On Monday, I went on the Camera-less Photography course at Camberwell. It was a two day workshop, where myself and several other students revisited cyanotypes, photograms and liquid emulsion techniques. The course instructor was John Lanteri- Laura.
John Lanteri- Laura
Here is a link to an image of his work and an interesting website:
What the website is about:
Photographic Practices is a group made up of artists working at Camberwell, Chelsea and Wimbledon Colleges, part of the University of the Arts London. Common to the artists’ work, but not exclusive to their practices, is an interest in photography and lens-based media. The group aims to make links between lines of research and areas of interest to highlight the current state of the medium and its relationship to other contemporary modes of production. Commonalities emerged at the group’s inception such as the potential of photographic processes (in the widest definition of the term) to be intrinsic to the articulation of ideas. Where much contemporary photography invites the viewer to read images from the surface of paper or screen, like advertising, many of the artists in this group offer the viewer a chance for a deeper engagement with the way images come to the viewer, through projection, from the screen or in print.
I had a really good session, discussing photographers, sharing ideas and then a good deal of time spent in the darkroom experimenting with all three techniques. Here is the outcomes I produced. I wanted to display them all as they as so different and random and unexpected.
Below is a cyanotype on orange paper of a paint mark from an old palette.
cyanotype on orange paper of an acrylic paint mark
Below is a cyanotype of broken glass from a chunky frame at Heals. A customer broke it and I kept the fragments. Also there are amongst other objects, a necklace and also tiny pieces of a broken car window which I picked up from a road in Bookham. I quite like the idea of these objects having a history or a story to tell, as they appear like forensic evidence. I have had these objects for such a long time and not done anything with them. Cyanotypes are quite effective when using see through transparent materials.
Cyanotype on white paper of broken glass
Here is a photogram of the broken car window.
Broken car window photogram
This is a liquid emulsion print from acetate laid randomly over one another. I stepped on the acetate whilst it was drying to capture my foot print. I like the idea of making mountains out of faces. This is my boyfriend as a mountain with my feet above his head. It should read ‘Fortune of the Gods’ but where I had not completely coated the paper, the image did not appear.
Liquid emulsion print of fortune of the gods
This is two acetate print outs placed on top of paper. The paper is primed using silver gelatin and a soft Hake brush. The paper is left to dry then it goes under the enlarger with the acetate on top. I exposed this for 6 seconds.
Liquid emulsion print of hairy mountain dome on white paper
This is a liquid emulsion print, using a paper print out as the source material. It was my first one, so is a bit hazy, but I quite like that. The light source is shone through the paper as opposed to acetate and therefore the image is more diffused. Also, I could have exposed it for longer than 6 seconds.
liquid emulsion print of the hairy mountain
This is a photogram on standard photographic paper mixing images of a face with an acrylic paint mark on cardboard. The paint mark was actually an old palette discarded by a student, which I fished out of the bin at the school I was teaching at. I have been thinking about what to do with it, so It has created a man waterfall.
photogram of man waterfall
This is an image I took in New York on my iphone. I created a photogram using the enlarger light at 5 seconds with it fully turned down. First I printed an inverse of the image on Photoshop. This was printed on to acetate. Then the image was exposed to light.
old good things- photogram of New York shop front
The image below was created by rubbing vaseline on to light sensitive photo paper, then exposing it to light for 5 seconds under an enlarger. The areas protected by the vaseline turn blue over time. The areas that are black are fully exposed to the light.
Below is a test strip. I printed out an image onto acetate from Photoshop and while it was wet, made thumb prints in the ink. This is a print with liquid emulsion, used to check how long I should expose the image.
face mountain test strip with liquid emulsion