The Hybrid Photography Issue
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Through Lens View
This article originally appeared in the 2010-2011 publication, “LANGDON REVIEW OF THE ARTS IN TEXAS” published by Tarleton State University’s Dora Lee Langdon Cultural and Educational Center in Granbury, Texas. THROUGH THE LENS OF THE VIEW CAMERA The general description of the wet darkroom process is not that complicated. yet the successful implementation requires a much deeper understanding and dedication to craft than is readily apparent. Large and Ultra Large Format photography requires a dedication and understating of craft, which in turn allows the artist to express themselves in a way that is unique to the medium. All cameras, regardless to size, are only a light-tight Box that hold the lens and film. Camera, film, chemicals and process are only the tools used to create the finished product. That finished product is the photographic print. It has to contain and express what the artist wants to say with respect to their feeling and interpretation of the suBject. It is said that amateur photographers talk aBout equipment, while serious photographers talk about photographs. Certainly it is important to have the proper tools in order to be successful at anything you attempt. Matters not whether you are building a bookcase, fixing a leaky kitchen faucet or making a photograph. But to obsess endlessly over your tool Belt is not necessary. When asked how they choose which camera to use, JB or Susan Harlin will usually say, “it is the largest camera I can get into position.” This is especially true for landscapes. The biggest obstacle is just how far they can carry any one camera. -
Alternative Processes a Few Essentials Introduction
Alternative Processes A Few Essentials Introduction Chapter 1. Capture Techniques From Alternative Photographic Processes: Crafting Handmade Images Chapter 2. Digital Negatives for Gum From Gum Printing: A Step-by-Step Manual, Highlighting Artists and Their Creative Practice Chapter 3. Fugitive and Not-So-Fugitive Printing From Jill Enfield?s Guide to Photographic Alternative Processes: Popular Historical and Contemporary Techniques 2 Featured Books on Alternative Process Photography from Routledge | Focal Press Use discount code FLR40 to take 20% off all Routledge titles. Simply visit www.routledge.com/photography to browse and purchase books of interest. 3 Introduction A young art though it may be, photography already has a rich history. As media moves full steam ahead into the digital revolution and beyond, it is a natural instinct to look back at where we?ve come from. With more artists rediscovering photography?s historical processes, the practice of photography continually redefines and re-contextualizes itself. The creative possibilities of these historical processes are endless, spawning a growing arena of practice - alternative processes, which combines past, present and everything in between, in the creation of art. This collection is an introduction to and a sample of these processes and possibilities. With Alternative Photographic Processes, Brady Wilks demonstrates techniques for manipulating photographs, negatives and prints ? emphasizing the ?hand-made? touch. Bridging the gap between the simplest of processes to the most complex, Wilks? introduction demonstrates image-manipulation pre-capture, allowing the artist to get intimate with his or her images long before development. In the newly-released Gum Printing, leading gum expert Christina Z. -
Price List NEW.Pmd
Price List November 2014 The essential guide to the very best photographic equipment and materials Telephone: 01636-823922 Fax: 01636-821719 Email: [email protected] wwwwww.mor.morcoco.uk.com.uk.com We supply all these top brands... Agfa Hahnemühle Manfrotto Quantum Ansmann Harman Marrutt Reflecta Apple Heliopan Marumi Richards B+W Hensel Medalight Rodenstock Beattie Herma Metz Rosco Benbo Hewes Morco Rotatrim Benro Hitech NEC Samyang Billingham Holga Nissin Sandisk Bowens Hot Press Nova Savage Braun Hoya Omega Sekonic Camlink HP OpTech Sigma Canon Ilford Orchard Silvestri Canson Just Oregon Slik Cokin Kaiser Osram Snapshut Colorama Kenko Panasonic Sony Creativity Kenro Pantone Sunpak Delkin Kentmere Paterson Tamrac Douglas Kodak Peli Tamron Eclipse LaCie PermaJet Tetenal Elinchrom Lastolite Philips Toyo Energizer Lee Photolux Velbon Epson Lensbaby PhotoTherm Visible Dust Falcon Lexar Pinnacle Wein Fotospeed Light Craft Pocket Wizard Westcott Fuji Linhof Polaris X-Rite GePe Lowepro Polaroid Zeiss Gossen Lyson Morco Limited College Farmhouse, Cromwell, Newark, Nottinghamshire, NG23 6JE England Telephone: +44 (0)1636-823922 Fax: +44 (0)1636-821719 Email: [email protected] www.morco.uk.com Introduction Contents Welcome to The MORCO Price List. Page Inkjet Paper and Digital Consumables Since 1987 Morco has been a supplier of a wide range of Ilford Paper.................................................. 1 top quality products to the professional and amateur Fotospeed Paper......................................... 2 photographic and allied markets. Permajet Paper........................................... 2 - 6 Pinnacle Paper............................................ 7 We are the UK distributor for BEATTIE, PHOTOTHERM Hahnemühle Paper...................................... 8 - 9 and WEIN products, we also manufacture/produce MORCO Harman Paper............................................. 10 PHOTOGRAPHIC products. These products are available SnapShut Folio Covers............................... -
