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.

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.

Test 2 Fuji Polariod Lifts - Final Integrated Assignment

With the change in direction came an opportunity to test an alternative process that I would not have considered for the Supersitions project. One such process is the fuji instant film (polariod) lift. Fuji produce a fantastic product  (Fuji FP 100C) for large format photographers for the use of obtaining a preview of the subject before committing to film. A bit like the digital preview on the  back of a DSLR.  However, there are three things you can do with this film other than obtaining a preview. The first is cleaning the negative part of the product with bleach to process  a normal colour neg.  The second is a Fuji transfer, by peeling apart the two elements of the procces before they have time to transfer, and substituting water colour paper for the substrate. The third is the fuji lift:




The first part of the process is to expose the film as normal. Follow the instruction on the pack and pull the film out of the holder in one movement. Allow for the allotted time before pulling apart. Let the image completely dry before using.


Stage One.


Trim around the image leaving the desired amount of boarder.

Stage Two.

Boil a kettle and fill a tray with the boiled water. Put the image face up but ensure it is fully submerged. Leave the image for 3 to 5 minutes. Small bubbles will appear on the emulsion. This is the time when you can lift the emulsion from the original substrate.

                                     

Stage Three.

Place a sheet of glass in a tray of cold water. Transfer the emulsion with tongs to the glass plate. Gently manouver the emulsion off the plate  until unravelled or desired effect.

Stage Four.

On a a piece of water colour paper spread a thin coat of gloss gel medium to take the emulsion. Stretch out the emulsion to the desired effect and wipe any excess gel off with a paper towel. Allow to dry.

The finished image: