solarisation.

http://en.wikipedia.org/wiki/Solarisation

collaboration :: chris mccaw.

http://www.chrismccaw.com/SUNBURN/SUNBURN.html

instantly one of my top five photographers, this guy is ridiculous. thinking this might be my collaboration project, if infrared proves too difficult or regardless of infrared's feasibility i want to do this as the project or otherwise. the sunburning process will require planning hour long exposures and ideally a large format camera, but we could do some epic landscapes or come up with a new way to use this burning effect. anyone who is interested in researching and possibly doing this project should let me know because the more people we have working on this the more exposures we can produce and experiment with. anyone is welcome to work on this, but be ready to put hours in, this will require a lot of babysitting cameras, which will basically be just chilling, but time consuming. i'll be doing some test runs with paper negatives and a view camera and some 4x5 film when i can get some. rsq9@unh.edu or talk to me if you want in.

salt project :: potential subject :: coruscate.

cor·us·cate/ˈkôrəˌskāt/

intransitive verb: to give off light in bright beams or flashes.

cyanotype project :: statement.

This project is a catalog of obsolescent electronics and their mechanical components circa the years 1995-2005. All of these items were extracted from among a 56k modem, a compact disc player, an analog television, a corded telephone, an radio frequency modulator, a point and shoot film camera, and a Zip disc drive. All of these objects have been rendered obsolete by the advances of the last decade. A cable modem, an mp3 player, a flat-screen television, a wireless or cellular phone, wireless routing or HDMI cables, digital cameras, and external hard drives succeed all these objects as modern equivalents. This project is an exploration of the ephemeral quality of all of these products and the pace at which our relationship with technology is evolving.

edits :: cyanotype negatives :: batch one.

amalgamation one.

experimental vision.

The project on Cliche Verres got me thinking about the photograph's capabilities to reproduce information, not just what is gathered through a lens, but information of all sorts, scholarly, scientific, trivial, literary; anything that can be represented in two dimensions can be infinitely and effectively reproduced with photographic processes perfected over one hundred years ago. Before lenses were used to document plant species a silhouette could be made with a photogram. Wikipedia dates the printing press to the Holy Roman Empire circa 1440, so it had a bit of a head start over the photogram, which dates to the early 1840's, but even with the presence of the printing press Sir Herschel took the time to explore the possibility of reproducing scientific notes through photography. It is possible to imagine how a skilled developer could be much more productive reproducing documents through a photographic process than with a printing press. While the process would be more exacting and chemically complex, the technician would not have to place and ink wood blocks, which occurs to me as a miserable task.

This is not to say a photogram must reproduce exclusively two dimensional images, the compression and abstraction of three dimensional forms onto the two dimensional plane is intriguing to me. I would like to experiment with placing objects directly on coated paper and exposing directly, with no negative. After testing various objects for their flattened quality I would like to produce some 2-D abstractions of some interesting forms.

portrait.

art in hanover.

http://www.dartmouth.edu/~sart/exhibitions/

reaction to equivalence.

The assigned article, "Equivalence: The Perennial Trend," by Minor White outlines a philosophy of photography in which images are rendered as to evoke feelings of empathy. The natural human tendency to project oneself can be harnessed and manipulated through imagery, which when viewed and processed by the observer stimulates an cognitive response. Given the amount of imagery we are exposed to daily and the pace of ideas in the modern day it may be photographers will have to dig deeper and deeper to evoke a response in their audience. There are however perennial aspects of the human psyche which will forever be subject to a visual stimulant, such as a photograph. It is the nature of the photograph that will change, evolving with society and culture, for so long as visual art is of any relevance.

excerpts from "equivalence."

If the individual viewer realizes that for him what he sees in a picture corresponds to something within himself—that is, the photograph mirrors something in himself—then his experience is some degree of Equivalence.

So at this graphic level of Equivalence no specifications will be listed.

The reason why we want to remember an image varies: because we simply "love it," or dislike it so intensely that it becomes compulsive, or because it has made us realize something about ourselves, or has brought about some slight change in us.

When a photographer presents us with what to him is an Equivalent, he is telling us in effect, "I had a feeling about something and here is my metaphor of that feeling." The significant difference here is that what he had a feeling about was not for the subject he photographed, but for something else. He may show us a picture of a cloud, the forms of which expressively correspond to his feelings about a certain person.

What really happened is that he recognized an object or series of forms that, when photographed, would yield an image with specific suggestive powers that can direct the viewer into a specific and known feeling, state or place within himself.

If he uses Equivalency consciously and knowingly, aware of what he is doing, and accepts the responsibility for his images, he has as much freedom of expression as any of the arts.

Not having an exact equivalent for the word "poetic" in photography we will suggest the word "vision," meaning not only sight, but insight. The effect that seems to be associated with Equivalence may be worded thus: When both subject matter and manner of rendering are transcended, by whatever means, that which seems to be matter becomes what seems to be spirit.

In other words projection and empathy, natural attributes in man, lead us to see something of ourselves almost automatically in anything that we look at long enough to be aware of it. So we can say that the photograph invariably functions as a mirror of at least some part of the viewer.

Mirroring is also strong in photographs in which the presence of design is equal to or supersedes the sense of the presence of the subject in front of the camera.

When the subject matter is rendered in such a way that it is obscure, ambiguous, or impossible to identify, the response to the image takes on a completely different aspect.

Some contemporary photographers, such as those already named, willingly acknowledge the fact that photographs mirror some state of feeling within the viewer. They include themselves here as viewers of their own photographs and viewers of the subjects they select. They accept the truth that photographs act as a catalyst, and consequently are a step in process, not an end product. They can remember that the mental image in a viewer's mind is more important than the photograph itself.

With the theory of Equivalence, photographers everywhere are given a way of learning to use the camera in relation to the mind, heart, viscera and spirit of human beings. The perennial trend has barely been started in photography.

untitled collage.

collage scan for digital negative.

gimme my bear back.

collage scan for digital negative.