CHAPTER 18 the GUM BICHROMATE PROCESS Fig: 18 -1 Here, Christopher James, Alicia in Gum #2, 2012 (Gum) OVERVIEW & EXPECTATIO
CHAPTER 18 THE GUM BICHROMATE PROCESS Fig: 18 -1 here, Christopher James, Alicia in Gum #2, 2012 (gum) OVERVIEW & EXPECTATIONS Here’s the truth… in the gum bichromate process there are very few absolutely correct ways to do anything. Here’s another nugget of dependable veracity… in my experience, gum bichromate printers are the most passionate and hard-headed of all alternative process artists when it comes to their particular way of performing the process. I can just imagine so many of my friends reading that last sentence and saying, "I just know he’s talking about me!" © Christopher James, The Book of Alternative Photographic Processes: 3rd Edition, 2015 When the gum bichromate process is broken down into its three component steps, and explained in the most elementary way possible, it appears to be amazingly uncomplicated. However, to nearly every one of my students who has been taken with the process, and for those artists who are dedicated to it for life, gum bichromate slowly reveals itself to be one of the most complex in the alternative process genre. The gum bichromate process is ridiculously seductive. This is primarily due to its very limited chemistry, oh-so-simple water development, unlimited color palette using the watercolors of the artist’s choice, and very flexible ability to be coupled with a wide range of other alternative and graphic arts techniques such as platinum / palladium, cyanotype, all forms of printmaking and artist’s books. I think of gum as the photographic ambassador to the fine arts. Because of its pigment and substrate options, and brush application, gum bichromate printing is one of the few photographic processes capable of achieving that wonderful element I refer to as gesture - gesture being the evidence of the artist’s hand in the creation of an expressive and graphic mark. -
The Chiba System 千葉方式 ： a Non Toxic Alternative to the Dichromate
The Chiba System 千葉方式 A Non Toxic Alternative to the Dichromate Processes January 2007 Halvor Bjoerngaard Graduate School of Science and Technology CHIBA UNIVERSITY （千葉大学学位申請論文） The Chiba System 千葉方式 : A Non Toxic Alternative to the Dichromate Processes or The Production of Photographic Prints in Permanent Pigments by Utilising the Sensitivity of the Ferric Salt to the Spectre and Employing the Polymerization of Colloids. 2007年1月 千葉大学大学院自然科学研究科 情報科学専攻画像科学 Halvor Bjørngård Abstract This study has the main purpose of presenting a non-toxic, or an alternative, printing system for the dichromate based pigment processes. The two methods presented in depth are modelled on first Carbon printing then Gum Printing. Achieving non-toxicity for these systems means replacing the dichromate sensitizer and secondly to avoid the practise of hardening the substrate. An alternative sensitizer is presented and hardening is avoided by using modified working methods. The chemistry utilised for this purpose is iron based, red-ox induced, free radical polymerization. The sensitizer is ammonium ferric citrate, using either hydrogen peroxide or ammonium persulphate as developer. For Carbon Printing a solution to both the need for hardeners and the problem of oxygen inhibition, which is usual for this kind of polymerisation, is achieved. This is done by using a covering layer of agar-agar that blocks oxygen and changes the transfer system, obsolescing the use of hardeners. For Gum Printing two methods are presented. One is based on gelatine, which allows the use of a hydrogen peroxide bath for development. The second method is with gum arabicum, which necessitates inclusion of ammonium persulphate in the coating as a developing agent. -
(In This Case, Huge-Format) Negatives. New Solutions Were Also Needed to Keep the 20 X 24 Inch Negative Optimally Positioned During Projection
