LINE SUMMER 2018 EDITION THE ANGELA SNIEDER ARTIST: FEATURED SNAPLINE SUMMER 2018 1 2 SNAPLINE SUMMER 2018 society of northern alberta print-artists 10123–121 Street, Edmonton, Alberta, Canada, t5n 3w9 MESSAGE FROM THE BOARD 780.423.1492 \[email protected] \ snapartists.com It is summer!!! Grasses are green and of traditional photography and 2017 BOARD OF DIRECTORS MESSAGE FROM gardens will soon be fruiting delicious printmaking. The methodology of [email protected] THE EXECUTIVE DIRECTOR goods for harvest. Alas, the cold, harsh photography, light creating images president days are behind us and now top priori- through photosensitive films and Megan Bertagnolli Welcome to the summer edition of SNAPline. ty is being outside as much as possible. emulsions, is the basis of collaboration vice president The theme of photography is one of endless inter- I am the Printshop Committee Chair and manipulation between mediums. Andrew Benson est and excitement for me. I started my very early on the Board of Directors at SNAP. Today, a could live its treasurer professional career as a photographer and even- First and foremost a printmaker and entire life on digital platforms or as a Elliot Kerr tually found my meandering way to printmaking a visual artist, I have been involved physical printed object. A photograph secretary years later. The is, and always will be, my at SNAP in varying capacities since can intersect printmaking through Marian Switzer primary image creation tool. I love thinking about, 2012. SNAP is a wealth of support digital layers printed via directors talking about, and learning about ways of seeing and inspiration for the Edmonton inkjet printers, or negatives and Chelsey Campbell our world through lenses. Manipulating light and Community – through thoughtful, positives exposed onto a silkscreen Émilienne Gervais chemistry or and ink to create an impres- technically insightful exhibitions or a photolitho/etching/polymer Mark Henderson sion that communicates an idea or feeling is the and programs, space for artists to plate. Photographic layers could be Ashna Jacob Joanne Madeley crux of my artistic practice. There are so many work in the studio, and introductory, figurative, abstract or graphic. Laura Ritchie varied perspectives on the relationship between intermediate and professional If you are curious to see examples in Megan Stein photography and printmaking, we’ve captured development courses and workshops real life, an exhibition featuring the Matt Whitson a wide range within this publication, but I would offered for variable skill levels. Direct collaboration between photography publications committee encourage you to head over to SNAP’s newly donations, Sponsor Membership and and printmaking titled Light/Matter: Cindy Couldwell launched website at snapartists.com to explore the Print Patron Program are ways that Art at the Intersection of Photography Charlie Crittenden Carolyn Jervis our upcoming summer and fall workshops and try anyone can support and advocate for and Printmaking runs between May Alex Keays your hand at a new photography or printmaking the artists, programs, exhibitions 11 and June 2 at the Gallery A (Telus Sergio Serrano technique yourself! and communities that SNAP supports Centre) and Fine Arts Building Gallery Thanks for continuing to follow along with us and fosters. on the University of Alberta campus. STAFF at SNAPline - we are working toward some great This summer at SNAP is a particular All work displayed is influenced executive director themes for fall and winter of 2018. By joining exciting one as we host a number of by or uses photography to produce April Dean our SNAPline membership you can receive this events in the print studio such as: the final print. [email protected] publication along with a limited edition fine-art the Members Print Exchange, Put a Thank you for supporting SNAP! communications coordinator print commissioned especially for this project in Bird on It, and Drink and Draw. New I hope you enjoy this issue of SNAPline Morgan Wedderspoon your mailbox each quarter. exhibitions in the gallery include: and look forward to seeing many of [email protected] Micheline Durocher: Home and Garden you over the next few months in the printshop & programs and Megan Gnanasihamany: Copy studio, gallery, events, or exhibitions! coordinator Tropic June 15 – July 21, and Wendy Amanda McKenzie [email protected] April Dean, Tokaryk: Doilies (The Meaning of Life) Executive Director and Carly Greene: Construct from SNAP loves all the volunteers, members, supporters and funders August 3 – September 8 to bring us Megan Stein that make our organization not across the Summer Solstice. This June Director, just possible but also a thriving we will be welcoming our third Visiting SNAP Board art community. A special thanks to our funders and supporters. Artist, Kim Morgan, an Associate of Directors Professor at NSCAD University, SEASON SPONSORS FUNDERS who will be working in the studio experimenting with silkscreen on latex. This issue’s theme, Photography, is an exciting look at how the medium can be balanced between the worlds CONTRIBUTORS SNAPLINE SUMMER 2018

CHARLIE CRITTENDEN CANDACE MAKOWICHUK, is a writer living in visual artist, arts edu- Edmonton. He contrib- cator and arts manager, utes articles to SNAPLine specializes in historical

and edits speculative poetry for On photographic processes and tech- (detail), Spec, Canada’s oldest English language niques for her artwork. Committed to science fiction magazine. After gradu- the unique and multi faceted aspects

