Spr ing/Summe r 2 0 1 2
FUZION PORTFOLIOS Michael Taylor Ellie Davies Pierre Pellegrini Dennis Cordell Gary Auerbach
Three Point Four
COVER STORY Bastian Kalous
A n alog One2 0 12
PLATINUM COLLODIUM CAFFENOL CYANOTYPE VAN DYKE GUM BICHROMATE CARBON TRANSFER POLAROID AMBROTYPE FILM PINHOLE PAPER NEGATIVES POP PAPER GELATIN SALT PAPER LIQUID LIGHT CALOTYPE ANTHOTYPE CHLOROPHYLL ARGYROTYPE KALLITYPE CHRYSOTYPE PALLADIUM ZIATYPE DICHROMATE CARBON ALBUMEN DRY PLATE LIGHT Anal o g v o l 1 2 0 1 2 call foOIL r e nt r i TRANSFER es MARKING SILVER An a log is a n a nn u al p u b l i c at i o n t h a t a im s t o re- est a b lish a na log pho to graPINHOLE PAPER IVES P ph y within the ph ot o g r ap h y c om m uNEGAT nit y. Ph ot ogra p h ers a t a ny le ve l ,fro m a nywh er e in th e w o r l d , c an su b m it a p ort folio of 10 im a ges for p os si bl e i nclusion .PAPER Check t h e P u b l iGELATIN c at i on s p a ge for m ore inform a t ion. OP SALT PAPER www. fu zio n ma g az i n e . c o. u k / LIQUID LIGHT CALOTYPE ANTHOTFollow us o n Fac e b ook an d Tw i tt er. YPE CHLOROPHYLL ARGYROTYPE PAPER NEGATIVES KALLITYPE
The magazine where the future and past meet 2
I ssu e 5 Sp r i n g /Su m m e r 2 0 1 2
Sp ri n g / Sum m er issu e 2012
Contributors Bastian Kalous Michael Taylor Ellie Davies Pierre Pellegrini Three Point Four Dennis Cordell Gary Auerbach
I would like to dedicate this issue to my students. You have helped me gain a better understanding of what teaching is and should be! As we forge ahead together, tearing up the rulebook, rejoicing in your successes, you embody everything I would want from a cohort of students, success, determination, dedication and individuality.You amaze me, challenge me, you crave and desire knowledge.Your passion to learn is challenging, but in rising to that challenge you remind me of a promise I made to myself many years ago, to give back something I myself received at your age. One of the most influential people in my life was my first photography teacher, if I can be as patient, engaging, encouraging, passionate and demanding as my own teacher then I will have succeeded. I hope I lived up to your expectations.
Editors note As well as publishing this magazine and working as a professional photographer I am also a photography lecturer. Editing this magazine gives me the opportunity to showcase the work of of my own students. As we approach the end of the academic year in the UK photography students will be preparing for their final year exhibitions. If you are a University or a group of students who would like to feature your final year work in this magazine then get in touch. For now I bring you the work of my own 1st year photography students who are preparing for their first major exhibition, celebrating their first year of tuition.
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Articles Gabriel Van Ingen
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The symbiosus of nature and polaroid
Photography is light architecture
Pierre Pellegrini Phase One P20+ landsapes
Three Point Four Student focus
Night for day
Fron t C over - B ast ian Kalous
B a st i a n Ka lou s I started photographing about 3 years ago. My first camera was one these plastic Polaroid instant cameras. Back then it was all about taking Polaroid pictures and it still is. What I’m trying to do is to capture some impressions about the nature I live in. The fascination of taking pictures of nature is the perfection of imperfect spots or places. The objects I mostly find are crooked, rough, dead…simply natural. This is what I feel what matches perfectly to this imperfect expired Polaroids. The films are going their own way, bringing their own mood and creating an impressive scenery. It’s a symbiosus between nature and Polaroid. Like they are having a baby. This is what I love about the medium I am working with. Hopefully Mother Nature lasts longer than my expired Polaroid stock. w w w.pol anoi d.net/basti ank
www.p olanoid. net / bas ti a n k
www.mi c haelt ay lor ph o to .c o m
Michael Taylo r Michael Taylor is a full time photographer currently living/working in Belfast. He was born in a small market town near the beautiful North coast of Antrim. Although working as a location/people photographer for twenty years, he continues to explore personal work. He has exhibited work in Dublin, London and Melbourne. In the Lumen series of projects the topic of investigation is light itself. It is a lifetime project in which various aspects of light are explored in separate bodies of work. My aim is to let light reveal itself. Wave is the third body of work in the Lumen series. There is abstraction with a human presence. Images of light waves in water, glass, air and materials were projected onto the model. Film and analogue projection techniques were used; there was no digital manipulation in Photoshop.
