Paul’s Assignment Page

Project 1: Cyanotype

Paul, I would like for you to look at the complete photoworks of John Dugdale and read his story. http://johndugdalestudio.com/intro

https://alternativephoto2015.files.wordpress.com/2015/01/43a92-dugdale_clandestine_500.jpg
John Dugdale cyanotype

I feel the streaks that you are adding to your silver gelatin prints of nude studies and portraits, would be easily attainable in the cyanotype and liquid light processes. By applying these emulsions with either a Japanese hake brush or even pastry brush would allow you to achieve that effect rather than using a sponge brush where just the edges would fray outwards. By applying the emulsion in vertical and horizontal strokes- perhaps the image would appear as if you were wiping away a fogged up window-which I think might be quite elusive and alluring reinforcing the obscured romanticism that your prints exude.  So– a few options–work directly onto watercolor paper or perhaps try some Japanese handmade papers. See if you can get your papers and some overhead transparencies printed quickly on Thursday so you’ll be able to print on Friday in cyanotype lab session. Do some of the images you showed in class or other nudes or portraits you think would work.

I like all your attention to detail in the color portraits-they are very different from the sparse mostly dark nude prints where just outlines and shadows dominate. Try thinking about making some nudes with more identifiable objects in them–I think the intersection of something classical with the surrealist nature of the images would add a narrative depth to them.

Project #2 Salt Prints  I think you had several very successful images with this process and I think the antiquated quality to the prints and the warm lush sensual tones go well with your images–especially the nudes and any with more classical elements. But I would like to see you go bigger–too small they look too precious –too private and sentimental–larger they look more expressive–more poetic–more about what remains from what is lost. Try to pick images with more highlights in them this is what makes the print glow and take on a particular luminosity too much shadows and darkness just pushes you away from image..they operate differently than conventional silver gelatin prints–and you tend to be a very heavy dark printer–back off on this process–doesn’t translate in same way…a little darkness goes a long way in salt print…so–larger and lighter!

Project #3: Darkroom Experiments  I think you really enjoy selectively painting on the developer would like to see you work with this more–so the prints almost look like they are crying–think of images this would work well with and again–work at least 11×14–now that you’ve got the technique down—this tends to work better with conventional negatives rather than photograms–would also like to see you work a bit with sequencing and seeing your images as diptik and triptiks. I think you’re all about the one contained image rather than a montage of images–so think how to reinforce that through solarization-selective developement and sequencing..also working with small penlight flashlight (not laser!) just regular penlight flashlight you can tape end to control light..get that and bring it!

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