ating from the University of Alberta in of photography, Makowichuk spe- Angela Snieder, Cover: Front Unearth chine Photopolymer Print, 2018, 8 x 10” 4 ½ x 7” (image), collé, (paper) 2011, he has spent a great deal of time cializes in the following historical inventing alien species and working photographic processes: , in bookstores. Gum Bichromate, Silver Gelatin, Bro- ARTIST moil and hand tinting. Candace has Angela Snieder: STATEMENT DANIELLE HOUGHTON extensive experience in educating the is a practicing Street public on the importance and impact In the edition made Photographer based in the have on our commu- Featured Artist for SNAPline, I draw Dublin, Ireland and is a nity and lives. Through workshops, from historical and member of the International ‘Observe’ residencies and exhibiting her artwork contemporary photog- collective. She has been exhibited inter- in historical photographic processes, Angela Snieder is a visual artist working in print- raphy, print-media, and nationally and has won various street she has instilled a renewed interest in media, photo-based printmaking, and installation. theatre/film traditions; photography competitions including analogue photography – film and other Her practice explores relationships between namely through my 2015 Irish Times Amateur Photogra- non-digital processes. Her work is physical and psychological spaces, and the use of the diorama. In pher of the Year. represented in public collections within transformative potential of contemplative attention. making this image and Alberta, private collections within She holds a BFA from York University and an MFA other sculpturally based WALTER JULE is known Canada and exhibitions. in Printmaking from the University of Alberta. print works, I look for as a curator, printmaker, She has exhibited nationally and internationally, a feeling of the photo- book, and poster designer, WENDY MCGRATH’s most with upcoming solo shows at Alberta Printmakers graphed space being Walter Jule has shown in recent project is BOX—an (Calgary 2019) and Martha Street Studio (Winnipeg somewhere between over 300 exhibitions in 43 countries adaptation of her epony- 2019). A series of her photo-print work will be concealing itself and winning 12 national and 16 interna- mous long poem. BOX is exhibited this June in the upcoming group show giving itself away. I am tional awards. He helped establish a genre-blurring collaboration of jazz, Proof 25 at Gallery 44 in Toronto. This summer she motivated to create Canada’s first MFA program at the experimental music and voice with the will be completing a collaborative residency with photographic images University of Alberta and was a found- group “Quarto & Sound.” McGrath has Morgan Wedderspoon at St. Michael’s Printshop in that elicit feelings of ing member of SNAP in 1982. His work written three novels and two books of St. John’s, NL. Angela currently lives and teaches in familiarity but that also can be found in over 60 major public poetry. Her most recent poetry collec- Edmonton at the University of Alberta and at the contain areas that seem collections including at the National tion, A Revision of Forward (NeWest Society of Northern Alberta Print-Artists (SNAP), obscure or inaccessible. Galleries of Canada, New Zealand and Press 2015), is the culmination of a where she makes her work. Constructing dioramas India; National Museum in Warsaw; collaboration with printmaker Walter allows me to play with and Museum of Modern Art, New York. Jule. McGrath recently travelled to the photograph’s capac- In 2015, he received the SGC Interna- Houston to read from her work during ity for deception while tional Teaching/Practice Award. Jule is the PRINTHOUSTON 2017 exhibition also thinking about the a member of the Royal Canadian Acad- “A Revision of Forward,” which fea- ways uncertainty and emy and the City of Edmonton Arts & tured Jule’s prints. She is at work on surprise are inherent to Culture Hall of Fame. several projects including the final our personal experienc- novel in her “Santa Rosa Trilogy.” es of the world.

SNAPLINE SUMMER 2018 5 SNAPLINE SUMMER 2018 WRITTEN BY Whether Vermeer used a camera just happened, was happening, or had My Process WENDY MCGRATH obscura when he painted is debatable, happened. It is evocative of the feeling but, there is no doubt printmaker of unease that I’m interested in.” Angela Snieder makes innovative use She also took double of the in her work. of the North When I visited her SNAP studio, dis- Saskatchewan River Valley using old played on the wall and counter were fashioned film and digital. Snieder the ‘guts’ of dioramas she used admits she romanticizes obsolete in “Obscura”— an exhibition at the U technologies. “It’s about picking the of A’s FAB Gallery in early 2017. That tool that best serves your project, show, part of her MFA Printmaking your idea, and method. Photography requirements, involved photography, is also about editing, letting chance printmaking, and an inventive camera determine it—there’s a moving obscura. She literally turned the element.” device upside down and inside out Her devotion to dioramas using a condenser lens from a photo- continues. “Obscura” will travel graphic . Snieder made three to Alberta Printmakers in Calgary camera obscura from 60.9 cm x 60.9 January 11 – February 22, 2019 and cm x 60.9 cm boxes and created a to Winnipeg’s Martha Street Studio scene inside each box. What is partic- September 6 – October 18, 2019. ularly interesting is she lit the boxes During my visit to her studio, Snieder from inside and put an on showed me sketches and proof prints the outside. As Snieder was exploring of grass, and gampi paper replicas the original concept of the camera of grass. She plans to suspend the obscura, she was also playing with replicas in an interior scene and the viewer’s perception, the sculptural create a breeze inside, duplicating the model in the box is upside down and movement of grass in the wind. “Their projects right side up. rhythms are unusual. They have an “It’s as if you are standing inside aura,” she says. the camera.” Snieder used natural Not only is “Obscura” travelling materials in the dioramas and to new Canadian environs, Snieder modified their application to create herself, along with fellow printmaker scenes in the constraint of the boxes. Morgan Wedderspoon, has accepted a She combined papier-maché with month-long artist’s residency this July dirt, and hot-glued mud and sticks to at St. Michael’s Printshop in St. John’s, surfaces. Snieder was thinking outside Newfoundland. The duo’s plan for the the box when she lit upon the idea for residency includes creating an artist’s the dioramas. She began outdoors, but book using stone lithography and moved toward interior constructions, trace monotype, as well as some kind feeling the need for a more concrete of textual element. methodology. “At first, I relied on spontaneity, walking around waiting for something to surprise me and usually it was scale, an ambiguous scale.” There is eerie quality to the scenes Snieder creates inside her camera obscura. “The dioramas are still life, but not. As if something had

