From: Sandy King (sanking@clemson.edu)
Date: 03/08/03-09:50:49 AM Z
John,
If others want to use alternative processes as a means of
manipulating the print, or to make images that look more like
abstract drawing and paintings than photographs, that is fine with
me. In the same way I think that the highly manipulated imagery that
some people produce with Photoshop, John Paul Caponigro for example,
is a perfectly valid way to make art.
That is not why I use alternative processes, however. In my own work
I want to render a richly detailed view of reality that renders the
most objective view possible of the subject. Dodging, burning and
masking are legitimate tools for because they enhance tonal values,
without otherwise falsifying the representation of reality. But I
won't add representational imagery from other negatives, such as
clouds, flying pigs, etc., nor will I eliminate objects and things
from the image to make it look "prettier."
I use alternative processes, primarily carbon and kallitype, because
of the ability of these processes to render a longer scale of tonal
values than silver gelatin prints, and because of the wide range of
surface and textural qualities that one can achieve in working with
different art papers. I would also add that I like the element of
mystery and uncertainty that comes from the process of
experimentation and of trying new things. In fact, I am probably more
driven by the pleasure derived from discovering new ways of doing
things and working with new materials than by the mere process of
image making itself. In some respects, then, full control of a
process serves to diminish the pleasure I get from working with it
because much of the joy for me is in learning, not repeating.
Sandy
>Hi All,
> I was wondering how many of us have turned to ``Alternative
>Photography``because some processes allow greater manipulation of camera
>image detail at the printing stage. Gum, Bromoil, Oil, etc., Strangely
>enough it seems that there is an effort in trying to achieve ``straight``
>results inspite of the difficulties and problems encountered by these
>chemical processes. Print manipulation has becomes more apparent and
>accepted now that we are in the digital age when photographic images can be
>changed electronically with ease. Personally, my own aspirations were towards
>abstract drawing and painting when photography stepped in and was welcomed to
>add a further aspect of representation from the environment that I wished to
>use. What percentage of alt photo workers on this list are using photo
>processes as an extention of their graphic drawing and painting design
>skills and not as just another way of producing a photographic print which
>may or may not be more archival?
> Thanks to all for being there.
> John- Photographist - London
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