NONSHAPES : 2012
Emily Grundon
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Monthly Archives: June 2012
Collage work by Jesse Treece
the light pours out of me
a Due Colori by Alberto Seveso
high-speed
photographs of
ink mixing with water
SHIMON ATTIE
Reading Response: Editing, Presentation, & Evaluation: Theory B p. 364-376
I like the opening of this section which talks about the tendency to see photographs as accurate representations of things that really happened, but “that photographs are carefully constructed cultural texts that need to be read critically.” The text an image ideas were very compelling as well. I especially liked the idea of drawn out instructions about how to do something silly, like stick one’s feet out the window as Erwin Wurm did in “Instruction Drawing.”
R(eading) R(esponse) 3
“The Negative Alternative Process Options”
This section of the chapter was definitely less flashy but will probably end up being entirely helpful in the future when I want to further explore the use of negatives in alternative processes. I have to admit that I actually have never put much consideration in the type of film negative I am using, mostly due to the fact that I don’t have much background knowledge in what variables there are in negatives and negative construction. This section not only brought me to such awareness, but it listed specifics and options that I can use in the future to further my physical photo creationary explorations.
R(eading) R(esponse) 2
“The Negative Alternative Process Options”
This chapter was definitely the one to get me pumped about alternative processes. The endless possibilities, alterations and combinations of the physical production of an image is personal and special. I found the section on negative density to be helpful because I finally have first hand experience on how frustrating it can be to work off of a negative that is unfit for the technique that is being attempted. Reading about the Acrylic Lifts was also interesting because one of the downsides I found with the hand-sanitizer transfers was an inability to layer images and graphics. Bin Danh’s study for metamorphosis where he places a negative directly on a living leaf for several weeks and exposes it using the natural process of photosynthesis is epic and inspired! Tons of great processes in this chapter!
Reading Response #10
This section of the reading talks about creating different transfers and the different mediums you can move them to. This reminded me a lot of the hand sanitizer transfers we did in class, which was a pretty awesome technique. This method is done by printing a digital positive onto a clear piece of paper and then coating the medium that you wish to transfer the images to with sanitizer with a roller. After this you apply the digital positive on the sanitizer (emulsion to emulsion) and put saran wrap on top of these and use the roller for a minute to make the image transfer occur. FInally you peel back the saran wrap & digital positive after a minute to see your newly completely print and leave it to dry. I thought out of all the transfer techniques mentioned in the book and in class this was the most interesting because of the cost efficiency and ease of accessibility to these kinds of supplies.
Reading Response #9
In this section it talked solar plating and the process in which you accomplish this printing method. Christopher as well as Drew talked about a double exposure technique that can be done using a aquatint screen. In addition to this it talked about the process in which the plate is created and later hardened and this is exactly how Drew showed and told us, when we were doing the demo in class. Originally I thought I was going to hate this because my idea of print making involves a lot more of drawing and painting, but luckily for me this was actually pretty awesome!
Reading Response #8
In this section of reading it pretty much went back over and reemphasized the importance of having a good paper for platinum/palladium printing. Paper that gets over-saturated causes the sensitizer to bulk in areas and ruin the paper & in turn the print. This “effect” is not a wanted one and its referred to as bronzing. I personally did not have this problem when printing, but I do remmeber a few people in the class did. The most important thing I got out of Christopher’s chapters on platinum/palladium & Ken’s advising is that overall the most important thing is having a good negative density and that digital negatives are more trouble then they end up being worth for the most part.