SNAPLINE SUMMER 2018 6 7 SNAPLINE SUMMER 2018 Born Montreal, QC involved observing and trying to pre- Education BFA York University dict what the marks would look like. (Honours, Summa Cum Laude) 2013 Rather than drawing directly onto MFA (Printmaking) University paper and responding to that instant of Alberta 2017 feedback, the marks were always Awards 2nd Prize Award - mediated by the process. Most types The Contemporary Print, Print Austin of printmaking involve some version 2018 Joseph-Armand Bombardier of this mediation because of the use of Canada Graduate Scholarship, Social a printing matrix and this means that Sciences and Humanities Research surprise/chance always plays a role. Council (SSHRC) University of Alberta 2015 Do you have a permanent studio/work- Favourite Artists Sally Mann, Ryoji space? How does it affect your art? Ikeda, Hiroshi Sugimoto Favourite Book Living in the World as For the last year I’ve worked out of if it Were Home by Tim Lilburn SNAP and shared a studio room with Favourite Album “Yankee Hotel my friend and soon-to-be collaborator, Foxtrot,” by Wilco Morgan Wedderspoon. I believe artists are stronger when they can share What do you listen to while you work? knowledge and resources and SNAP is a place where that happens. How do I’ve been listening to José Gonzalez - the possibilities of the very calming but also rhythmic, so it photographic image inspire you? helps me get in the zone. Otherwise, A big part is the mystery. Eliminating I love listening to KEXP Sessions and colour can add a layer of ambiguity, NPR Tiny Desk Concerts. because it can remove context that colour would provide (although colour What/who do you consider to be the can also function to generate ambigu- greatest influence on your work? ity). I’ve always loved dark and black and white images, especially when the Spending time outdoors. There’s a image is ambiguous in some way. handful of memories I keep coming back to that usually involve affecting How does the idea of ‘truth’ experiences of the natural world, that (literal or figurative) affect your caught me off guard in some way and creative process and your work? made me rethink what I know or how (i.e., use of light and dark to I know something. Another big influ- create seemingly three-dimen- ence is conversations with close friends sional images, the malleability - there’s nothing like a long chat with a of perception in both photogra- 2017, DigitalPrint 2017, kindred spirit. phy and printmaking)

When did you begin printmaking and It’s an important rite-of- pas- Storm II, Storm what attracted you to it? sage for many ways, never certain. Not only can this be a I began in the first year of my undergrad. recognition of the dynamics of My first class was etching. I found power at play in the inclusion the learning curve steep. Most of the or exclusion of certain stories

process seemed up to chance, and Angela Snieder, 6 x 9’ pasted to wall, paper, Japanese on in visual culture, but it can also

SNAPLINE SUMMER 2018 8 9 SNAPLINE SUMMER 2018 open possibilities for playing with the lost, but also because their structures idea of truth. This is particularly the are so unique. Caves don’t follow any case in photo-based meth- of the spatial or architectural rules that ods, because of photography’s we are used to, making them surprising inherent truth-value and sense and unpredictable. of authority. I can engage with mimetic qualities of photogra- How do you leave space for the poten- phy that put you in a specific tial random occurrence (and, ultimately, time and place, while undermin- incorporation) of the natural world in ing this authority (this assumed your work? “truth”) through subtle or overt 2016, Photopolymer 2016,

, use of artifice or illusion. In my most recent series, the prints were all made from various temporary How do the metaphors of the dioramas I built in the studio. Making structures in nature (i.e.,caves, photographs within the scope of the Diorama IV Diorama rock formations, flora) impact built diorama meant I had self-imposed your work? constraints to work within, which ended up creating circumstances for random Although I’m intrigued by many occurrence and chance. The main vari- natural structures, the forms/ ables I worked with were the structure surfaces in nature that I most of the space, lighting, and the perspec- Angela Snieder, print, chine-collé, 22 x 32 ½” (image), 30 x 44” (paper) 22 x 32 ½” (image), chine-collé, print, like to use are those that conceal tive or cropping the photographs. A their scale. Photographic images of significant chance variable came from materials like rocks, dirt, snow, or water elements in motion - such as fog or provide textural familiarity or recog- water - which imitated natural rhythms nizability while also potentially being of weather or atmosphere. These ele- difficult to decipher. ments helped give the sense that the image was a moment within Are you a spelunker? What caves have a time-based experience. you explored and where is your favour- ite location for spelunking? Can you describe your creative process? One of my brothers and I went on a guided tour a few years ago of Horne My last exhibition involved

Lake Caves on Vancouver Island and Digital print on 2017, , building dioramas (often make- had the chance to crawl and repel shift and always temporary) that through various chambers and tunnels I staged with light and atmo- Storm I Storm within the cave system. At one point, sphere and then photographed. the guide had everyone turn off their With the photographs I made headlamps and we experienced what is photopolymer prints. Using a called the ‘dark zone’ of the cave. This is was important the deepest and darkest part of the cave to make this work because of

where no light can enter, where if you Angela Snieder, 4 x 9’ pasted to wall, paper, Japanese the feedback loop of taking the stayed long enough (or so we were told), photo and reacting to it. Without your eyes would temporarily stop work- something too specific in mind, I took ing. I think caves are so fascinating for photographs, altered the diorama, and many people both because of the fear took more photographs until something factor of being in the dark and getting interesting and unexpected happened.

