important to find out what kind of photography resonates with someone before recommending them too much. I love to read, but I could give a shit less about James Joyce. When it comes to photo books, there’s no shortage of inspiration to be found. The feeling you get flipping through an artist’s book is something the internet cannot give you. The problem with instagram is that it’s far too much content to digest. It’s almost impossible to connect with a viewer, and hold their attention before it’s all lost to the movement of a thumb. Pretty fucking tragic, really. I always recommend going to used bookstores and the library, there’s always new things to be found, plus there’s no need for money if you don’t have it. You will always, without fail, end up inspired to create more compelling work and theorize ideas for new direction in your photographs.

A brief list of people who have personally inspired me:

Tish Murtha, Ray Metzker, Gusmano Cesaretti, Richard Sadler, Andre Kertész, Mary Ellen Mark, Jill Freedman, Richard Kevlar, Helen Levitt, Eikoh Hosoe, Bruce Davidson, Gary Winnogrand, Ralph Gibson, Joseph Koudelka, Lee Friedlander, Ari Marcopulos, Saul Leiter, Julia Gorton, Eugene Richards, Larisa Dryansky, Bill Brandt, Ed Templeton, Ed van der Elsken, Peter Hujar, Nan Goldin, Ken Schles, Robert Frank, Larry Towell, Boogie, Mark Cohen, Jun Abe, Anders Petersen, Mike Brodie, Donna Ferrato, Sylvia Plachy, Bill Daniel, Edward Grazda, Gordon Parks, Elliot Erwitt, this list could never end...  

As for books, all of them.

ADM: You mention a strong focus on shooting your life, or humanity making the photos for you, and later go on to say that you’re pretty  far gone in the black and white thought process. Can you walk us through what you’re thinking or looking for when shooting and composing your images or is it more gut instinct and small calculations? 

DR: It depends on the situation and camera, I suppose. On the street, anything goes. A lot of it is gut instinct, I never really know what I’m looking for, I just know when I see it. I have a good idea of what I want in a frame when the time arises. Sometimes it works, more often than not it doesn’t. Anything that sparks my interest, I’ll shoot a photo of. I’m trying to get better about just taking my friends photos. My 2020 goal is to shoot more medium format portraits.  

ADM: We touched on it before, but you make zines fairly regularly, at least once or twice a year -- what’s your process for putting together zines like? What advice would you give someone making their first zine, or even just toying with the idea? 

DR: Yea, I actually made 4 this year -- kind wild considering I think they are some of my best work yet. Zines are something I’m constantly thinking about, and always working on ideas for. I have a section in Notes on my phone for titles and concepts. If they will actually come out is a different story, though. I can sit for weeks or months curating zines and playing with InDesign only to scrap it completely and move to something else. That’s just how I work.  

As with photography, zines will be a learning process. You don’t have to be great at it, just do it because you want to -- dive in and see what happens. It’s always going to be better than nothing. The best advice I can give is shoot, make, repeat. 

And don’t listen to a word people say about photography, including this interview.

ADM: Fair point! Thanks again for the interview! Do you have any parting words? Also where can people buy or trade for your zines (trade especially for Know Worries), and see your work?

DR: Always down for trades, chats, and advice on how to not make money off of photography.  @objectsofridicule 

Ed. Note: We couldn’t fit all the photos we wanted to here, so we’ve put up a gallery in the “People” section of the website, entitled “Dylan Rozzelle: Portfolio.” Either use the click through menu or click here.