Tina Rowe: “This work in the baldest terms comes from a series of negatives that were found in a bin with other items related to photography. It seems the negatives were developed by an amateur photographer who wasn’t particularly skilled. Bringing the subjects out was in some cases quite difficult. I have printed them on oyster shells that were discarded into the Thames over many years. I like the literalness of printing a discarded thing on another discarded thing and the work that was needed to reveal the image from difficult negatives. The shells acknowledge these discarded lives. Placing them on an unexpected substrate means pushes the observer to look carefully in order to see the subjects which they might not have done had they just been a small parcel of old prints.”
Letitia Huckaby: “The basic premise behind my work is faith, family and legacy. It is a time capsule for the African-American experience. I am always looking at how the past relates to the present, and whether or not things have changed or remain the same. There is always a history built into the pieces, whether through process or actual materials. I often use heirloom fabrics, and I think that is why so many people can relate to my work.”
Rita Maas: “In this project, 20th Century Plastics, I photograph large format film transparencies that were destroyed while poorly stored in my garage. These images were originally created on 8×10 and 4×5 film for various clients during my career as a commercial food photographer. As forces of nature and time overpower the medium’s fragile materials the photographs dissolve and morph into abstract forms. The vibrant dyes once fixed in plastic are left to freely commingle, leaving behind formless stains of their own matter. The plastic sleeves once used to protect them, take on the traces and imprints of the content they once held. As we stand witness to the gradual disappearance of these materials from use and production it is not difficult to acknowledge the mutable and ephemeral nature of all things. Embedded in our expectations of the medium is its ability to halt time, to disrupt change. The ghostly surfaces of these decayed relics of the medium’s past evoke the erasure of the images they once held and the means, materials and methods of their origins. In photographing these objects, I explore the gap between abstract and representational depiction.
My work investigates the medium of photography itself and the interplay between image, materials and its means of production. I seek to make visible photography’s particular conditions of representation and the instability of meaning in any representation. “
More about Françoise et Daniel (F&D Cartier)‘s work here.
More about Daniel P. Berrangé‘s work here. His blog, with lots of intersting information here.
Daniel P. Berrangé regarding Moon through a dirty window: “The motivation behind the work is to present an alternative approach to modern astrophotography. The goal is to get away from producing pixel perfect images in Photoshop which ultimately look identical to any other astrophotographer’s work of the same subject. Taking the initially digitally captured image and applying various traditional photographic techniques allows for the creation of unique works of art with a strong elemental of chance influencing their final style.
The work is produced using a hybrid approach, involving digital capture through a telescope, normal B&W darkroom processing and finally chemigram inspired techniques.
A digital camera connected to a telescope captures the master image of the moon, from which a digital negative is made. This is contact printed onto a sheet of photographic paper under a darkroom enlarger. The paper is soaked in a washing soda solution and sprinkled with instant coffee granules and vitamin-c powder, the raw ingredients of caffenol developer. This is left to work for a while, causing semi-random selective development of the latent image. The paper is washed and then put through a regular B&W dev, stop & fix process to reveal the final image.