Wednesday, May 23, 2012

That's it then - Final Integrated Assignment

I have been putting off writing this last entry for as long as possible. Once I hit the publish button that's it, my three years at UCBC are over. Now, some students will be elated at finishing their course work for the very last time, some won't. I find myself in the latter group. People talk about life changing experience fairly easily these days, and you have to wonder, are they! really. Have I had one? Well I believe I've a strong case. I commenced the Photographic Media Course and the University Centre at Blackburn three years ago. I had no preconceived  idea what job I would come out with or what genre of photography I would be attracted too. When students commence a course they generally fall into two categories. There are the ones that choose a course for its job prospects, and there are those that are not overly concerned about job markets but want to study a subject because of the love of it. My experience was slightly different, I found that I had always liked photography but once I began studying it  at a high level it released a passion for a subject that I had not experienced before.I became engrossed in art history and how as humanity developed so did technology which led  to photographic practices. This then provided interest in researching further the different photographic movements and leading practitioners of the time. I became increasingly interested in alternative photography processes which led to experiment in Wet Plate Collodion, Salt Printing and Gum Bichromate. I further researched this area when completing my dissertation looking at both digital and analogy processes and how they intereact. All this was the lead up to this final set of images that have been submitted for the Final Integrated Assignment. This has been quite a hard semester, I finished the foundation degree on a high with the collodion prints being received well. This has always been in the back of my mind and I knew I had to challenge myself further to equal that standard of work. Although the gum process has a different look and feel to collodion, I feel the images submitted are of equal standard and I would be happy to exhibit side by side.


I have to say a big thank you to the Photographic Dept lecturing staff a UCBC. Without their encouragement and support I would not have attempted many of these alternative process over the last three years. Also, my peer group, what a fantastic bunch, we have been through the normal highs and lows (not so many lows), we have all supported and encouraged each other which led to a fantastic exhibition in London. It hasn't quite sunk in yet but I'm going to miss the Monday morning lectures with the staff and students. I  will be green with envy as the new first year group commence the course in Sept.


I also have to thank my family, as a mature student going back into education they have had to give quite a bit up and I thank them for being so supportive and understanding.


This is one of those bitter sweet moments, I will be really sad to leave UCBC but with my new passion (hate using that word) for the subject I can't wait to get started on my next project.


Now all there is to do is push the button!!

London Exhibition - Final Integrated Assignment

I am lucky to be part of a third year group who are dedicated to their craft but more importantly enjoy working together. This was a sound basis to work on a major project for this academic year. The University Centre has once before exhibited in London. Although there is no requirement to do so for the purpose of assessment it is a chance for the students to show their work to a wider audience. This project was first discussed last September and a lot of hard work has gone into organising this event, with fundraising, seeking a suitable venue and framing and printing. With any group to be successful there is a need for a focal point. This is where one student stepped up, took extra responsibility and organised the the group to put on a successful exhibition - come forward Carren Stockman.



So, Monday 13th May pictures and students were tightly packed into the University minibus on our big expedition out.




Smiling faces would soon disappear on a minibus with very little space and seats that were hard as boards. Add to this was an eclectic mix of music supplied by Nikita.



The first break stop on the Toll Road outsider Birmingham. A chance to flex those aching backs.






We arrived in London at the Gallery Redchurch Street at  around two thirty and set to work. The opening night was the following day at five thirty. We unloaded the van a set about positioning the work. My initial thought was, this was going to be the most difficult part of the whole process. I didn't have to worry, as per normal this group of students handled themselves professionally, and with a bit of give and take everyone was happy with the position and space they had been given. The work of putting the frames on wall would commence in the morning so it was off to the digs.



Carren had organised our rooms at Clink261 at King's Cross. We had a mixed sex room for ten. Although the room was small, to say the least, it was clean and tidy and was surprisingly good. The above image is the devastation of eight women and two men sharing a room. No room for suitcases!!








A quick ride on the Tube the next morning and it was back to work. Everyone mucked in and helped each other put the pictures on the wall. There were no major incidents and holes filled and work up we hit the deadline of 3pm. This enabled the team to get back to the hostel, wash and put the glad rags on and return to the exhibition to meet the first guests. A good night was had by all finishing with a curry on the famous Brick Lane that Richard had organised.



