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Alternative Photography in the Digital Age: Perfect Photographs in an Imperfect Way

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ALTERNATIVE PHOTOGRAPHY IN THE DIGITAL AGE: PERFECT PHOTOGRAPHS IN AN IMPERFECT WAY A Master’s Thesis by SERDAR BİLİCİ Department of Graphic Design İhsan Doğramacı Bilkent University Ankara January 2013 dedicated to the memory of Betsy ALTERNATIVE PHOTOGRAPHY IN THE DIGITAL AGE: PERFECT PHOTOGRAPHS IN AN IMPERFECT WAY Graduate School of Economics and Social Sciences Of İhsan Doğramacı Bilkent University by SERDAR BİLİCİ In Partial Fulfillment of the Requirements for the Degree of MASTER OF FINE ARTS in THE DEPARTMENT OF GRAPHIC DESIGN İHSAN DOĞRAMACI BİLKENT UNIVERSITY ANKARA January 2013 I certify that I have read this thesis and in my opinion it is fully adequate, in scope and in quality a thesis for the degree of Master of Fine Arts in Graphic Design. ___________________________ Assist.Prof.Dr. Dilek Kaya Supervisor I certify that I have read this thesis and in my opinion it is fully adequate, in scope and in quality a thesis for the degree of Master of Fine Arts in Graphic Design. ___________________________ Dr. Özlem Özkal Co-supervisor I certify that I have read this thesis and in my opinion it is fully adequate, in scope and in quality a thesis for the degree of Master of Fine Arts in Graphic Design. ___________________________ Assist. Prof. Dr. Marek Brzozowski Examining Commitee Member I certify that I have read this thesis and in my opinion it is fully adequate, in scope and in quality a thesis for the degree of Master of Fine Arts in Graphic Design. ___________________________ Assist. Prof. Dr. Ersan Ocak Examining Commitee Member Approval of the Graduate School of Economics and Social Sciences ___________________________ Prof.Dr. Erdal Erel, Director ABSTRACT ALTERNATIVE PHOTOGRAPHY IN THE DIGITAL AGE: PERFECT PHOTOGRAPHS IN AN IMPERFECT WAY Bilici, Serdar M.F.A., Department of Graphic Design Supervisor: Assist.Prof.Dr. Dilek Kaya Co- Supervisor: Dr. Özlem Özkal January 2013 This thesis explores the possibility of an alternative future of photography from the union of digital and chemical domains of the photographic medium. The historical photographic processes known as Cyanotype, Salt print and Vandyke Brown are employed for this project in conjunction with the modern inkjet printer produced digital negatives. As being highly sensitive to the variables during the process, each alternative photographic print exhibits a visual uniqueness. In this aspect, there is conceptual correlation with the visual uniqueness of alternative photographic processes and the visual uniqueness of albinism. Emphasizing the human element in subject, vision and craft of making photographs, this project aims to produce unique photographs of a visually unique subject. Keywords: Alternative Photography, Digital Negative, Antiquarian Avant-Garde, Cyanotype, Van Dyke Brown, Salt Print, Sun Print, Albinism iii ÖZET SAYISAL ÇAĞDA ALTERNATİF FOTOĞRAFÇILIK: KUSURLU MÜKEMMELİKTE FOTOĞRAFLAR Bilici, Serdar Yüksek Lisans, Grafik Tasarım Bölümü Tez Yöneticisi: Yrd. Doç. Dr. Dilek Kaya Ortak Tez Yöneticisi: Dr. Özlem Özkal Ocak 2013 Bu tezin amacı fotoğrafçılığın kimyasal ve sayısal alanlarının birlikteliğiyle biçimlenecek olası bir alternatif fotoğraf geleceğini keşfetmektir. Bu çalışmada, Cyanotype, Salt Print ve VanDyke Brown olarak bilinen tarihi fotoğraf teknikleri, modern mürekkep püskürtmeli yazıcılar ile elde edilebilen sayısal negatifler kullanılarak oluşturulmuştur. Baskı sürecindeki türlü etmenlere karşı son derecede duyarlı olan alternatif fotoğraf baskıların her biri görsel açıdan kendine has ve eşsizdir. Bu bağlamda, alternatif fotoğraf tekniklerinin sergilediği görsel eşsizlik ile albinizmin görsel benzersizliği arasında bir bağlantı kurulmuştur. Fotoğraf üretme eyleminin öznesinde, vizyonunda ve zanaatında insan etmenine vurgu yapan bu çalışma benzersiz bir konu üzerine benzersiz fotoğraflar üretmeyi amaçlar. Keywords: Alternatif Fotoğrafçılık, Sayısal Negatif, Antiquarian Avant-Garde, Cyanotype, Van Dyke Brown, Salt Print, Güneş Baskı, Albinizm iv ACKNOWLEDGEMENTS Firstly, I would like to thank Özlem Özkal for all the guidance she provided me in all these years. I always admired the positive and constructive criticism she provided. Most importantly, she always urged me to be completely honest in my approach to photographing the delicate subject I have chosen. Thanks to her, I took on the path which I felt most comfortable and passionate about my subject. I am grateful to Dilek Kaya for providing me the more than adequate workplace in the department that I used during my project. Having a dedicated workplace motivated me to experiment, to learn from scratch and master the processes I used, eased my efforts to a great extent. I am also grateful for her insightful remarks and pointing me