Images were captured using a Phase One system with minor embellishment in Capture One. Although the initial images are colour I also manually transform each picture into the purity and beauty of black and white. Regarding equipment, I use everything from self-built pinhole cameras to advanced digital systems. Black and white paper and film negatives have intrinsic qualities that I will always love. Digital allows great feedback, control, organization and productivity. Both are powerful media requiring craft skills when used correctly. Combining the power of digital with the beauty and hand-crafted element of Classical Photography is a great way forward. For example, my two current aims are to learn more about digital masking/montage and also to learn the gravure process. My influences are wide-ranging. In addition to hundreds of art and photograph books I enjoy reading science in general, cosmology, theology, philosophy and poetry. I love painting especially that of the Renaissance, Impressionist and Abstract Expressionist schools. The lighting in art films and theatre are also influences. The work of light artists fascinates me. For example, James Turrell creates magical environments in which the qualities and properties of light are replicated and enhanced in front of the viewer. This is revelatory. My aim is to mediate the properties of light via photography. Abstraction was always natural for me, so I love photographers with abstract visions of the world such as : Moholy-Nagy, Minor White, Man Ray, Alexander Rodchenko, Frederick Sommer, Paul Strand, Brett Weston, Aaron Siskind, Hiroshi Sugimoto, Tokihiro Sato, Todd Hido and Alvin Langdon Coburn (Vortographs). The greatest influence is the inexhaustible reality of light around us. We just have to look deeper. To create the work I initially imagine and sketch, then plan shoots (email/phone, collect props, organize lights, costumes etc), take the photographs then follow with minimal post production. In parallel, I am continually recording light patterns that feed back into the creative process. I always follow the light where it leads and select/decide as the photographic session evolves and also later during image selection and post production. Photography is essentially image making, i.e., using your imagination: you must mentally visualize (or have a clear direction) prior to planning, setting lights, using a camera, post production, exhibiting. Happy accidents happen but you choose how to follow these gifts of grace based on personal vision. Computers or chemistry are simply vehicles to express what is in your imagination. Style just happens during the process of following your own path and interests. The selections an artist makes determine that unique pathway and thus style emerges. To base a style on a technique (analogue
or digital) is dangerous as technology and materials pass so quickly: instead, the image is paramount. There are always universals and particulars: for example, there is the vast arena of light and the specific area you choose to investigate. There is history and personality: no-one can see/interpret this light in exactly the same way that you can. Every artist in some way wants to reveal the invisible Credits Model: Katy Cee; Assistance: Franรงois Boutemy at Simulacra Studios, London. Light images were photographed throughout Northern Ireland and Southern France.
http://www.michaeltaylorphoto.com http://www.saatchionline.com/profile/167024 firstname.lastname@example.org
www.mi c haelt ay lor ph o to .c o m
Ellie Davies The Dwellings series explores the artistâ€™s changing relationship to built structures within the forest landscape, developing on previous work to examine the notion that we use landscape to find a sense of our own identity. Landscape can be seen as a cultural construct, obscured by layers of meaning that reflect our own cultural preoccupations and anxieties. Can we learn about ourselves by considering how we have come to see and make landscapes, as a result of our material needs, and the way this has shaped our relationships with the land?