Conclusion
First of all the exhibition was a great success and couldn't have been achieved without the help of the University Centre and a group of students with a strong bond and work ethic. I was proud to have my work displayed with some extraordinary work that my peer group had produced. I think all that started the course in September have improved their own work practices dramatically and as a group. I hope the lecturing staff can take a sense of satisfaction and achievement on how they have developed us, as with out their support and guidance I don't think we would have come this far.

As with every good experience there are always things you wished you had done better. For this I don't think the students or staff could or would have done anything differently. However, my gripe would be with the photography fraternity we belong too. As a group we had a sound marketing strategy, and invited specific groups to the exhibition. Now I don't know if it's because we are not one of the 'established' photographic educational schools but attendance by this group was poor. If only they had given us a chance they would have seen work that is on par or even better than most other undergraduate centres. I do get the feeling this is a trend. I have had the opportunity to visit other arts and humanity centres and look at the work being produced. Now some my say I'm biased, however, the work produce at UCBC is a good as anything out there but students are not held in the same reverence as other centres. Reputation seems to go along way with little credence.




Thursday, May 10, 2012

On Shoulders of Giants - Final Integrated Assignment

Just the other day a well know X Factor Judge criticised the new BBC talent show The Voice as being a copy of theirs. As another well known DJ on BBC Radio 2 retorted, wasn't the X Factor a copy of Pop Idol, and if you can remember further back New Faces. Rather than being critical about using certain aspects of a previous show and blending them with your own shouldn't that be congratulated!


So what does this have to do with my Photographic assignment. This project commenced at the beginning of March and will end on the 13th June with the end of year exhibition. Hopefully here I will present a set of images that are unique and distinctive. Will this be a totally new concept that  has not been influenced by others before ? I doubt it.  I have purposely sought out inspiration from aspiring photographers past and present. I have taken a little from one and a little from another, I have then applied my own take on how I want to create the final image. As with the TV show analogy art has a long lineage that can be traced back to the cave paintings. Each artist that followed has developed their skill and creativity from these beginnings of humanity.




For my images the starting point was to come up with a concept, this was the language of flowers -  Floriography. I wanted to create a high key background similar to the one used by Nick Knight in his Flora images. To create this I used John Blakemore's lighting set up from his book the Black and White Photography Workshop. I then captured the flora in a style in keeping with Karl Blossfeldt. Then all were then contact printed in the Gum Bichromate process before digitising and finally manipulating in photoshop.




One of the main challenges I was set by the lecturing staff this year was to provide a strong and creative concept to a collection of images. Following the Professional Studies Assignment, were the use of literature was employed to inspire photographic image. I took on board the leaning outcomes from this assignment and spent time researching different possibilities. It was the Floriography concept that best suited the gum processes and I hope this has been demonstrated in the final imagery.




I really feel I have stood on the shoulders of some major photography giants!

Tuesday, May 8, 2012

Code (The Concept) - Final Integrated Assignment


Below is the rationale statement and my interpretation for the set of images for the Final Integrated Assignment. This is followed by the images.


Code

We are all so used to receiving a brief text message or email that gives us the concise, to the point information that we need, or even an occasional letter or greeting card from friends or loved ones.   How different this was in Victorian times when the arrival of a small posy or bouquet could hold a message that had to be decoded in order to reveal it’s true meaning.
An arrangement including purple Lilacs, Oxeye Daisies and Bellflowers, would translate as “I am feeling the first emotions of love for you, but am patient and will wait for you to feel the same and will be thinking of you.”
Of course the message conveyed might not be of love, friendship or wanting: a Hydrangea, yellow Carnation, Marigold, Lettuce and Fungus would certainly put you in your place – “ You disgust me with your frigid, heartlessness.  I have suffered pain and grief.”
Inspiration for this collection has come from this language of flowers – Floriography.  I have taken a series of images that have certain meanings representing a whole array of emotions. 
I have been inspired by the New Objectivity Movement in photography that was begun by Karl Blossfeldt at the turn of the last century.  He took beautiful, simplistic photographs of flowers and plants, showing them as structural designs, almost architectural in appearance.  For my collection I have taken images of flowers and photographed them in such a way that they too have that structural beauty.

Today we have forgotten many of these hidden meanings apart from the apparent; the red rose, meaning true love, the symbol of many a Valentines message.

It was this obvious symbol that caught my interest and further research in to Floriography. My wife recently discovered a dried rose that she had kept safe, pressed between the pages of a book, that I had given to her the day I asked her to marry me. This rose has even more significance to us, as its 25 years ago that I gave her this symbol of affection.


De-coding the images.

The Red Rose = true love.








