S2 W5 group crit
Ballroom IV
Zo Damage, 2022
Unique gelatin silver print
406x508mm
Somewhere/Enthusiasm
Zo Damage, 2022
Unique gelatin silver print
406x508mm
Gum I
Zo Damage, 2022
Unique gelatin silver print
406x508mm
Untitled (Brunswick)
Zo Damage, 2022
Unique gelatin silver print
406x508mm
Studio-based research
Informed by academic disciplines, including brain sciences, phenomenology and ethnomethodology this studio-based research explores how unpredictable modes of analogue photography and alternative darkroom processes can be used to a) cultivate alternative means of perception and observation, b) explore creative ways of interpreting physical and psychological to the world I inhabit, and c) seek unfamiliar modes within the mediums discussed above that allow suspension of presumptions and judgments about, and expand upon, my existing practice.
Keywords
Collingwood, Ballroom, Wabi Sabi, Brain science, Evolving, Devolving, Gelatin silver, Darkroom, Alternative darkroom, MFA, Studio 2, Group crit
Group crit comments
Jodie: The material itself is becoming part of the image. It is like seeing what is behind what is going on. Letting go of the process and coercing another world.
Paula: Sense of mystery, there is more behind the images than you can see. Very surrealistic (excellent — surrealism). Unrealistic light.
Reminds me of Dirk Braeckman's photography
Brunswick – You can see other things in these images (abstraction — excellent).
Jo: Black and white photographs. Quite layered.
1) Obscured and layered by foggy marks. Quite a lot of texture and sense of materiality of the print that the layers are coming through from the photographic paper rather than the negative. Sense of chance, the process being left to chance and how the different chemicals are playing out together. Relating it to painting, it does its own thing.
2) Second image. Maybe the same image. Very atmospheric.
3) Bleeding out. The image of the building has been set and blended with the paper. Title.
4) Composition shows there is a lot of process in the image. Collagic in the way it is deconstructed and constructed. A lot of atmosphere and “matter” in the image.
Revealing a “presence”.
Steven: They are unique. Not repeated. Akin to “painting”. History, loss, dreams and process. Sense of “movement” and expanding in scale. Invitation to create new narratives.
Steph: 234 Reminiscent of a storm (excellent!). Images within images. The buildings feel “framed”. Brunswick feels the most enigmatic. Ghostly and sad. Sense of loss of history. Layering over our urban history with dirt and mud and new construction — Reflection of self. Creating new worlds by blending process and time.
Steven: The work still connects to reality through the “indexical” nature of chemical photography.
Dan: Brunswick feels imposing. 1 and 2 with the processing it feels like the images are wrapping around me and inviting me in. Experiential.
Emotions are driven by chemistry.
Objective / Subjective
Provode interpretation
Measurable / Immesurable
Isabella graph - painting makes itself
Fog
Mist
Chance
Process - letting it take over... possession
Layers
Repetition
Matter
Images within images. Mise en abyme
Ghostly... sad
Also - agency of the materials & processes + indexical images = considering Isabelle Graw's essay on the agency of painting: Graw.pdf
Painterly
A correlation: chemistry + image = chemistry + emotion/feeling/sensation
Darkroom sequences in movies: Blow Up (1966); The Omen (1976) etc
The light emanating from the subjects through veils of chemical fog
The light pours out of me - Magazine
S1 Week 3: Pinhole and Diana
Medium format lomo
Figure 1.
Figure 2.
Long exposure pinhole paper negatives
Figure 3. Scan of paper negative captured with an exposure of four days using my handmade Ilford 5x7” paper box pinhole camera
Figure 4. Digitally inverted scan of paper negative captured with an exposure of four days using my handmade Ilford 5x7” paper box pinhole camera
Figure 5. Scan of paper negative captured with an exposure of four days using my handmade coffee can pinhole camera
Figure 6. Digitally inverted scan of paper negative captured with an exposure of four days using my handmade coffee can pinhole camera
Figure 7. Scan of coffee can pinhole camera solarised paper negative (three day exposure)
Figure 8. Digitally inverted scan of coffee can pinhole camera solarised paper negative (three day exposure)
4x5 pinhole paper positives
Figure 9.
Figure 10.
Figure 11. Scan of paper negative captured with Ilford 5x7” paper box pinhole camera
Figure 12. Digitally inverted scan of paper negative captured with Ilford 5x7” paper box pinhole camera
Keywords
Studio 1, Week 3, Pinhole photography, Lomography, 120mm, 35mm, Paper negative, Solarising, Darkroom
Bibliography
PLASTICPOPSICLE. 2013. "Lomography - 6 Must-Try Tips For The Diana F+". Lomography. https://www.lomography.com/magazine/252635-6-must-try-tips-for-the-diana-f-plus.