SNAPLINE SUMMER 2018 10 11 SNAPLINE SUMMER 2018 -

- exhibition presents an international selec exhibition, was a pioneer in mixing these LIGHT/MATTER LIGHT/MATTER The exhibition explores the effect on a viewer of these Exhibited last fall in the Grundwald Gallery of Art at Indiana

“These artists created hybrid prints that, the for first time, “The remarkable thing about the photo-print movement bring the image to a point of equilibrium between photography the 17th centurythe 17th with a guild-based system that separated to printmaking, with the sosaku-hanga (“creative prints”) the techniques. “He draws on the photograph in such as a way to print their own works. Against this background, photo-prints provided an opportunity Japanese for printmakers to engage photo-etching or screen-print Jule on top says. of it,” “You says, noting that Noda, Tetsuya a key Japanese printmaker in responded within a rich and evolving printmaking culture. advocatingmovement single for artists to design, carve, and and drawing, investigating both by it and eye hand.” drawers, block cutters, and printers to focus on the elegant and distant “floatingworld” of high society. In the early 20th century, with mass culture, new technology, and long-standing practices. would combine photographic images with woodblock,” Jule conjoined practices. would “You see this woodblock with a couldn’t dismiss and it look through the surface like you can with a photograph. like a physical It’s relationship. Your continued to influence a new generation printmakers,of such as eye wouldeye set on the surface, but you couldn’t penetrate it emotionally until you acknowledged the ink there, the thickness of the screen-printing.” This practice of layered processes has Japanese artists explored more individualistic approaches

The ukiyo-e (“floatingworld”) print tradition reached back to JašarevicTaida with the heavy ink of her marked photographs borrowed imagery to the show inundation of advertising and is that was it a simultaneous says Walter Jule discovery,” on influencedby pop art wantingin to introduce commercial or images everywhere,” the curator says. In countries as varied as tion from the photo-print movement, featuring works that unite the diverse historical lineages of printmaking with modern the curation Associate Templeton, of Tracy Professor in Studio together forty artists from sixteen countries to give an account to him a vending by machine after refused it to dispense photography and visual culture. In layering and producing photo University, LIGHT/MATTER developed three over years through prints arose independently in many countries following the photomechanical processes that were available, and many were Second World War. SittingSecond War. down World to talk in a sparsely populated student lounge, Jule sips on the unexpected beverage granted mixed with existing print traditions to produce new visions. graphs with a host of print processes, photo-prints offer a record Professor Emeritus at the University of Alberta. The brings show a break from setting up the exhibition, noting that photo- “Everyoneany water. had a camera in one hand, there were of how we see we of how and value images. of this dispersed art form the for first time. Canada, Japan, and Poland, this spread of photographic tools The Art at Indiana University; Ingrid Ledent, Professor at the Royal Academy of Fine Art in Antwerp, Belgium; and Walter Jule,

-

WRITTEN BY WRITTEN BY

speaks to this CHARLIE CRITTENDENCHARLIE LIGHT/MATTER runs from May 11 to 11 to runs from May From the beginning of the photo-print movement, Japanese Walter Jule experienced the growing interaction of The variety of the artists in from Poland, and Carl Heywood from Canada. Artists from from Australia, and Katsutoshi Yuasa from Japan. in 1956 in Ljubljana,in 1956 Slovenia. The biennales introduced many international audience. These interactions led to a global mix of imagery and photography Japanese in the 1950s, artists the took movement shape through the start of print biennales traditions. The companion to show LIGHT/MATTER emphasizes this ongoing chapter in our history, as the Print Study Centre in printmaking ideas. photography and printmaking in Canada as artists engaged with Canadianprints.” printmakers, notably supported artist- by lar distribution of catalogues that compiled the prints an for show, includingshow, Jašarevic Taida from Serbia, Rebecca Beardmore run centres and universities, welcomed international artists FAB features photo-prints made artists by visiting Edmonton. artists to a range of visual innovations and created a regu as Noda Tetsuya and Shoichi Ida from Japan, Izabella Gustowska around all the time. And consequently, Canadian artists worked across traditional media and hybrid combinations with photo- artists produced work that influenced artists in Canada and around the world. Prompted the by spread of commercial Europe, Asia, North America, and South America complete the widespread foundation, with groundbreaking printmakers such with curiosity to learn from their work and their printmaking each other across the country. “It was a mobile feast, traveling Exhibition Preview with Walter Jule at the Art LIGHT/MATTER: and of Photography Intersection Printmaking with an Gallery, 2 at the FAB June A exhibition in Galleryextended Centre and a Telus at the show at the Print companion Study Centre in FAB. Although many photo-print artists developed independently,

SNAPLINE SUMMER 2018 12 13 SNAPLINE SUMMER 2018

handcraft and printmaking as a photomechanical historical practices. the symbiosis between the two fieldswork. of “The process with the of the eye camera has been going on since photography started. And is it still going on,”

argument between printmaking as an extension of diversity of photo-prints in the union of modern and Jule says. LIGHT/MATTER displays the remarkable

