Hand-crafted objects, whether they are of wood, metal, glass, or indeed an original hand-made photograph, have always appealed to me. Since I was a young boy I have felt the need for some form of artistic expression. My attempts to paint a tree were ordinary at best, so the prospect of hand-making a photograph emerged as an achievable alternative. The camera displaced the brush. At the age of twelve I embarked on what has been a long journey as a photographer, but one that has rewarded me beyond anything I could ever have anticipated. Photography has led me through many twists and turns, some of which I have related in this my sixth book ― The Photography of Stavros Pippos.
Hand-making prints from my large-format in-camera negatives, re-creating the subjects as I first visualised them at the moment of capture, gives me great satisfaction. All my monochrome work is produced in my darkroom. I make prints using three different photographic processes: the luxurious and evocative material of platinum-palladium, and the more generally used gelatin-silver and silver-chloride. Each handmade photograph becomes a creative work in itself. Some take days to print, and even then I may return at a later time to add that final touch. Like a painter, I’m able to control the image from capture through to the finished archival print.
I have travelled widely throughout my home state of South Australia. Exploration of the Australian landscape beckoned after my retirement from a television career, and since then, with camels, boats and four-wheel-drive vehicles, I have reached and explored some of its most remote areas.
My photography is not dedicated to following any particular theme, as my interests are wide and varied. I am fortunate to have easy access to a pristine coastline, undisturbed deserts and almost everything in between. My photographic ‘patch’ here in southern Australia provides a diversity of subjects for the discerning eye ‒ a photographer’s paradise.