of large-format (in this case, huge-format) negatives. New solutions were also needed to keep the 20 x 24 inch negative optimally positioned during projection. Initial attempts were sobering and led to stretching of the negative. The idea of simply adapting the dimensions of a classic glass holder to the required format was also discarded because, due to the weight of the glass, it showed significant buckling. In the end, two solutions were delivered: a combination of anti-Newton glass and museum glass, and anti-Newton glass in a metal holder pressed together with magnets. The mechanical design also had to be extremely stable to ensure the necessary precision. This in turn led to the use of some very heavy individual components which would require a body- builder as operator/lab technician. To make it both safer and easier to operate, mechanical brakes were designed into the new product along with motor-driven assists. Anton Ivanov was involved in all phases of planning and construction to Anton Ivanov and the MAMONT at the Art of Foto Gallery and Lab in ensure that the enlarger could be operated practically and St. Petersburg, Russia. The rails on the floor were for an older horizontal productively in its intended home. enlarger; the MAMONT doesn’t need them. No less complex than the mechanical design was the electronic hardware and electromechanical design. Heiland’s goal from the beginning was to forego rail guidance. But the 400+ kg (almost 900 pound) enlarger still needed to be easily movable, and not cause any problems with image projection Jürgen Heiland really got into his work in St. -
The Politics of Photographic Representation in Postsocialist China
Staging the Future: The Politics of Photographic Representation in Postsocialist China by James David Poborsa A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of East Asian Studies University of Toronto © Copyright by James David Poborsa 2018 Staging the Future - The Politics of Photographic Representation in Postsocialist China James David Poborsa Doctor of Philosophy Department of East Asian Studies University of Toronto 2018 Abstract This dissertation examines the changing nature of photographic representation in China from 1976 until the late 1990s, and argues that photography and photo criticism self-reflexively embodied the cultural politics of social and political liberalisation during this seminal period in Chinese history. Through a detailed examination of debates surrounding the limits of representation and intellectual liberalisation, this dissertation explores the history of social documentary, realist, and conceptual photography as a form of social critique. As a contribution to scholarly appraisals of the cultural politics of contemporary China, this dissertation aims to shed insight into the fraught and often contested politics of visuality which has characterized the evolution of photographic representation in the post-Mao period. The first chapter examines the politics of photographic representation in China from 1976 until 1982, and explores the politicisation of documentary realism as a means of promoting modernisation and reform. Chapter two traces the internationalisation -
IMAGINE... the POWER of a PHOTOGRAPH WINTER/SPRING 2021 CONTENTS General Information Mission Statement
Serving the Photo Community Since 1999 Now offering classes online! IMAGINE... THE POWER OF A PHOTOGRAPH WINTER/SPRING 2021 CONTENTS General Information Mission Statement ......................................................................................... 2 Letter from Julia Dean, Executive Director .......................................... 2 The Board of Directors, Officers and Advisors ........................................... 3 Charter Members, Circle Donors and Donors ................................... 3 Donate ................................................................................................................. 4 Early Bird Become a Member ........................................................................................ 5 Certificate Programs ..................................................................................... 6 One-Year Professional Program ............................................................... 7 Gets the Online Learning Calendar .......................................................................8-9 Webinar Calendar .........................................................................................10 In-Person Learning Calendar ..................................................................11 Discount Mentorship Program ...................................................................................12 Register early for great discounts on The Master Series ........................................................................................13 Youth Program .................................................................................24-25, -
Conceptual Photography of Jeff Wall