The woodland Dwellings are made using a variety of traditional and improvised building techniques and created from materials gathered from the forest floor. Once completed, the structures function as signifiers of a creative process in which the artist inscribes and places herself temporarily and non-invasively within the forest landscape. These nest-like structures, reminiscent of the fairytale hovel, are a form of mark-making and explore the process of building in order to provide shelter, sanctuary, seclusion, and play. The creation of each Dwelling illicits a childhood pleasure in building and making. The process ties the artist to the structure with a familiarity derived from being its creator, and brings with it a sense of ownership and territory; but this relationship is short-lived. After a period of time each structure is revisited and photographed. The Dwellings take on their own personal identity, presence and potential, becoming inexplicably transformed into something independent from the creator, perhaps lonely, sometimes melancholy, and alien to the maker. Each has existed in the woods over a prolonged
period of time, evading destruction, remaining in wait, possibly used by others. While some still seem newly made, others have begun to disintegrate and loose their form and function, the delineation between the structure and the woodland beginning to blur. Any sense of ownership ceases to exist when construction of the Dwelling is completed; it then becomes part of the forest, and an entity in its own right. During the period of absence it is transformed into a shrine or totem of a past activity, and in doing so takes on a subtly threatening otherness in its vacancy; a persona that is both disturbing and intriguing to its creator. email@example.com www.elliedavies.co.uk
P i e rre Pelle g r ini Pierre Pellegrini is an award photographer from Switzerland specialized in long exposure fine art photography. His artistic sense boosts the creation of extraordinary compositions of great depth and clarity engaging the viewer emotionally into timeless stories. In an interview with him we discussed his style, influences and technique. The pictures in this set are the result of several years of work and experimentation in the field of long exposure photography. More than about techniques or the choice of the different subjects, the pictures allow me to tell you why I am attracted by this kind of photography. The applied technique requires different rhythms in which the time factor becomes essential.You take yourself time for the composition; during the intervals between one shot and the other you can live and relish the atmosphere of this particular moment, think about all kind of things and study the next framing. This is the origin of the title of this project “Pensieri nel tempo” (Thoughts within the time). A way to escape from reality and to show a world that cannot be seen with our eyes. A different world, much closer to my thoughts. Some people consider photography as an exact reproduction of reality. Through this technique, reality is partly transformed. It’s true that some elements are shown exactly the way they are, but is also true that others, in particular those who can change from one physical state to another like water or clouds, appear in a new dress, growing away from visual reality. Depending on the direction and the force of the wind or the change of light, the drawings we find in the pictures will never be the way we see them with our eyes or like we imagine them to be. The atmospheric conditions of that precise moment, transient and therefore unique, are transformed through photography into a magical and evocative phenomenon. Almost as if the reality of the time was invisible to our eyes. And so we must learn to look with our heart, with our emotions. A different world, where the dynamism of the sky is emphasized by the contrast with the perpetual movement of the water, frozen and ironed like a silk dress. We all know that photography not only frames a certain part of space but also contains a thin slice of time. In this project, the passing of time is immortalized, conveyed and held in one single picture. Even for me, when I am relishing that moment and the camera is recording, the picture that arises is always an unexpected surprise. When you have some experience it’s possible to imagine how it will be, but you will never be able to foresee the final result. There are no precise rules since the variables can be unforeseeable. It’s rather gestures which one learns with the time. Nature offers so many possibilities for compositions. The difficult thing is to chose the composition which - among all - is new in an extraordinary way. An aesthetic and graphic research of nature, where everything seems to have found its right place, where the sense of order seems so well balanced and propor-
tioned that it becomes difficult to distinguish the boundary (if it exists) between human intervention and nature, responsible for itself. Like the choreography of a ballet or a musical composition – everything seems in harmony and gives us a deep feeling of peace and quietness. Order and balance of nature mixed with imperfection and unpredictability of the record technique give us the gift of a picture that grows away from reality. Sometimes, I can’t even explain myself which are the mechanisms that make me chose one subject rather than another. I feel that I have to stop to immortalize what my eyes see. By photographing, I try to give a particular importance to what I see. In a first moment, this is a very personal value, where the picture is the expression of what I feel. A kind of inner landscape. A magical moment that I wish to hold in my memory and in my thoughts, but at the same time I want to share through the photography. I love to photograph in solitude. I relish until the last instant these unique and magical moments. I want to give a voice to a silent picture. Make the picture itself talk about this silence, this quietness, is one of the aims of this project. I am not quite sure if it’s me who is looking for the subjects or if it’s the subjects themselves who are looking for me.Yet, whenever such an encounter happens, a picture arises, perfectly in harmony with myself and with my personality. A kind of balance, harmony, quietness .... Pierre Pellegrini http://pierrepellegrini.portfolio.artlimited.net/
