Caption (image above): lumen on expired agfa fiber bromide paper (by Sofia Silva)


More about Almudena Romero‘s work here

Almudena Romero: “Growing Concerns uses plants from former British colonies as a canvas to host images that reflect on the links between plant trade, colonialism and migration, and the legacy of these in modern day Britain. These photographic prints are made by the bleaching action of sunlight on the chlorophyll pigments of a plant leaf. The chlorophyll printing process doesn’t require any chemistry or inks.
The series looks back at how trade of coffee, tea, poppy, sugar,cotton, and other plants generated migratory fluxes and it draws a parallel between the historic interest in facilitating movement of goods and capitals and the increasing interest in restricting movement of people.”

More about Ky Lewis‘ work here

More about Wendy Small‘s work here

Wendy Small: “In Wendy Small’s series of photograms, Remedies, black and white silhouettes of collected weeds and plants bloom in radial symmetry. These plants, organized on photo-sensitive paper, result in profusions of grasses, herbs, spiky leaves and fluffy dandelion heads that suggest order as much as entanglement. The works recall traditions of gardening, flower arranging, and botany that balance the wildness of nature and rationalistic aspirations of society.” Source: Musée.

More about Evan Thomas‘ work here

Evan Thomas: “These photographs form a selection of images from an ongoing series called Saturn Return; a body of work which aims to explore the fundamentals of darkroom photography, and the possibilities – as well as limitations – that stem from directly recording light on a flat, two-dimensional surface.
To date, they have manifested as both black & white and colour luminograms, a process that involves producing an image in the darkroom without the use of a negative. They are created by exposing individual sections to different coloured light: carefully masking, dodging and burning to create the overall illusion of three-dimensionality, slowly building up the final image piece by piece. The work employs a variety of production techniques and utilizes unique hand-made instruments and a range of light sources alongside the traditional enlarger.
I am interested in the distillation of the photographic medium to it’s simplest form, creating works that push the limits of what the process is inherently capable of presenting to the viewer.”

More about Sue Brown’s work and her technique here

Sue Brown: “It has to be a gradual process, no one artist pops up fully formed and if they do it can often be a one hit wonder. The important factor is to have your own voice, not to try and be someone else. Don’t look too closely at other artists and their techniques, that is theirs. Do your own thing, always have your own twist. I know everyone does birds, but not everyone does birds the way I do.” Source: School of Stiched Textiles

More about Amanda Means’ work here

Amanda Means: […] For several years I made my living by printing for other photographers, including Robert Mapplethorpe, Berenice Abbott, Petah Coyne and Roni Horn. This was very demanding and very exacting work. Throughout these years I also did my own work, often experimenting with alternative, camera-less approaches. Working in this way was incredibly refreshing and freeing. As part of this exploration, I began cutting and folding the surface of the paper and letting the liquid chemicals drip, splash and flow over the paper.
Some of these abstractions are made by very carefully, very delicately scoring gelatin silver photographic paper on alternate sides and folding it in a fan shape. Sometimes I use Ilford Matte Fiber Base Multigrade paper. Other times I work with a warm toned Fomatone paper (produced in the Czech Republic). I expose the folded paper in various ways under the enlarging light using a number of contrast filters. After the exposures, I place the paper into the liquid developer in a variety of positions so that it hits the paper’s surface in numerous locations. Then I slowly pull the paper up out of the developer tray and let the chemistry run down its surface. A myriad of different effects occur depending on exactly how the paper is scored and folded, how it is exposed,
how it is placed in the developer and how it is pulled out.
There is an intriguing interaction between the rigid, straight lines of the scored, folded paper and the way they interrupt the loose flowing rivulets of the liquid developer as it cascades down the cut surface of the paper. The scoring and folding is absolutely controlled. The flowing liquid is by contrast, quite unpredictable. I love the mix of the controlled and the spontaneous.

Source: text by Amanda Means, 2015.

More about Ellen Carey’s work here

Ellen Carey: “Questions frequently asked about my work include, ”How is this picture made?” followed by “What is this a picture of?” The first question addresses photography as process. The photographic object often involves an intersection of process and invention, as does the practice of photography itself. In traditional photography, both the process and the invention are “transparent”, mere means to an end. In my work the process becomes the subject. The second question addresses the conundrum of a photographic image without a picture or a “sign” to read. These two questions challenge our cultural and historically prescribed expectations for this medium to narrate and document, all the while revealing no trace of its own origins.” Source:

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