Last month in Sydney, Bedlam took over China Heights Gallery Book Store, so I thought it was only fitting to share more of the backstory behind Bedlam and pick your brain about photography.

Let’s start off with a bit of your background, for those who don’t know you. Where did you grow up and how did you get into photography?

As a teenager, I took an elective at high school in Oatley NSW that had a darkroom. I learnt all the foundations there and haven’t grown out of that style—processing film at home and printing in darkrooms whenever I could. I then studied at TAFE after high school, but at the time you needed access to your own darkroom. Luckily, the week applications were due, I was at Rabbit Photo where my neighbour worked. I’d never really spoken to her before, but her daughter was in my year at school, and she offered to let me use her darkroom.

It was a strange time to study—digital was taking over, but we were still learning on large format film cameras. The course was very commercial and technical, which actually pushed me in the other direction, and I didn’t end up finishing. I was already shooting photos of my friends skating and hanging out, while working in pick-pack-post at a camera store. One of my colleagues, Kristen Perich, saw some of my pictures and gave me a push to exhibit them. That was when I was 22. It felt like something special to be celebrating my work on that platform. Eventually, I started making zines, and then a book.

"FIRST DAY WITH THE RENTAL, SIMO CALLS GEORGE. GEORGE CONFIRMS JAKE HAYES BLUNT SLID THE OUT LEDGE"

What is the name “Bedlam” all about?

No switch frontside flips, Jake Hayes, and a quote from The Wire. One meaning of the word "bedlam" describes a scene of uproar and confusion, which I feel fits how tricks are celebrated—and how the general public might see a skate session.

 

What’s the best example of that you’ve seen in person?

Reef’s indoor double set sessions, when Caeylen Norris kept running out after each landing. People on the other side of the fishbowl had no idea what was going on.

 

How did the book all come about?

I was with Digby one day while he was chatting with Corey Young about a Hoddle Sydney trip that Majik was filming. I hadn’t said much, but I asked if Bryce (Golder) was going to be around, and he wasn’t. I wasn’t working at the time and had some availability, so I tried to cover the trip each day people were out skating. I didn’t know anyone that well yet, but it felt like an assignment sent from Keegan Walker.

We got heaps of flicks, and during the trip Caeylen mentioned we should do something with the photos. After a bit of back and forth, printing and emailing, and with help from Mikey (Mieruszynski) laying it out, we made the zine. The booklet also includes photos of Jack Asani. I chose to include him because Keegan and I would always talk about Jack when discussing who was ripping in Sydney, and I feel like he’s part of the Hoddle alumni.

How have you been able to keep shooting film for so long, especially with the cost and rise of digital?

I bulk roll film to save money when it's on sale, develop it myself, and print it myself. I’ve started leaning a bit more into digital lately, but I’m really bad with digital files—I need to come up with a proper system. I lose everything: broken hard drives, lost computers. Honestly, it’s easier to find a negative in a filing cabinet than a digital photo on a computer. That’s probably why I keep shooting film.

Tell me about A Darkroom!

It started as an idea during lockdown. I deleted Instagram and was reading a book about the Magnum photo agency. I wanted to set up a team of photographers and sponsor them—kind of like how skate teams work. I’ve taken a break from that part for now, but it’s something I’d like to return to.

Right now, I’m leaning more into the shared space side of it. A Darkroom is set up by photographer Matteo Dal Vera in Marrickville, and it’s a place where people can learn to process and print black-and-white film with me.

Is this your first darkroom?

It’s my first proper dedicated one. I was running operations out of my parents’ laundry for a while. I started subletting space in Marrickville and eventually realised it was time to move on from the mosquitos.

How much time are you spending in there?

We share the space half the week, so I’m in there about half the week too. I try to run workshops on Sundays and Mondays, and Tuesdays I usually spend the whole day printing for passion projects—or for people I know.

How do people get involved with A Darkroom?

Follow the Instagram @a.darkroom and send a message. Just shoot some black and white film and bring it along to a workshop.

Your recent show Till Next Time showcased our good friend Meijin in Japan. It’s a great time capsule of him. How did it all come about? It seems quite different to the rest of your work—using colour film.

Meijin and I first became friends in Melbourne. He’s a very special human—great sense of humour and, like you said, a colourful character. Japan is a colourful country  too. A lot of my favourite photos from the first trip visiting Meijin were in colour, so the next year I continued in that direction rather than converting everything to black and white.

The Sydney film lab Dofilm! wanted to present some of my photos, and I wanted to show something I wouldn’t normally exhibit at China Heights, which usually leans Sydney-based.

"THE THING ABOUT THE OLD DAYS THEY THE OLD DAYS"

How did you get involved with China Heights Gallery?

One of the founders, Edward Woodley, has always supported my work. After my first show, he came up to me and told me to bring some flyers to China Heights—he’d heard I was doing something at another gallery.

I’ve always been fascinated by that Surry Hills space. I’d see Ed around Oxford St for years, always wearing different band shirts. Eventually, I took him a box of postcard-sized hand-printed photos and he offered me a slot the next year. That’s when I started working with the gallery.

Do you have any good Keegan stories?

I remember Japan the most with him. He ended up modelling on a public fashion catwalk near the scramble crossing. He had a bunch of disposable cameras and used a whole roll just photographing us eating Family Mart chicken.

He’d show up at Mike Wale and my hotel most mornings, usually during the complimentary breakfast—and sometimes with strangers. After that, he took us to a silent café, and he organised a big party at a fashion club to close out the trip. He had Syd and Mike battle it out as the best DJ.

What’s next for you?

I’m just going to keep shooting whatever I’m drawn to.

What projects do you have on the go?

I’ve got another big exhibition lined up for China Heights this October. I’m also working on more zines with Prop Records and planning to make another book with Bad News Books next year.

Thanks again for making Bedlam and the show happen. Such a good time capsule of the trip—and really excited to see these next couple of projects.

Appreciate it. Can’t wait to share what’s next.

 

Sam’s Website 

www.sam-stephenson.com

A Darkroom 

www.sam-stephenson.com/a-darkroom

 

China Heights Gallery 

www.chinaheights.com