Reading Response 3

The Negative Alternative Process Options pg 92-100

After creating negatives for both cyanotype and platinum printing it has become very evident that negative density is important. The section of this chapter explains how Platinum and palladium negatives depend on a very long sloping tonal scale between shadows and highlight density. Therefore a negative with high contrast is better. Paper grades also have a large impact on the outcome.

Reading Response 2

The Negative Alternative Process Options pg 76-92

After just completing the hand sanitizer transfer I found the section on acrylic lift transparencies from printed sources particularly interesting. Many artists have utilized  transfer techniques including Rauschenberg. I was unaware that there was such a large variety of ways of doing it. This particular method involves using acrylic gloss medium, dish washing soap, water and magazines. I thought it was interesting that you had to use clay coated paper in order for the transfer to stay. I’ve done a version of this technique using an acrylic gloss medium and got some disappointing results. I plan on trying this method to see if it is more successful.

Reading Response 1

The Pinhole: Making Pictures with a Box of Air pg 2-32

I have just recently been introduced to Cabinets of Curiosity in my Art History 490 class. Cabinets of Curiosity were a prevalent part of society in the 16th and 18th centuries and are considered by some to be the first museums. These cabinets held objects often of scientific importance or unknown items. The objects often related to another and could be seen as an early cataloging of nature, culture, and science. I found it very interesting that Christopher James referred to a camera obscurer as a form of cabinet of curiosity. He states that a camera obscurer is similar to the cabinet of curiosity “with its interior filled with light curiosities”. I believe this to be an interesting observation. I agree both are holding an obscure thing and both are related to science.