Pierre Pellegrini http://pierrepellegrini.portfolio.artlimited.net/
For the second year running we follow the progress of a group of photography students as they prepare for their first major exhibition. In just a few months this group of emerging professionalâ€™s have achieved so much. From diverse cultural and social backgrounds, they have brought with them a genuine desire to learn the craft. Their determination and creativity has resulted in the most successful year in the history of the course, their successes so far amount to three national competition winners and four published in national professional magazine and newspapers. I genuinely look foreword to seeing what they will achieve in their time with me over the two years of their course. Gabriel Van Ingen - Photography Lecturer
Thr ee P oint F ou r “These people are like my second family. They’re actually the group of people I spend with 9 to 5 every Monday, Tuesday and Wednesday each week. If it wasn’t for them, I definitely wouldn’t enjoy college as much. We are all very individual, yet we work really well together. I’ve never been around such motivated and inspiring people up until starting the photography course at the media and journalism centre in Peterborough. As we’re all at college for one reason; our love for photography, we all listen to each other’s constructive criticism, share ideas and photographers, plan days out shooting. We pretty much have our minds set to photography, which is just what I needed to keep pushing myself forward. I could just spend a whole day listening to everyone’s ideas and how they’ve interpreted our assignment briefs, I find it so interesting how just one brief can spark so many unique and brilliant ideas.” - Sarah Kathleen Page. Follow the group as they prepare for their exhibition in June http://three-point-four.blogspot.co.uk https://www.facebook.com/threepointfour
Sarah Kathleen Page
D ennis C o r dell
“My camera is a less archival utensil and more of a Pandora’s box. When the shutter opens all the darkness in the box flies out into the world, but light enters and captures the “hope” of a good photograph”.
Like many photographers, I was trained as a painter. I also did pottery. I do not consider myself to be an ex-painter or a potter of yore, but rather an artist currently focusing on photography. I bought a Nikon FM about thirty years ago to aid me in painting portraits. I would photograph my subject, then use a grid to transfer the image to canvas for painting. I soon realized that I liked doing photographic portraits more than painted portraits and eventually moved from the 35mm format of my Nikon to the 120 format of the Hasselblad. I also surrendered to the square format of the Hasselblad as opposed the rectangular format of 35mm. A camera lens is round and can perfectly contain the equilibrium of a square whereas a rectangle creates stress when part of the lens has its view “cropped” by one of the rectangle’s sides. Although I occasionally do landscapes, my favorite subject matter, either in painting or in photography, has always been portraiture. I love the human face. I also prefer doing portraits of Buddhist monks and other spiritual contemplatives in Asia.
Such people aren’t concerned with whether their portraits are cosmetically appealing. For them, a photo of themselves is simply a memento to gloss a particular occasion. Westerners often ask for post-production “favors” such as bag, wrinkle, or chin removals. Buddhist monks know that wrinkles are just part of the impermanence of the phenomenon we call life. Future lives will bring more than enough facelifts. I have always considered Buddhism to be a cult of tranquility. Tranquility is a useful agent in photography. Many of my concerns about photography, and art in general, have developed from my interest in eastern mysticism and spirituality. The square format of the Hasselblad corresponds to the sense of harmony found in the Sanskrit postulate rta. Rta is the natural cohesion that regulates and coordinates the operation of the universe and everything within it. Rta signifies both “order” and “truth” and may be collectively referred to, in its ordinances, as dharma, and individually, in relation to those ordinances as karma. Rta is the opposite of chaos. I find it difficult to write about photography despite all the
attention that has been given to critical theory, or Photo-Discourse. Many photographers consider much of this discourse to be mere gibberish and would like to see critics boiled in a cistern of ink over a pyre of burning exegeses.Yet those like Michel Foucault inspired a philosophy that there is nothing more practical than a good theory combined with the rise of new media technologies to bring divergent voices (and disciplines) together. These diverse influences, in many ways, broaden the discursive platform to include social, political, as well as artistic voices. There are coteries of Photographers, and there are cabals of Artists who use Photography. I tend to fall, more or less, into the latter camp as an artist who uses “lens-media.” In her copia verborum on the subject, Susan Sontag states that photography is predatory. I do not consider myself to be a sabertoothed paparazzo, stalking monks or other subjects. As a photographer, I am a gatherer, not a hunter. For me, composing the portrait through my viewfinder is homologous with the Indian notion of darshan. Literally, darshan
