Artists2artists Social Network
Latest Activity: Oct 11, 2014
Started by ELIZABETH ROSE EITEN. Last reply by Cheri Soliday Schubert Jun 14, 2011.
Started by Anita R Savio. Last reply by ELIZABETH ROSE EITEN Sep 6, 2010.
Started by Michael Vinyard. Last reply by Michael Vinyard May 6, 2009.
Good morning. I just saw this group and decided to join in. I'm a landscape, nature, wildlife photographer from Los Angeles. On the commercial side, I've done editorial work and art-directed many car shoots (still and video).
A chemgram is a photographic image that's made by the action of chemicals on light sensitive materials. Most of the colors come from interaction with the silver nitrate. In tne case of a Photo/chem gram, the imagery is from both light (photogram) and chemical reactions (chemgram).
Hope that helps... joseph
Here's a link to an interesting show at New York's Metropolitan Museum of Art: "Faking it: Manipulated Photography Before Photoshop"
I'm not sure if (many?) dislike PhotoShop because of its' ease of manipulation or not, but none-the-less, manipulation has been going on for a long time (Bill Jay's book, "Cyanide & Spirits" has some hilarious comments about the history of manipulation in photography. California purists from Carleton Watkins to Ansel Adams manipulated both negatives and prints to get a desired outcome. Physical manipulations of a print was one of the major assignments in the beginning classes at the Art Center College of Design. PhotoShop is just a step in a long process of changing reality. In fact, the mere fact of making a "straight" camera image is "changing reality as we see it..."
I think I will experiment with PS. My rule in life:I Don't throw anything away, it could creep into my art. Its good to air out what concerns us as artists.
I did not want to insult anyone, just wanted to bring the subject up. The digital world is here and is expanding at the speed of light. I feel like the old trying to stop the new, better and improved. I am not, do it. I would like to hear what other artists think about it.
Since no one has agreed with me about PS I will bow out. The eyes have it.
Daugerre certainly looked askance at the "low-life" tintype. Never-the-less, I've seen some very interesting tintypes. And would Lee Miller have used digital technology (including PhotoShop) if it were available? I guess we can't answer that, but judging on what little I know of her work, I don't think she would have turned down her nose at any available technology (she did, after all, use those "miniture" 35mm cameras).
I have always thought that to be informed about other's work (as well as my own), one needs to investigate everything; including literature. And since this is a photography forum, I'd like to mention a few pieces of lirterature (both read in the far past and in the very recent past) that I think are pertinent to this discussion; all of these books, plus so many more (technical, historical, biographical, and monographs), have formed my (not so narrow, I hope) opinions about life, the universe, and everything relating to photography: Robert Adams; "Beauty in Photography", "Why People Photograph"; David Bayles & Ted Orland, Art & Fear; Bill Jay; Cyanide & Spirits", "Ocam's Razor"; Geoffrey Batchen, "Burning With Desire"; Eroll Morris, "Believing and Seeing(Observations on the Mysteries of Photography)".
All of these books (and so, so, many more) have a lot to say about the aesthetics, and as a consequence, the techniques of photography.
Whether one reaches back to the 19th century to make wet-plate collodion negatives (with all the associated explosive, toxic, and environmental ramifications) or chooses to go digital (and kill gorillas in Africa as a consequence of the use of minerals in the development of chips) is a choice that should be based on thoughtful information. What is good for one, may not be good for another...
Topic begins to soar.
Check out Lee Miller.
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