Photogravure, aquatint, etching, 80 x 60 cm 60 x 80 etching, aquatint, Photogravure, 2011, Intaglio combined techniques: combined Intaglio 2011,

Photography and printmaking existed have in tension and , , VII Star Jašarević, Taida back layers of memory,” the curatorback layers of memory,” says. Often our attention is focused on the endpoint of an artwork’s presentation, but photo- in a manner reminiscent of the focus on dots per inch in time. “These prints are very investigatory, like they are peeling prints exhibit their means of production as content. nineteenth century as consumers flocked to greater detail digital LIGHT/MATTER printing. However, offers a vision of competition during their history. example, For photographs wiped out printed souvenir images in Europe during the of photo-prints, emphasizing the exhibition’s pervasive sense of Jule sees these thoughtful pauses as key to the emotional impact

Photo-prints work in the relationship between the Across the world, Polish artists experimented with

in precise halftones from a projected photograph and crudely.it not that There’s rush towards greater detail. printed hand. by perfectphotograph’s reproduction. As Jule puts it, linocuts to create photo-prints in part due to the easy lines images over and inserting etches to mar the and Katsutoshi Yuasa with his enormous woodcuts cut availability of linoleum. Working within a restrictive and disseminate buried critiques of totalitarianism. discreetly spread their work through mailing tubes what is articulated see all? it when don’t we What are doingwe to find coherence?” environment, artists also turned to prints in order to What they’re asking is: what is gained, what is lost, and These artists often worked layering by fields of striated

“They intentionally break down the photograph and etch Copper plate photogravure, 76 x 96.5 cm 96.5 x 76 photogravure, plate Copper

, 2016 , Ground Broken Over Onward Press Will She

The curators of LIGHT/MATTER focused the on how Leslie Golomb, Leslie upsetting the pictorial illusion presented photographs. by “It catalogue, theby show’s photo-prints are “an intimate mechanical of photography eye and hand-generated images, raises questions about the verisimilitude of the photograph as a new kind of expression,” Jule says. attention to consider what lies behind the image. As described distillation of time [with] paused layers like filmic moments.” well as notions of time, of sequence, and of process as content. constructed layers of photo-prints down slow the viewer’s When see we all that coming together in a print, really we have

SNAPLINE SUMMER 2018 14 15 SNAPLINE SUMMER 2018 Ethics and Consent in Street

WRITTEN BY Photography DANIELLE HOUGHTON

As a practicing street photographer I photographer I look back on the won- may be understood as having a biased derful photographs of children taken view of the issue of ethics in street over the years, such as the New York photography: clearly I must find it work by Helen Levitt and the work of a ethical to invade strangers privacy with masters such as Henri Cartier-Bresson, my camera. It is, however, not that and I think it would be a shame if that straightforward. The question of ethics type of work did not continue, if the in the medium is something most of my streets were an “adult only” enclave. fellow practitioners and I are very aware Can the innocence and fun of chil- of, and, believe it or not, do grapple dren not just be enjoyed without too with, albeit not on a full time basis. much paranoia? Naturally, if a parent Looking back at the history of street is upset, we should respect that, but it photography, it appears that consent or is sad that we are often viewed with ethics was not an early problem—that suspicion when we are just celebrating somehow it is a modern phenomenon. the fun or even routine of life. It is interesting to note that even in the A broader argument could be made early years it was indeed an issue. In for how ethical it is to photograph any- his famous series, Subway Portraits one without permission, but for now taken between 1938 and 1941, Walker the law in most countries protects pho- Evans hid a camera under his topcoat. tographing people and places in public One could argue that this was primar- as freedom of expression. In New York ily to preserve the candid moment. As in 1999, Philip-Lorca diCorcia took a Evans points out, “[t]he guard is down random series of pictures of and the mask is off: even more than strangers passing under lights when in lone bedrooms (where there he had set up. Upon seeing are mirrors). People’s faces are in an image of himself captured naked repose down in the subway.”1 by diCorcia in an exhibition It is important to note that these im- catalogue, Erno Nussenzweig ages did not get published until their sued and ultimately lost his case inclusion in the 1966 book, Many Are because it was ruled that a Called due in part to Evans’ sensitivi- photographer could display, ties about the privacy of his subjects. publish, and sell street photo- Regarding more modern street graphs without the consent of photography and ethics, the practice the subjects pictured. of photographing children without per- mission has grown into a big issue. As 1 Walker Evans, quoted in Belinda a parent I understand all the concerns Rathbone, Walker Evans (Boston: and issues of protection we face. As a of more her work View Danielle Houghton, observecollective.com at Houghton Mifflin, 1995), 170–71.