implies “to see” or “sight.” But more specifically darshan is concerned with an event in consciousness that creates an interaction between the seer and the seen. Thus darshan heightens consciousness. Another term is rasa, literally meaning “juice” or “essence.” Rasa denotes an essential mental state dominated by a primary experience of the viewer by what is viewed. For me rasa is a vital component in photographic composition, similar to what Roland Barthes has called the photograph’s noeme. I feel that photography has a melody but not a song. It is a story without diegesis…a fetish without an aura. A photo is a receptacle without utility, the dance without movement. A painting is hyperbole, whereas a photograph is litotes. Photography is the crown jewel of austere poverty. It is what the Japaneser poet Hakuin Ekaku has called “the sound of snow.” A photograph can be the answer to a koan that is not information but consciousness. There is an energy that flows between the photographer and the subject. This energy is the source of inspiration and has a classical association to the muse. This muse, or exuberance is
known as prana or “life force” in Sanskrit, rlung in Tibetan, ch’I or qi in Chinese, pneuma in Greek, spiritus in Latin, ruwach in Hebrew, and, perhaps the word “soul” in English. Sometimes it is necessary to be very patient for this vitality to arise. Often an external element such as the light and shadow on the subject is an inappropriate ebullience for the “breath” of the muse to arise, but when the “breath” proceeds, the camera photographs and the photographer and subject fuse to create an amalgamation of beauty. The subject is the echo of its creator. As the photographer Minor White said, “Spirit always stands still long enough for the photographer it has chosen.” I shoot film because it is easiest for me. I don’t like all the configurations and buttons necessary to operate a digital camera. A light meter involves enough computation. I don’t need an entire dashboard. Actually, I shoot “hybrid” in the sense that my analogue photos disappear into a digital binary code of postproduction to re-appear as an analogue mimesis. Likewise, I shoot in black and white…again because it is easy. I also like the abstrac-
tion that black and white creates on a paper’s surface. Similar to viewing the work of a painter like, say, Franz Kline or works by great calligraphers working in black ink, the viewer’s imagination is called into play when it encounters black and white photography. The mind isn’t immediately told that what it “sees” is a “realistic” image or message. The mind first must interpret the tonality and contrast of the viewed subject in order to gain a meaning. The highlights and shadows of a black and white photograph are the warp and weft that create the “fabric” of the pictorial tapestry. The greater the range of tonality between black and white, the more pivotal, for me, is the image. A photo can never have too many shades of grey. Greys are the intermediate tones that create the designs and textures woven into the photo. I have always felt that using black and white film in my photos of India is a bit of western hegemony. The Rajasthani photographer Raghubir Singh notes that Indian photographers prefer color to convey what he felt is their sense of optimism. Singh notes that
even when black and white is used, say in the films of Satyajit Ray, it is a psychological metaphor for this optimism. However, I find there is a wonderful minimalism to black and white photography that justifies and surpasses any contrition I discern about this monochromatic hegemon. It is neither optimistic nor pessimistic. A photograph is just an image on a piece of paper… it can be blown away in a gust of wind. It is minimal, even in color photos. It is limited by the duration of exposure, what John Szarkowski calls “a discrete parcel of time.” It defines brevity. It defies both optimism and the vicissitudes of pessimism. It silhouettes a moment…it is the kireji , caesura or the critical word of a visual Haiku...a machine made haiga.
The nineteenth century British photographer William Henry Fox Talbot referred to the camera as the “pencil of nature.” Nature nourishes. My camera is a less archival utensil and more of a Pandora’s box. When the shutter opens all the darkness in the box flies out into the world, but light enters and captures the “hope” of a good photograph.
Night for Day G a r y A u e r b a ch
Gary Auerbachâ€™s photographs articulate a tension between durability and transience. He combines photography, a short lifespan medium, and the photo engraving process, giving his work a life of 500 to 1000 years. Photo engraving, moreover, involves the intaglio hand-wiping of every print, giving a personal touch to the finished result. Concern for permanence, in an alienating instantaneous world, may result from his life experiences. A native New Yorker, he has lived in Arizona for years: the former epitomizes contemporary societyâ€™s fleeting character, while the latterâ€™s landscape has all the mythic solidity of pre-modern times. Regardless of its source, this thematic concern structures the medium and content of all his photographic images. He photographs with an 8x10 view camera at night, and prints in platinum and in gravure with etched photopolymer plates on Rives BFC in the negative. www.garyauerbach.com
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