Ivy = dependence, endurance.











Dandelion = Coquetry (playful behavour).





Cherry Blossom = gentleness, kindness.








Poppy = Pleasure.







Sunflower = Pure, lofty thoughts.












Begining this project I had it in my mind I would produce the images fairly straight. What do I mean be this, the colour of pigment chosen would match the item being photographed, i.e. rose = red pigment, ivy = green. However, as the project developed I wanted a more contemporary feel. The next set of items photographed lent themselves to a square format. With this in mind a squared of the original negatives so they would contact print in this form. I then chose contrasting colours for the set and for the item being printed. My logic here was to follow the theme of the project which was Code. I felt by changing the colours it added an extra dimension.

Monday, May 7, 2012

Gum Printing & Digital Enhancements - Final Integrated Assignment

In this final assignment I wanted to amalgamate as much of the knowledge gained in the past three years into these final images. I especially wanted to incorporate some of the findings presented in my dissertation. I had written a chapter on the use of digital technology and its association with photographic art. In my mind I was concerned that the ease of digitally technology could it ever be considered and held in the same reverence as more traditional forms of photography. I had come to the conclusion it could when carrying out primary research and asking accomplished digital photographers their thoughts. However, the only way really to fully appreciate this is to try it yourself, combine both digital and analogue processes and see what emerges. In the Professional Studies assignment I had experimented with this in mind. The image below demonstrates the use of such processes:





This image was created by combining Victorian and modern technologies. To create the swirls around the leaf a Petzval lens was used. The film was Adox CMS 100 first produced in the mid 60's, taken on a modern large format camera. The negative was then contact printed using the Salt Process of Fox Talbot. It was then converted to a digital file via the use of a scanner. The salt print file and the original negative file were manipulated in Photoshop to create the image you see above.


Below is the explanation of how I achieved the Gum Bichromate and digital images for my F.I.A






   +                            +  


=




The three images above have been produced separately in their relevant processes and then converted to a digital file. The first image is a contact print in the gum process that is under exposed to enhance the highlights. The second image is over exposed to enhance the shadow area. The third is the negative to bring detail back into the image. All three have been combined using Photoshop layers and layer masks along with the brush tool. Now it is fair to say this could  all have been done within the gum process. Multi layers can be printed on the water colour paper without it degrading. However, as previously stated this takes time  and experience. What the digital files provides is the flexibility to manipulate files.


Conclusion


 The question I posed at the start of this blog entry was can digital technology be considered with the same reverence  as more traditional methods of photography. The image above is my attempt to justify the use of digital technology, as whether it's deemed art is for others to state. I am still not totally convinced that it's right to mix media in this way. Don't get me wrong, I am thoroughly happy with the images I've created for this assignment. Perhaps I'm being to picky,  as doesn't  modern art thinking regard all representation being interpreted as art?




Friday, May 4, 2012

Test 3 Gum Bichromate - Final Integrated Assignmet

Now that I had made a decision on the theme of this final photographic project it was a case of what creative approach to take. Through university I have been exposed to the alternative photography processes. This is something that really intrigues me with the more manual approach to creating imagery. One such process is Gum Bichromate. Invented by Mungo Ponton 1839 when he established the light sensitive properties of dichromates. A little later, Fox Talbot, whilst experimenting with this chemical,l found mixing it with Gum Aribic or gelatine, exposing to sun part of the image became insoluble after washing in water. Both Alphonse Poitevin and John Pouncy further develop this technique in the 1850, by combining carbon pigment and then colour pigment to the chemical, respectively. The distinct appearance of this process was particularly of interest to a new photographic movement - the Pictorialists. This group sought to distance themselves from the growing amateur photographers of the time (1880's). They looked to create imagery rather than just record. The Gum process with its dreamy soft painted look was ideal for this new group of photographers, the major exponents of this process were photographer such as Edward Steichen and Robert Demachy.


The Gum process require a negative that can be contact printed. For this I will be using 5 x 4 negs. First thing to say is I have had no training in the Gum process and when researching the process there are many statements stating that this is a process that can take time to master. Oh well, I'll give it a go. The starting point was to research the process, for this I used Christopher James book, "The Book of Alternative Photographic Processes and Sarah Van Keuren "A Non Silver Manual". The first item that both these authors write about is the hazardous  chemicals that are used in the process. They are not trying to frighten here - far from it. They want to instill caution that one particular chemical 'Potassium Dichromate' if not used properly has some serious side effects. Potassium Dichromate is poisonous and highly allergenic. Safety equipment must be worn which included dust mask, safety glasses, latex gloves and an apron. The below in an extract from Christopher James book on the safety of dichromates.