SNAPLINE SUMMER 2018 16 17 SNAPLINE SUMMER 2018 Of personal interest in this case was people who definitely go too far and the fact that diCorcia set up lights give the genre a bad name, but most Photos from the specifically, because that crosses my street photographers are decent ethical invisible line of what is permissible people, who often will happily engage in : changing the with people and explain what they are City of Edmonton candid or ‘as found’ nature of the doing, even going so far as to send a scene into something that for me takes copy of the photograph. How we deal from the pureness, challenge, and with the people we photograph can Cemeteries enjoyment of street photography. help overcome any ethical concerns I fully understand how sometimes people have because most people to pursue a good shot a certain level photograph for a positive reason; Artist Residency of assertiveness is needed, but this they like something about a person can feel like aggression and I am or a scene. As Eve Arnold states, not always comfortable with that “[t]he presence of the photographer feeling. I was surprised to read that changes the atmosphere the moment Tony Ray-Jones, a wonderful British the subject becomes aware of the photographer whose photographs are camera... What I learned was not Candace full of subtle humour and observations, technique, but that if the photographer lists the following shooting advice to cares about the people before the lens himself in his personal journal: “be and is compassionate, much is given. Makowichuk more aggressive.”2 It is the photographer, not the camera, Practitioners of street photography that is the instrument.”3 have differing approaches to ethics Though we are increasingly being in their work. Within my circle of monitored by CCTV, which is hidden The medium I work in is historical personal connection to those that died, colleagues and friends, gratuitous and not at all about capturing the photographic processes including: to be pulled to certain headstones – shots of homeless people are generally joys of life, there will always be an Cyanotype, Bromoil, Gum Bichromate, relating personally to a year, a name, a no-go area, whereas those taken with issue with street photography for a lot Liquid Emulsions and Silver Gelatin. a child – what was their life like? permission for a specific project are of people. Even the words of Susan My art is made by patience and quiet What story would they have to tell? respected. Hip shots are also frowned Sontag display a conflicted message, observations, using primarily a historic My experiences and other people’s upon, since we do not want to be seen seen in her use of words such as bellows sheet film camera, and 19th experiences within cemeteries are as sneaky, and more respect is given “stalking” and “voyeuristic” coupled century printing processes. In our poignant. I feel that cemeteries and to peers who are comfortable to hold with “empathy” and “picturesque:” digital age of rapid fire and gi- burial grounds are built to achieve a their camera at the more obvious “The photographer is an armed version gabytes, I believe my methodology and triumph over the gloom of death. To eye level. The issue of using a of the solitary walker reconnoitering, approach projects my contemporary make it a garden where people can causes a bit of a divide opinion-wise stalking, cruising the urban inferno, vision forward, while at the same time stop thinking of death as gloomy and with some finding it too invasive the voyeuristic stroller who discovers celebrating the roots of photography in see in it the possibility of rebirth and and others enjoying its use. Some the city as a landscape of voluptuous its purest form. beauty. From the landscaping, the colleagues will photograph the more extremes. Adept of the joys of These pieces are from a larger trees, the paths and the decorative embarrassing things that happen to watching, connoisseur of empathy, the body of work that I produced during work of monuments and grave people, while some will stay away flâneur finds the world picturesque.”4 my residency with City of Edmonton markers, cemeteries are places of from those scenes. Staging shots is a Cemeteries. More than just a burial comfort, connections and history. huge no-go for a lot of practitioners, 2 Tony Ray-Jones, APPROACH (notebook, National plot for a loved one, cemeteries It is humbling that in all our diversity, although a few others just shrug and Media Museum permanent collection, Bradford, provide a place of beauty to inspire death is one of the commonalities get on with it. We are all different UK, 1965 - 1969). the living. I want to showcase the we all share. and find our own ethical guidelines 3 Eve Arnold, The Unretouched Woman (New York: beauty of these iconic places that are to shoot by, so there will never be Knopf Doubleday Publishing, 1976), 27. designed to blunt death’s sorrow. With one united opinion. As with many 4 Susan Sontag, On Photography (New York: my excursions throughout cemeteries, jobs or hobbies, there will always be Picador, 1973), 43. I find it impossible to not feel a

SNAPLINE SUMMER 2018 18 19 SNAPLINE SUMMER 2018 SNAPLINE SUMMER 2018 20 21 SNAPLINE SUMMER 2018 SNAPLINE SUMMER 2018 22 23 SNAPLINE SUMMER 2018 Bromoil, 2017 Bromoil, , Bromoil, 2018 Bromoil, , , Liquid Emulsion , Bromoil, 2018 Bromoil, , Cyanotype on Paper, 2017 on Paper, Cyanotype , , Bromoil on Liquid on Liquid Bromoil , Cyanotype on Paper, 2017 and on Paper, Cyanotype , Cyanotype on Paper, 2017 on Paper, Cyanotype , Sleeping Angel Foggy Morning Foggy Snowstorm Angel, Bronze Lamb Angel, Beechmount, Spring at P.14 – P.14 & Cross Roses Two – P.15 16 – P. 2018 on Paper, 17 – P. Emulsion on Paper, 2018 and 18 – P. 19 – P.

