Sequence viewing > Index - Alternative Photo Emulsions - Resource - ©
Lloyd Godman
Processing aberrations:
Many artists working with
alternative processes strive to create as technically perfect prints
as possible. It is possible to work with original large format negatives
and produce exquisite sharp prints, with no blemishes and a full rich
range of tones. Even copy negatives, photocopies or transparent ink
jet prints can be used to make perfect prints.
However many of the processes lend themselves to exploiting imperfection
as part of the process, they can have an ambiance's that references
it to the antiquarian.
The
end of the brush stroke can be used to good effect to accent the
fact that emulsion has been painted onto the paper rather than
even coated over the entire surface.
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Rather than
use huge computer files to make perfect transparent negatives,
a reference to the digital pixel can be incorporated as a part
of the work to reference the gap between the historical and the
contemporary media.
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Grain
and scanning marks from the photocopy enlargement process can
be accepted as another layer of visual syntax
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Gaps
in the brush marks where paper was not covered with emulsion can
create another set of interesting marks
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Areas
of in and out of focus where there were variations in contact
between the negative and the emulsion offer another alternative. |
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Chemical
staining, fixer splashing before development can add a different
colouration to areas of the print and suggest a form of aging. |
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Rather
than coat the emulsion with even thickness, variations in thickness
can offer differences in colourr.
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Want to learn more? - do a workshop or one on one with Lloyd Godman
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