NOTE: Be cautious in how you handle ammonium or potassium dichromate: It is dangerous and poisonous and highly allergenic. Never put bare skin in contact with any dichromate solution. This chemical can cause lesions on your tender flesh through contact and can damage your lungs by breathing it in its dry state. Be very careful with storage and never leave the chemistry unlabeled or where children can get their hands on it. 


With the above warning at the forefront of my mind I proceed with caution.




The Gum Process comes in two parts: the first is preparation of the paper, the second is the actual printing of the gum process.


Paper Preparation:







You can print on many different substrates and papers using the gum process, but using the experts recommendation I chose to print on Fabriano Artistico water colour paper. The first thing to do is pre shrink the paper, this is done by soaking pre ripped paper in a tray of hot water for 10 minutes. Hang to dry.





The next stage is to size the paper. This allows the colour pigment to attach itself to the substrate. Take one level tablespoon of knox gelatin and sprinkle it on the surface of a glass jug of cold water 250ml. Allow the gelatin to soak up the water - 10 minutes. Heat a double boiler to a temperature to 54 c. Maintain the heat and ensure the gelatin is fully submersed in the water.




Tape the now dried pre shrunk page to a board. When the gelatin is ready paint onto the paper with a sponge brush. Vertical strokes followed by horizontal. Allow to dry before applying a second coat. However, the gelatin must remain at this temperature or it will solidify. The use of a hairdryer speeds up the process at this stage.  Once two coats have been applied leave to dry.







                                 Getting ready for gum printing.




Printing Process




The first part of the gum process is to prepare all the chemicals. The recommendation is to use a 10% potassium dichromate saturated solution. To do this mix 10 gr of potassium dichromate with 100ml of distilled water. Pour into a dark medicine bottle and label correctly.


Now we're ready to print:


Next make a sensitise solution, pour 6ml of gum arabic into a plastic cup, next take your chosen water colour paint or gouache paint and mix between a quarter inch to an inch. Mix thoroughly together


























Add 6ml of the pre pared dichromate solution and mix well.








Mark out the image area on the water colour paper to indicated where to paint up to. Paint quickly and lightly in even vertical strokes then horizontally. Work the paint into the paper until it just becomes taken. Allow to dry.






Put the sensitised paper in a contact frame, put a chosen negative emulsion side down onto the paper. Take outside into sun light for exposure. The recommendation for exposure are 2 to 10 in full sun, but this will depend of time of year and cloud cover. The sensitised solution will only react to UV light. This is all a bit trial and error.  You can use a test strip but with changeable condition it can be a bit superfluous. An artificial light can be used and is probably the best way to control exposure.







The next stage is to wash the print, I set up 3 trays of cold water for this purpose. Once the paper is exposed take out of the contact frame and remove the negative. Put the paper exposure into the first tray and rock gently removing the orange dichromate solution. This is roughly 10 minuets. Remove and put in the next tray rock the tray to remove any paint from the image, you can pour water from a jug from a height to aid with this. The third  tray is used if fresh water is required.






Once the image is washed to your liking remove and dry.




Conclusion


As they say the gum bichromate process is very addictive and its one that I will pursue to become competent in. I really like the paint effect that you are able to active. This is just the look I am after for this final project.












Thursday, May 3, 2012

The Negatives - Final Integrated Assignment

Following the research into floriography (the language of flowers) I had to find and decide on subjects. Using a list of flowers and their symbolic meaning, I went to the local garden centre to find suitable examples. This is easier said than done, due to the time of year I was limited to the flowers that were in season. However, I just did not want to take any old thing on offer but look for structural beauty in the flower. The flowers that I chose are as follows:


Flower                        Meaning


Carnation (Pink)              A women's love


Cherry Blossom                Gentleness, Kindness


Sunflower                     Pure and lofty thoughts


Daisy                         Innocence, loyal love, faith


Poppy  (red)                  Pleasure


Dandelion                     Coquetry


Ivy                           Dependence, endurance  


Rose (red)                    True Love




When I had obtained the flowers for the project I had to decide how best to capture the best structural beauty. By using the research I had completed over the three years of my course I was able to narrow my decision down. As described in a previous blog I had admired the work of Nick Nights Flora, but other have also made an impression, such as Irving Penn's book Still Life along with Imogen Cunningham's Flora. However, in the first year I was shown images of Karl Blossfeldt's flowers in art history lessons. As soon as I first set eyes on his images I was blown away. When asked to write about two photographers I  had an opportunity to further research his work further along with Bernd and Hilla Becher. It was Blossfeldt simple but effect way of using macro photography, window lighting and plain backgrounds that have always caught my attention. There something simple but beautiful about his photography.


