Alt Processes Photography

I include this print because of the use of old process to do old sites, in this case, religious ones.  Here is a vimeo video on his work: https://vimeo.com/124642746.  I have been pushed to reflect on how I can have a “more” factor than just another alternative process picture of traditional subjects (e.g., Victorian travelogues).  I do not yet have a concept for this, but I feel like I am on the cusp of something that integrates my fascination with stereoscopy and my attraction/repulsion to Empire and power more generalized.  We’ll see.  I have photos of Tintern Abbey (from 2003) that are not unlike this one.  I like them sort of “in themselves—as is” but I realize that is not enough.  What, given my identity, my politics, my social standing, my etc., is the pull to such things?  That is what I have to figure out and be more purposeful about (either positively or negatively).

No dimensions given. This is, for me, is not unlike the previous Anderson gum print in its “composite” qualities.  It intrigues me to juxtapose color onto a monochrome print, but coloring monochrome photos has deep roots in the 19th century.  It pulls me to think about ways to reconceptualize the old and the new. 

I have not been able to find out much about this artist, but I am, again, impressed by the technical skill as well as the artistic skill.  The dark background and the clearly rendered grain stalk is amazing.  It is a gold and platinum toned salt print.  I have to read more to see how one does a double metal toning for salt prints, I only used gold chloride ammonium thiocyanate toner.  I want to get this kind of color/tone differentiation.

The third piece (https://www.google.com/url?sa=i&url=https%3A%2F%2Fspruethmagers.com%2Fartists%2Fbarbara-kruger%2F&psig=AOvVaw3bK4ilngpHOMOQdz_5PS9v&ust=1702784613459000&source=images&cd=vfe&opi=89978449&ved=2ahUKEwjkiLGRhZODAxUBOEQIHf19COgQr4kDegQIARB3) a single channel video 137 7/8 x 137 7/8 inches, adds the jigsaw puzzle elements which both break the portrait and set the viewer in the role of puzzle solver.

I am, of course, deeply impressed by her craft, but also the content and concept.  I have often thought about compositing, big and small, but have not been able to decide how I might proceed.  I also like the work of Barbara Kruger relative to her use of text/fonts as composition.

This too comes first to me from Anderson’s Gum Printing, p. 207.  Partly because I’ve been reviewing the work of Stieglitz, this print really stood out to me.  I really like the movement of all the people and their mostly being absent from the road, with the lone guitar player on a crosswalk.  I can’t imagine what it would be like to see the print in person.  (www.peterliepke.com)

http://www.actuart.org/2017/04/expo-photographie-du-xx-eme-siecle-walker-evans.html I include this work simply because my recent piece, Rose colored glasses make it hard to see redlining, led me to Walker Evans which in turn led me to John T. Hill.  Hill was a professor at the Yale School of Art and Architecture and was asked by Evans to be his executor of his estate.  I was struck by this piece due to 1) its similar form to my pieces and 2) the kind of eclectic mix of content.  I have yet to explore much more of Hill’s work, but here are relevant links: https://institutelibrary.org/event/john-t-hill-persistent-observer/ https://news.yale.edu/2014/02/12/bulldog-and-panther-exhibition-explores-legacy-may-day-rally

Barley fields, Scotland I forgot to post this with the salt prints, but it is a redoing of the previous version but 21 inches wide. I'm happy with the print, but the darker middle is partly in the negative and partly light fall off. I've redone the negative with dodge and burn but haven't gotten around to re-printing it.

Dunnottar Castle, Scotland Still in the damn yellow phase. Retried for the upper (with same changes as the Daviot stones below) for the upper print. Might do another magenta layer, but I like it as it is.

Izzy Too much yellow. Odd color shift left to right. Not sure why I can't get more shape in the face. Still, it has a kind of Warhol homage to it...

Daviot Stone Circle Yellow cast. For the top one, I changed the PVA sizing to a 1+1 ratio and used Christian Anderson's favorite pigments along with her recommended 25% "stock" mixed pigments, diluted down to 3% for the cyan and 4% for the magenta and yellow.

Final version. Pretty happy with the outcome. Still a little yellow, but I really like the metalic and reflective quality of the plane's metal

This is a scan of the previous with levels adjusted in the scanner. Makes me wonder if I can somehow use a real primary blue (not cyan) on a monochrome negative (without the channel split) to clear the yellow cast in the previous print

Made a new negative with Christina Anderson's curve. The pigments didn't clear well. Don't hate it, but...

Used an old negative for this one. Overexposed. No registration marks. Guesstimated the pigment amounts.