UNIT 2 ALTERNATIVE PHOTOGRAPHY

TECHNIQUESAO1: ANALYSING ARTISTS PROCESSES, TECHNIQUES & IDEAS

A01: RESPONDING TO ARTISTS WORK

Analysing art: starter questions – UNIT 2 – CAMERALESS PHOTOGRAPHY TECHNIQUESCHALLENGE: CHOOSE TWO OR THREE IMAGES from the examples you are given: compare them using the prompt questions below. Try to use photographic language and aim to write in depth; reflectively and analytically. (using only description without analysis will gain poorer grades and not help your understanding or skill improve significantly)1. Why did you choose this image – consider what it is that attracts your interest. what does

your choice say about you as an artist – what would you like your own outcome to be? 2. What do you think are the best things about this photogram/cyanotype? 3. How do you think the image is constructed – what objects and processes have been

used? Think about what we have discussed? If you had to make a composition like this, how could you do this? Predict the steps: visual elements, props, organisation, equipment & techniques

4. List 3-5 photographic elements that you think the photographer might have been interested in capturing in this composition? (such as TEXTURE, FORM, SHAPE, ANGLES, SPACE, CONTRAST).

5. Are there other qualities that make it interesting? (such as MYSTERY, COMPLEXITY, ORIGINALITY, a STORY or INNOVATION). Explore and explain the things you think are unusual OR memorable OR eye-catching about the photograph.

6. Analyse and discuss the effect of TRANSPARENCY, TRANSLUCENCY & OPACITY on the composition image. Is it a negative OR a positive

7. The best learning comes from trying to see and experience the artist’s viewpoint: what do you think the artist is trying to say and why? Is there a message or meaning?

8. Finally – consider where the work sits in the ART / CRAFT and/or DESIGN spectrum. Is this important to te final outcome or to your understanding?

PHOTOGRAMS

http://www.joygregory.co.uk/project/the-handbag-project/

1943Fotogramma, stampa alla gelatina sali d'argento 199 x 254 mm© L. Moholy-Nagy Foundation

LAZLO MAHOLY-NAGY1940s

László Moholy-Nagy (1895-1946)Senza titolo [Fotogramma]

http://www.geh.org/amico2000/htmlsrc/

http://www.abelardomorell.net/photography/photograms_01/photograms_06.html

http://www.seedsandfruit.com/2010/01/ethan-jantzer-photogram-artist/

http://www.daveeva.co.uk/

Floriss Neususshttp://www.museumofnewmexico.org/mfa/ideaphotographic/artists_neususs.html

http://michaeljorg.weebly.com/photograms.html

THOMAS RUFFhttp://www.loeildelaphotographie.com/2013/03/26/article/20777/thomas-ruff-photograms-m-a-r-s/

http://thecreatorsproject.vice.com/en_uk/blog/8-photographers-who-dont-use-cameras-to-take-pictures

ADAM FUSS

http://www.xavierhufkens.com/artists/adam-fuss#go

CYANOTYPEShttp://www.alternativephotography.com/wp/processes/cyanotype/cyanotype-classic-process

http://www.alternativephotography.com/wp/essays/cyanotypes-a-new-look-at-an-old-technique-thesis

Phase 1: To Record The first period of “photograPHIC” exploration was to produce a scientific record of natural objects . Anna Atkins was one of the first involved in this scientific photographic development and is arguably the most well known for starting this style. Her work can be seen in these two images

British Algae: Cyanotype Impression, 1843

Poppies: Cyanotype Impression, 1850

STARTER - Look closely at both images; discuss them in pairs. Talk about how the following are used • COMPOSITION, DEPTH OF FIELD, TEXTURE & CONTRAST• OPACITY, TRANSLUCENCY & TRANSPARENCY.NEXT – complete the main task USING CYANOTYPE images that you have chosen yourself. Below are other starter images to inspire you

Elaine Humpleby

From a negative

From actual flowers contacting with the chemical soaked fabric

http://www.christopherjames-studio.com/build/ALTcyanotype.html

http://marciatreiger.com/cyanotypes

CHEMIGRAMShttp://www.pierrecordier.com/15.html chemigram*Invented in 1956 by Pierre Cordier, the chemigram combines the physics of painting (varnish, wax, oil) and the chemistry of photography (photosensitive emulsion, developer, fixer) ; without a camera, without an enlarger and in full light.*

The chemigram process was initiated by Pierre Cordier. It is a unique and fascinating process which uses resists onto light sensitive, or photographic paper, even paper which may be old or previously exposed to light. Usually when photographic paper is exposed to light for a period of time it begins to turn black when it is developed but this is not the case when a resist is added. A resist will block the chemical effects of developer and fix and the parts protected by the resist will continue to change colour due to continued exposure to light. This is where you may see pinks and yellows rather than just various shades of black and white. What you then begin to experience are various patterns which occur naturally.You can experiment with various ways of applying the various 'resists' by using cotton buds, straws, fingers, paintbrushes and even stencils to apply the various liquids and chemicals. The resists also varied in thickness and solidity: I have used: oil, honey, moisturising cream, bleach, cleaning solutions, cooking oil, hand soap, spray glue, clear nail polish, body spray and even saliva.

It can be interesting to use various degrees of light to complete this experiment; normal room light with the light fully open and also a darkened room with the lights off and the blinds closed. This is a process which can be created in daylight as it is a chemical process rather than a process which involves the use of light but I found that by experimenting with exposing the paper to various degrees of light the results were more varied

http://tallisalevelphoto.weebly.com/cameraless-photography.html

Chemigrams are created by a cameraless process utilizing conventional photographic paper and chemistry. It breaks all the rules of traditional photography with results that can be stunning or heartbreaking due to the unpredictability of the process. Pierre Cordier invented the technique in 1956. I take it one step further by introducing photographic images in the work. Among some of the examples of this process are images from “The Lost manuscript Series,” “Stravinsky Suite,” and an ongoing project that began over twenty years ago, titled “Vanished.” The chemigrams are 16″ x 20″ and mounted on anodized aluminum sheets.http://markdroberts.net/

http://www.jessemerrell.net/blog/2014/8/fun-with-chemigrams

http://michaeljorg.weebly.com/

lchemist Chemigrams

The story of Peter Schlemihl was written in the nineteenth century. During that time, poetry and philosophy were impregnated in scientific thought. There was liberty for the actually observed and fantasy.

The flowers in the following chemigrams appear to be unknown organisms. The blossoms were immersed in various liquids such as oils, alcohols and acids before being placed between two sheets of paper and pressed. The reaction that occurred between the various solutions, the plants, and photographic paper resulted in the following alchemic imprints.http://www.heleenpeeters.com/index.php?/projects/alchemist-chemigrams/

http://botkaildiko.com/index.php?page=chemigram

TIMOTHY PAKRONhttp://www.timothypakron.com/2781442-silver-drips

http://benpeterspost16photography.weebly.com/cameraless-photography.html