With this in mind I decided on a large format (due to contact printing) macro photograph. The flowers I had chosen lent themselves to a top view (apart from ivy and rose). I had in the past (Professional Practice assignment) used a lighting technique from John Blakemore, where he used window light and angled his camera and subject to be in a perfect plain. I have really been pleased with the images I had taken using Blakemore's technique and so would utilise it again.






Large format photography is straight forward enough as long as you follow some simple rules. Always take a light meter reading and then its a case of adding or subtracting stop for the best exposure. With macro photography on a large format camera you normally have extended bellows. The rule of thumb is to allow an extra stop of light for each 6 to 8 inches of bellow draw. The image above needed 2 extra stops of light to provide a well exposed negative. By using this light technique and exposure calculation the images below were captured:





Sunflower


Cherry Blossom




Poppy



Carnation



Dandelion




Ivy





Rose


Conclusion

I am really happy with the images  captured. The negatives should contact print well in the gum bichromate process. I chose these examples for a couple of reasons. I had taken pictures of some of the samples in the different stages of full bloom to decay. Some examples have a bit more character if left to decay a little such as the sunflower and the poppy. Others I have dried such as the ivy. The rose was already dried which inspired the ivy shot.

Wednesday, May 2, 2012

Research a creative input - Final Integrated Assignment

Before really getting too absorbed in the production process it is always good to obtain creative input through research of respected professionals in the field of photography. Throughout the past two years I have been drawn to two main photography movements, New Objectivity and Pictorialism. These couldn't be further apart in what they are trying to portray. The pictorialists who were always looking for the aesthetics  in the final presentation of the image to New Objectivity -  clear, sharp focused images. By taking a little of one and a little of the other and combining should produce a unique style of photography.


Ever since writing about Karl Blossfelt in one of the assignments, I have admired his simplicity  and beauty in his photography. Blossfelt never intended to exhibit his images as a collection of fine art. They were to be used as drawing aids for students at the Kunstgewerbeshule (college of arts and crafts) in Berlin. It was here that he would project his images on to the wall for his students to copy. To select his plants he would walk the hedgerow in search of plants that had a defined architectural structure. Using a wooden plate camera he would produce macro images of the samples he collected.





With the  Pictorialists there are many that I admire, however, the one person I always look at in admiration is Edward Steichen. In contrast to Blossfelt, Steichen would use all the subjectivity he could muster when creating his pictures. Such as soft focus and Gum Bichromated for the finished print.





A contemporary artist who is using the Gum process in a new and exciting way is Peter Liepke. Based in New York, Liepke presents an alternative way to see one of the most famous cities in the world. Capturing his images on large format equipment and utilising two alternative technique (Gum Birchromate and Platinum), he has a way of taking photography into a whole new fine art genre.


Tuesday, May 1, 2012

Thoughts on Fuji Emulsion Lifts - Final Integrated Assignment

Following the Fuji emulsion tests I had time to reflect on the strengths and weaknesses of the process.


First I did have some equipment failure, the holder and camera I was using should have been compatible. However, when pulling the holder out of the Sinar F1 camera the latch caught on the holder and fogged the remanding film. However, I carried on to see what the look would be. This problem occurred twice more even when being aware of the issue and trying to be extremely careful when removing.




When analysing the finished image and researching other images on the web I was not entirely convinced this is what I was looking for. I have long admired the work of Elizabeth Opalenick who produces some stunning work utilising the Mordancage alternative photography process. This is essentially taking a silver print and bleaching the emulsion away. This allows the artist to creatively manipulate the image. In the production of a Mordancage image some fairly noxious chemicals are used. At this point of image making I was not planning going down this route.







Images by Elizabeth Opalenick.

Due to the similarities of the Fuji emulsion lifts I thought I may be able to obtain a similar look. The Fuji lifts I produced and the ones researched on the web don't seem to have the subtlety of Mordancage. The more I researched the more I became aware that the Fuji lifts could look a bit cheesy. So I have decided not to continue with this processes for the F.I.A but come back to it later.