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Gianni’s CYANOTYPES, SALT PRINTS, Coffee/Tea Toned, Light Experiment, Weaving, Liquid Light    click on image and you can see entire gallery

Gianni’s Artist Statement

I enrolled to the alternative class because I wanted to explore and experiment new techniques, techniques that challenge me to develop my creativity and my skills as a photographer. I was looking for different ideas that allow me evolve my photographs.

Image toning was one of the processes that I tried and enjoyed to do it, I see myself in the future using this process with my photography. I like the way the photograph looks; it gives them a mood like a photo from 30’s. Another process I enjoyed was salt prints; I like how this technique recreated a dramatic sense and mysterious vision on the photographs. One of the processes that Jerry Uelsman has been doing for his whole life is a composites photo and it’s one of the processes I would start working on it. This technique allows me to feel free and also to create images that people aren’t accustomed to see it, surreal images something out of this monotonous world. The weaved process is like a therapy it make you feel relax but it also takes a lot of time and time for a photographer is crucial. Cyanotypes toning with coffee, black tea, and green tea was interesting and catch my attention, this yellowish color that offer this technique was unique.

I really enjoyed be part of this class, it was an amazing experience and definitely affects my vision as a photographer also this class evolves my skills and creates a new artistic perspective and opinion, but I believe this alternative class should run just on the long session because the fact we have to use different chemicals and a few of those ones are toxic we don’t have the desire accessibility to use the darkroom.

3 thoughts on “Gianni

  1. Gianni, you are my favorite student photographer in the department. I think you are so talented and I love being able to watch as you go through the photo program and grow as an artist.

    It’s really difficult for me to pick my favorite images from this gallery, but if I had to choose, it would be the salt print of the person in that big tunnel, the Taxi company, the toned cigarettes, and the amusement park. I like them because they evoke the most feeling in me, out of all the photos. They make me kind of sad, but not in a depressed way, more like a nostalgic way. Like they are memories of times passed, things that were, but aren’t anymore. They’re beautiful 🙂


  2. Gianni.

    I have to say that all of the work you did for this class was great! The style you hold shows in all of them. If I had to pick out some of my favorites I would say the Mosh pit one, and your salt prints. I love the old feeling it gives of, and how they look like small important events.

    Great job!


  3. Gianni, you are able to convey such deep emotion in your photographs by elevating your subject matter to another existence rather than some overt sentimentality. Pearl is right they are beautiful without being pretty-if you know what I mean. They are beautifully masculine-actually. Your subject matter speaks directly to the viewer -yet you are not removed from the picture. Your presence and intention is evident as the viewer consciously senses the symbolism and disruption of time itself in your pictures. Your confidence as a photographer, your sensitivity and respect to your subject matter comes through an acute awareness of both observation of what appeals to you as a photographer and a viewer. I think you’re highly aware of what you want to see and what you want to show–and this is half the battle of being a photographer-the other being what you don’t want to see and what you don’t want to show. You are a photographer’s photographer because there is a strong subjective intention that you are imposing particular formal considerations in your photos. I think having the opportunity to choose your own subject matter and alter it as you wish-allowed you to consider more tactile ideas about presentation and surface, scale and possible viewer interpretations rather than just your own intuitive gestures.

    The weaving of your mother into a spiritual icon with backlight would transform the weaving into an installation-or simply set the table and put a glass of milk there for an entirely different interpretation. She is both mother and saint–hero and ghost .The light experiments are quite engaging-imagine them as a long print that wraps around an entire room–no beginning and no end. I especially like the Hitchcock looking man with figure and camera–and find your abstractions that are figurative very strong visually. The 2 opposing faces is one of my favorite images–direct and hard to take your eyes away from it–it sneaks up on you that photo–and the way the digital neg stuck to surface creating that ridge pattern made it all the better! Learning to embrace the “mistakes” of hand works rather than the predictability of machine works is evident in how you worked out each of your pieces. The quality of the coffee toning created such a classic vintage look to the images–emphasizing the formal elements of the images. The composite of the falling man in the clouds with the bird is absolutely wonderful in its possible interpretation and the composition feels loose and effortless (even though I know it took ALOT of effort doing the Uelsmann technique). I think of composities as writing poems with pictures–they are pieced together and your viewer feels the whole thing yet can take apart the pieces much like how one reads a poem. This is how Robert Frank wanted his photos to be read-over and over again–and I think you have a strong affinity with his work and his strong emotional sentiment. Keep me in the loop as to your next move–because I expect great things from you Gianni!


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