to what I feel is to be one of the missing pieces of the puzzle for this dissertation. I must thank Ersan Ocak for his constant positive criticism, and insightful remarks on the issues of this dissertation, but most importantly for introducing me to the literature of Flusser, which became one of the single most important writing on photography for me, that shaped my ideas and helped me to determine my own path in photography. I would like to thank Marek Brzozowski, since the inception of this project, his support and the belief in it assured me. I learned a great deal from him in these years. His v contributions on the framing and exhibition ideas were extremely helpful to finalize the project. I am grateful for his tremendous support and his mentorship for all this time. I am very grateful to Loris Medici for the help and the guidance he provided about the alternative photographic processes was invaluable, my correspondence with him assured me the possibility of the project that I planned to undertake. Due to his direction I was able to solve the logistics of obtaining a variety of chemicals, the construction of an UV exposure unit with such ease. His extensive knowledge in the making of digital negatives and the information he provided, I was able to select a method most suitable to my workflow. I would like to thank Seher Aydoğan from İ.D. Bilkent University’s Chemistry Department for providing me some of their equipment, and most importantly one of the nastier chemicals I required and sharing her knowledge with me. I am grateful to Ali Şengöz and Moti Romi for participating in this project and placing their trust in me. I must thank Candan İşcan with whom I shared the same working place more than a year, for being the joyful company for all this time, helping me, sharing her knowledge with me, criticizing me, listening to me, and I would like to thank Baran Akkuş for his company, his support, sharing his insights on my work. I would also like to thank Defne Kırmızı for her belief in my work, her excitement about my project, her positive attitude in the realization of this process. I was able to work in a positive, productive and joyful vi environment because of you. Thanks to all of you, for being such great friends, for making this period in my life a significant one. vii TABLE OF CONTENTS ABSTRACT ................................................................................................................................... iii ÖZET ............................................................................................................................................. iv ACKNOWLEDGEMENTS ....................................................................................................... v TABLE OF CONTENTS ........................................................................................................ viii LIST OF FIGURES ..................................................................................................................... xi LIST OF TABLES ..................................................................................................................... xiv CHAPTER 1: INTRODUCTION ............................................................................................. 1 1.1 The Purpose of the Study .................................................................................................. 1 1.2 Overview of Chapters ........................................................................................................ 5 CHAPTER 2: THE PAST AND THE ART OF PHOTOGRAPHY ENVISIONED TODAY............................................................................................................ 8 2.1 Photography as Ocular Protagonist ................................................................................. 8 2.2 Photography’s struggle to become Art .......................................................................... 15 2.3 Automation and Photographic Apparatus .................................................................... 20 2.4 Automation and the Photography Industry ................................................................. 25 viii 2.5 Antiquarian Avant-Garde ................................................................................................ 30 CHAPTER 3: ALBINISM AND PHOTOGRAPHY .......................................................... 40 3.1 Albinism: Stereotypes and Earlier Photographic Representations ........................... 40 3.2 Albinism and Photography Today ................................................................................. 47 CHAPTER 4: ALTERNATIVE PHOTOGRAPHIC PROCESSES & INKJET DIGITAL NEGATIVES ................................................................................... 55 4.1 Alternative Photographic Processes .............................................................................
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