SNAPLINE SUMMER 2018 24 25 SNAPLINE SUMMER 2018 1826 1839 1841 1842 1856 1861 1877 1903

INVENTION AND OBSOLESCENCE — A Timeline of Photographic Processes

~400 BCE: Chinese mathemati- 1849: Sir David Brewster devel- be rolled, with the slogan: “You stereoscopic images are introduced. for the JPEG file format. allowed amateur photographers to cian Mozi explained how the inverted oped the lenticular stereoscope, press the button, we do the rest.” 1942: Eastman developed 1994: Apple launched QuickTake, switch to . image works in camera obscura. which produced the illusion of a 1900: Eastman Kodak sold the the Kodacolor process using colour one of the first digital cameras for 2004: Kodak stopped selling ~10 27 : Arab physicist Ibn al-Hay- 3-dimensional image. easy-to-use, inexpensive Brownie negatives to make colour prints. consumers, at less than $1000. traditional film cameras in Europe tham experimented with camera 1856: Hamilton Smith patented camera, a very popular camera that 1948: Edwin Land introduced the 1996: Epson introduces the Epson and North America. obscura by passing light through the tintype process, a cheaper alter- greatly expanded the market for first instant camera, the Stylus Photo, a six-colour 2004: Web-based image hosting small pinholes, and contributed native to the . photography to amateurs. Model 95, taking photo quality desktop . service Flickr is created by Ludicorp. significantly to the study of light 1861: James Clerk Maxwell creat- 1903: The Lumière brothers pat- about 60 seconds to produce prints. 1999: The Nikon D1 was 2007: Apple launched the first with his work Book of Optics. ed the first color photo, an image of ented the first commercial colour 1963: Kodak released the introduced, a 2.74 megapixel iPhone and GoPRO launched the 1826: Nicéphore Niépce took a tartan ribbon. photography process, Autochrome , the first point- DSLR camera that was affordable Digital Hero 3 camera. the earliest known surviving 1871: Richard Maddox invented Lumière. and-shoot camera. to professional photographers and 2008: Polaroid discontinued the permanent photograph, calling his gelatin emulsion. 1925: The first practical and por- 1975: Steven Sasson, of Eastman high-end consumers. production of products process . 1874: Silver gelatin paper, a key table 35mm camera, the Leica I by Kodak, made the first digital 2000: Samsung’s SCH-V200 and and the Impossible Project was 1839: Louis Daguerre announced component to one of the most com- the Leitz camera company, became camera, which used a cassette tape Sharp’s J-SH04 were the first com- founded to relaunch instant film for the invention of the daguerreo- mon black-and-white photographic a favourite among photojournalists to record black-and-white images. mercially available mobile phones Polaroid cameras. type in Paris, which became the print processes, became available and general public. 1986: Nikon introduced the Nikon with a built-in camera. 2009: Kodak discontinued of first publicly available photo- commercially. 1929: Franke & Heidecke devel- SVC, the first digital single-lens 2000: The Epson Stylus Pro Kodachrome film. graphic process. 1877–78: Eadweard Muybridge oped the Rolleicord, a twin-lens reflex (DSLR) camera. 9500 large-format inkjet printer 2010: Photo-sharing social 1841: William Henry Fox Talbot completed human and animal reflex camera. 1987: Thomas and John Knoll is introduced and uses newly networking app is invented the , allowing for locomotion studies. 1935: Eastman Kodak introduced developed Photoshop and sold developed ColorFast ink to produce launched. By its first year it had 10 a shorter exposure time and could 1888: George Eastman ignited the the first colour transparency film the licence to Adobe Systems high-quality output. million users. make multiple positive prints. mass use of cameras with the Kodak Kodachrome. Incorporated in 1988. 2003: The Canon Rebel, the first 2017: Kodak announced the 1842: Sir John Herschel invented No. 1 , which featured 1939: The View-Master 3D viewer 1992: The Joint Photographic Ex- digital SLR priced below $1000, return and relaunch of its

the cyanotype process. unbreakable flexible film that could corresponding “reels” of small perts Group defined the standard was very popular as its price point Ektachrome slide film. ▪ sergio serrano by / illustrations couldwell cindy by compiled

1994

1826 1963 1939 2007

2000

1925 1929 SNAPLINE SUMMER 2018 27 1948 1986 1999 28 SNAPLINE SUMMER 2018 BOOK REVIEW

River of Shadows: Eadweard Muybridge and the Technological Wild West by Rebecca Solnit - Penguin Books (2004)

WRITTEN BY CHARLIE CRITTENDEN

Rebecca Solnit captures the strange Driven to master landscape run again, over and over.” Photography life of Eadward Muybridge in River of photography, Muybridge began had required immobile subjects, but “He had captured Shadows with a poetic and wide-rang- exploring Yosemite. The artist took Muybridge’s work began to capture ing eye. As she explores Muybridge’s mammoth-plate photographs with processes and events in action. aspects of motion development of instantaneous photog- glass plate negatives that reached To present the sequences of his raphy in the nineteenth century, Solnit twenty-by-twenty-four inches in size. motion studies, Muybridge invented whose speed had looks at the broader shifts in human Much of his work focused on natural the zoopraxiscope as an improvement perception during his life as cameras phenomena such as clouds and water on existing image projectors. made them as froze time with the click of a that shifted during his camera’s long Both a precursor to cinema and a and projectors reanimated motion exposures. Muybridge built a library nineteenth-century GIF machine, invisible as the for captivated audiences in the first of cloud photographs and improved his the zoopraxiscope showed dancers flickers of cinema. As she writes, “He shutter speeds to depict more accurate spinning, boxers throwing punches, moons of Jupiter was the man who split the second, as skies. Water was too elusive to clearly and doves fluttering away. dramatic and far-reaching an action as photograph, and the white blur of wa- The photographer’s work packaged before the telescope, the splitting of the atom.” terfalls and rapids shows the minutes time and movement for consumption, Muybridge left England as a young of time passing within each image. pausing and diverting the forward and he found a way man to sell books in New York and San Over the following decades, motion of our lives. Solnit sees this Francisco during the 1850s. Passing Muybridge created the technology to apparent power over time as key to the to set them back through Texas, he was thrown from a photograph each drop of water spilling appeal of instantaneous photography stagecoach in a crash that damaged his from a jug and every detail of a horse and cinema, as she writes, “‘Time in motion. It was brain and turned him towards an stretched in full gallop. The way that lost or spent or not yet had’ was eccentric creativity. Following years of a photograph stops motion seems what people desired and fed upon as though he had recovery and travel, he returned to San natural to us, but for Muybridge it in the films that became a collective Francisco as a wet-plate photographer was a miracle that unveiled the blur dreamworld inhabited by grasped time itself, versed in the alchemy and technical of speed for human eyes. As Solnit multitudes. It all began with restrictions of his profession. He took writes, “He had captured aspects of photographs of a horse in made it stand still, up a variety of commissions under motion whose speed had made them California.” the artist’s name of Helios, and had a as invisible as the moons of Jupiter and then made it portable in a carriage for before the telescope, and he found a business around town with the words way to set them back in motion. It was run again, over HELIOS’S FLYING STUDIO painted on as though he had grasped time itself, the side. made it stand still, and then made it locally at Available $19 Books Audreys and over.”

SNAPLINE SUMMER 2018 28 29 SNAPLINE SUMMER 2018 SUMMER CLASSES PROFESSIONAL Printmaking Techniques for DEVELOPMENT Educators Introduction to Tuesday – Thursday, August 21-23: 10 am – Electrochemical Etching Bruce Peel Special Collections 5 pm // 3 classes (Tuesday, Wednesday June 2, 3 (Saturday & Sunday) Library Visit & Thursday) Caitlin Bodewitz, Richard 10 am – 5 pm $215 for members // Friday, June 8: 3 – 4:30 pm // By a suggested Borowski & Phoebe Todd-Parrish $238 for non-members // Daniel Evans // donation of $10 for SNAP members caitlinbodewitz.com // richardborowski.com danielemersonevans.com Bruce Peel Special Collections Library // phoebetoddparrish.com $265 for SNAP Learn the basics of etching aluminum Lower Level, Rutherford Library, members // $294 for non-members plates in copper sulfate from Artist Daniel University of Alberta // Learn a wide variety of printmak- Evans. Experiment with line etch and bpsc.library.ualberta.ca ing techniques to take back to your mark making techniques and explore Enjoy and show and tell session of incredi- classroom and teach your students. aluminum’s capacity of a natural aquatint. ble and intricate artist books while visiting You will get a hands-on experience of Create imagery with bigger and bolder the Bruce Peel Special Collections Library silkscreen, relief and intaglio printmak- lines during this weekend workshop. at the University of Alberta. ing processes and will create a suite * Please RSVP and send item requests that of prints. You will be taught numerous Relief Printing from Textiles you would like to see during the visit by techniques to modify the August 4 (1 Saturday) 10 am – 5 pm May 30. processes and projects to have success Wendy Tokaryk // www.wendytokaryk.com in your specific classroom and with $108 for members // $119 for non-members Introduction to Photoshop your unique group of students. Explore textile relief printing on paper July 4 - 25, 4 classes (4 Wednesdays) with Visiting Exhibiting Artist & 6 - 9 pm // Darcy Paterson // Papermaking the Banff Centre’s Print & Paper Facilitator Historical Edmonton darcypaterson.ca Saturday, August 25: 10 am – 5 pm Wendy Tokaryk. This one-day workshop Darkroom $142 for members // $157 for non-members (Saturday) St. Albert Paper Arts Guild & will explore printmaking as contemporary Are you looking to improve your Photo- SAPVAC // sapvac.ca // Multicraft Studio, St. craft; textiles such as lace, doilies and Photography shop skills? If so this four-week class with Albert Place, 5 St. Anne Street, St. Albert crochet will be used as the matrices for Workshop Artist, Darcy Paterson will open up the $110 for SNAP members // $120 for the design and printing of relief prints. wide world of possibilities that Photoshop non-members Colorful inks will be applied to the textiles has to offer to Printmakers. Learn a fun- Learn how to make your own handmade using brayers and printed on the etching June 19, 20, 21 (Tuesday, Wednesday, damental knowledge of Photoshop so you paper with the artists from the St. Albert presses to create intriguing and interesting Thursday) 6 - 10 pm can explore and use its tools for your Paper Arts Guild. Create 30 to 60 sheets prints on paper. Patrick Arès-Pilon & Dan Rose image making. of 6x9” paper by preparing pulp, forming $203 for members sheets, adding inclusions and pressing and $223 for non-members drying the pulp. This one-day workshop is ideal for beginners or individuals who need Explore the architectural history a refresher. of Edmonton during this evening SNAP MEMBERSHIP darkroom photography class! Enjoy a tour of historical East Jasper Ave When signing up to become a with local heritage enthusiast Dan SNAPline Member you’ll take Rose and capture intriguing shots part in a limited edition mail from artist Patrick Arès-Pilon. Learn art program! how to process film and print contact SNAP Printshop - 12056 Jasper Ave sheets and an 8x10” image in the At a cost of $150 a year, you will For further information on SNAP darkroom after learning about receive 4 limited edition fine-art courses and workshops, registration some of Edmonton’s interesting prints along with the quarterly and fess, please contact SNAP. historical sites. edition of the SNAPline Publication. All materials are included in the course

Register for SNAP’s classes in for SNAP’s Register any of these 3 ways: By Phone: 780.423.1492 snapartists.com By Web: 10123 1221 Street In Person: fee or otherwise indicated

society of northern alberta print-artists 10123–121 Street, Edmonton, Alberta, Canada, t5n 3w9 780.423.1492 \[email protected] \ snapartists.com