Photographer’s Ideas and Constructed Social Reality: Conceptual Photography of Jeff Wall Name: Zhang, Junkai Student no.: S1712721 Number of words (excl. references): 18121 Master Thesis 20 ects Master Film and Photographic Studies Leiden University Supervisor: Dr. H.F. Westgeest January 2018 Table of Contents Introduction………………………………………………………………………......2 Chapter1: What is Conceptual Photography…………………………………............9 1.1 Conceptual Art and Conceptual Photography……………………………….9 1.2 Photography: the Best Carrier of Conceptual Art………………………….18 Chapter 2: Jeff Wall’s Conceptual Means of Creating Constructed Photographs….31 2.1 Jeff Wall’s Hesitation: Contradiction between Depiction and Photographer’s Intention…………………………………………………………………....31 2.2 Jeff Wall’s Insistence on Conceptual Photograph: Picture for Women as Example……………………………………………………………………37 2.3 Wall’s Conceptual “Near Documentary”………………………………….45 Chapter 3: Conceptual Photography Reflecting How the World Could Be: Mimic as Example……………………………………………………………………………56 3.1 Concepts and Ideas in Mimic…………………………………………......57 3.2 Construction in Mimic: Not Deceptive but Fundamentally Truthful……..62 Conclusion…………………………………………………………………………69 Figures……………………………………………………………………………..72 List of References…………………………………………………………………76 1 It is the contradiction between the unavoidable process of depicting appearances, and the equally unavoidable process of making objects, that permits photography to become a model of an art whose subject matter is the idea of art. ——Jeff Wall, “Marks of Indifference”: Aspects of Photography in, or as, Conceptual Art Introduction The photographic image is a kind of language and “what matters now is who uses that language for what purpose”.1 A language has been always in the state of the changes on account of the needs of times. After each change, the ontological characteristics and language of photography tend to be richer and more mature similar to the maturity and development of society and the change of the corresponding social environment. -
The History of Photography: the Research Library of the Mack Lee
THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography. -
Fine Art Photography Examples
Fine Art Photography Examples Insomniac and unfastidious Reza snarl-up her lockstitch kills or sectarianising inwardly. Benson remains spondaic: she beeswax her banters outpour too disposedly? Foxier Isaak spitting no obligors prostitutes clownishly after Milton desalinized beneath, quite pint-sized. You know exactly what is confusing partly because your examples present an example from that will widen your products. Fine artist examples? An example from my subsequent work experience be this photograph of a dahlia that. But as sna, armed conflicts are. Fine art conceptual photography builds from an abandon that sets it content from snapshots or landscapes Conceptual photography expresses ideas. Mount them fine art never compete with examples? How Photographs are Sold Stories and Examples of How. Astratto by Federico Venuda Reflections in water authority for great wall art photography images They shook the potential to show off your world One shrouded in abstraction due report the movement of when water. Born in Slovakia and currently studying photography and seeing art in Vienna Evelyn Bencicova tries to pursue their point where small commercial and. Artists tend to focus on the creative side of the fine art world. On your portfolio that you have some meaning to create something about your opportunities to introduce you through which you imagination to help you? Talented, the next step is to identify the course. This would typically be for discrete and pebble art. Abstract Photography Famous Artists Examples and. Commercial art tends to utilize acquired skill, fine art black and white photography, and that conflict is a fantastic subject for black and white photos. -
THE PHOTOGRAPHIC EYE Learning to See with a Camera
REVISED EDITION THE PHOTOGRAPHIC EYE Learning to See with a Camera Michael F. O'Brien & Norman Sibley THE PHOTOGRAPHIC EYE Learning to See with a Camera Michael E O'Brien & Norman Sibley Davis Publications, Inc., Worcester, Massachusetts Copyright 1995 Davis Publications, Inc. Worcester, Massachusetts U.S.A. To the photography students of Seoul American High School, past, present and future. No part of this work may be repro- duced or transmitted in any form or by any means, electronic or mechan- ical, including photocopying and re- cording, or by any information storage or retrieval system without the prior written permission of the copyright owner, unless such copy- ing is expressly permitted by federal copyright law. Davis is not autho- rized to grant permission for further uses of copyrighted selections or im- ages reprinted in this text without the permission of their owners. Permis- sion must be obtained from the indi- vidual copyright owners as identified herein. Address requests for permis- sion to make copies of Davis mate- rial to Permissions, Davis Publi- cations, Inc., 50 Portland Street, Worcester, MA 01608. Editor: Claire Mowbray Golding Design: Greta D. Sibley Printed in the United States of America Library of Congress Catalog Card Student photograph by Gregory Conrad. Number: 93-74644 ISBN: 0-87192-283-5 1098 765 Cover: Student photograph by Leah Gendler. 4 The Photographic Eye Contents 7 Introduction Part 1 Getting Started 11 Chapter 1 From Blurs to Big Business History • Photographic Careers Part 2 Elements of Composition 35 Chapter 2 Tools Manual or Automatic? • The Camera, Inside & Out • Exercises: Testing the Shutter & Aperture • Loading Film 51 Chapter 3 What is Composition? Snapshots vs.