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Alternative et expérimentale

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Cyanotype, Van Dyke, Paladium, etc

Labo : Photogrammes, chimigrammes, etc. Sténopé. Expérimentations. DIY. FACES - Bishin Jumonji Gallery. Sara Cwynar - Artistes Art Contemporain - CRAC OCCITANIE à Sète - Centre Régional d'Art Contemporain OCCITANIE / Pyrénées-Méditerranée.

Sara Cwynar (Vancouver, Colombie-Britannique, Canada, 1985) vit et travaille actuellement à Brooklyn, New York.

Sara Cwynar - Artistes Art Contemporain - CRAC OCCITANIE à Sète - Centre Régional d'Art Contemporain OCCITANIE / Pyrénées-Méditerranée

Lakes and Reservoirs — Matthew Brandt. John HILLIARD - Works. Seba Kurtis - Christophe Guye Galerie. 'Seba Kurtis ‘A few days more’ series pictures waiting Egyptian immigrants on the coast of North Africa and the increasing travel hazards due to the lengthier journey across the Mediterranean caused by Italian closed-border policies.

Seba Kurtis - Christophe Guye Galerie

[For this series] Kurtis chose […] to open the camera’s chamber while taking some specific shots. Instead of solarizing all the material, the project includes some partially or almost completely fogged images along with copies of undamaged negatives. Amy Friend. I am not specifically concerned with capturing a “concrete” reality in my photographs.

Amy Friend

I aim to use photography as a medium that explores the relationship between what is visible and non-visible. I have continued to work on the Dare alla Luce series over a period of time; initially responding to a collection of vintage photographs, retrieved from a variety of sources. Through hand-manipulated interventions I alter and subsequently re-photograph the images “re-making” photographs that oscillate between what is present and absent. I aim to comment on the fragile quality of the photographic object but also on the fragility of our lives, our history. All are lost so easily.

Luce LEBART. Mold is beautiful, COSMOS Arles Books, 2015 « Les moisissures sont les ennemies numéro un de l’univers de l’archive.


Dans ce contexte, leur potentiel créatif est injustement négligé. Il est pourtant exploité depuis l’aube des temps par l’homme qui utilise le pouvoir transformant des micro-organismes pour faire son pain quotidien, son vin, sa bière et tous ses fromages. Dans le domaine du patrimoine, les moisissures sont avant tout des « facteurs de risques » et des « agents de dégradations » contre lesquels la lutte est de mise. Dans un texte de 1856 voué à encourager les rechercher sur la stabilité des procédés photographiques, le chimiste Victor Regnault, premier président de la Société française de photographie, insistait sur le fait que seul le temps pourrait juger de la permanence de tel ou tel procédé photographique. Palimsestos / Joan Fontcuberta / Projects / àngels barcelona.

Photogram treated with selenium on painted decorative vinyl paper / Fotograma virado al selenio sobre papel pintado decorativo de vinilo.

Palimsestos / Joan Fontcuberta / Projects / àngels barcelona

Gastrópoda / Joan Fontcuberta / Projects / àngels barcelona. Print on watercolor paper75 X 100 CM.

Gastrópoda / Joan Fontcuberta / Projects / àngels barcelona

The series Gastrópoda is composed by the accumulation of printed images, most of them of them, having been received by the artist as invitation cards to art exhibitions that have been accumulated in his mailbox as if they were printed spam. In order to produce this series the artist has used the corrosive action of snails (of the gastropod class) on these cards in order to transform their surface.

Fontcuberta’s Gastrópoda addresses the process of transformation and degradation of iconic images. In this way the artist discovers an added power in the images depicted on these postcards. By this organic action he conceives a critical reflection that splits into three directions: one, about the authorship of the artwork, the other on the process of production in contemporary art and, a third one that refers to the current situation of image overconsumption.

Eric Rondepierre - précis de décomposition. Sans titre. Trauma (Lightbox) / Joan Fontcuberta / Projects / àngels barcelona. Photographic print on Duratrans with LED lightbox.60 x 40 cm [ENG] In the line of previous projects (such as Blow Up Blow Up, 2009 and Gastropoda, 2013), which were based on the semiotic inquiry of the photographic image, Joan Fontcuberta’s new work arises from the hypothesis that the images undergo an organic metabolism: they are born, they grow, they reproduce and die to restart again the cycle of life.

Trauma (Lightbox) / Joan Fontcuberta / Projects / àngels barcelona

For this reason, Fontcuberta is interested in the archives, since they contain sick and agonizing images, images that, as a consequence of the transformative biology of time and chemistry, suffer from some type of disorder that disturbs their documentary function and disables them to continue "living" in the archive. These same images, whether they’ve been produced by himself or searched in photographic collections, are subject to a state of trauma. "Trauma #2804", 2016. Laurent Jouault photographe. Alternative photographic processes A-Z. Instructions and recipes on how to work in alternative photographic processes and non-silver techniques.

Alternative photographic processes A-Z

Instructions are provided by photographers and teachers working in the process, written with a practical approach, so; enjoy learning a new process. Have fun! If you are new a good starting point is the cyanotype process and if you want an environmetally friendly process start with anthotypes. Albumen prints Replacing the salt print process by the 1840’s, albumen prints combine beaten egg whites with salt and potassium iodide for a higher definition photograph. PROCEDES ANCIENS. APA - Association pour la Photographie Ancienne et ses Techniques. Une photographie dégénérée? Fig. 1.

Une photographie dégénérée?

R. La photographie sans appareil photo - Gymnastique. Wall art generator - Rasterbator.