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One of the first photographs created was a photogram. I love re-visiting the historical and simple process from time to time. The simplicity I find refreshing and the chemical processing in the darkroom is almost a meditative state for me.
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Photograms done in the dark room (I splashed fix on the paper with a paint brush before I exposed it).
Image from my archive of scans and sketchbooks. Featured on my portfolio homepage every day for the month of June 2008.
I developed the lumen photograms in dilute developer, or fixed direc, or first bleached before processing, then developing in dilute paper developer and then fixing. They now should be real to light. When first bleaching it goes more to gray black, when first developing it keeps the brown color from the exposure.
After exposure, first bleached in C41 bleach then redeveloped in dilute paper developer in light by inspection pulled washed and fixed. This gives a more grey final image.
September '10. I decided to try my hand at Polaroid photograms! I'm quite happy with these results. Exposed for no longer than a second and a half or so using the light from my iPhone. (Not pictured: the five or so over- and under-exposed Polaroids I used trying to get my lighting situation correct.)
I try not to waste anything, even things that have long outlived their purpose can sometimes continue to be used for a purpose not originally intended. This was my idea behind my photogram series.
A photogram is made by placing objects onto photographic paper and then exposing it to light. This is normally done in the darkroom, using the light of an enlarger. However, I decided to go in a slightly different direction.
It has happened more than once that I have cut a piece of paper in the darkroom to use as a test strip, and putting the unused portion aside, forgotten about it. The result is that after I turn the darkroom lights on, the unintended exposure of the piece of paper I had forgotten about will change color, usually blue, over an extended period of time. Different papers offer different results. This means that photograms can be made by simply placing items on the paper, taking the paper outside, and allowing it to be exposed for a time between about five minutes and four hours (at least, that is the range I have played with).
The aspect of not wanting to waste anything comes with the fact that old, fogged-beyond-recovery paper can be used for this purpose. Those who have traditionally used the darkroom and converted to digital almost certainly have paper they no longer use. My recommendation is to either send the paper to me , or use it making photograms.
The unfortunate aspect of this is that the prints cannot be displayed, since eventually the light will completely fog the paper. Placing the paper in fixer to stop it from being light-sensitive will alter the color, oftentimes drastically reducing the saturation to nothing.
The solution is to scan the image, and that is what I have done. The only changes I do to the photograms are to utilize levels and curves to enhance the colored aspect. My favorite (to date) of these is Photogram #19.
I will follow this post up with one later in the week when explains the difficulties I had with this image, and how sometimes mistakes can be turned into happy little accidents (thanks, Bob Ross).
A photogram made in the darkroom by placing opaque and translucent objects on photosensitive paper then turning the enlarger on. The corkscrew and the coffee granules (for the fizz) were moved a little and another very quick blast of light fogged those newly exposed areas to grey.
Photogram workshop with Patrick Winfield @ the Impossible Project NYCspace
June 12 2012
Impossible project PX70 colour shade 12/11
I accidentally exposed the wrong side of the paper the first time I tried to do this so you can see the shadow of the first attempt. Rookie mistake, but I like the result.
Cyanotype, Photogram, Cyanotypie, Fotogramm, Цианотипия, фотограмма
elektronische Pseudosolarisation
electronic pseudo-solarisation
электронная псевдосоляризация
Die Kastanie
ist keine Geranie.
Ihre Blätter rascheln im Winde,
der Baum hat schöne Rinde.
Aus den Früchten baut man Kastanienmännchen,
sagt Ännchen.
The chestnut tree
is not feathery.
Its leaves rustle in the dark,
and the tree has beautiful bark.
If Peggy makes little chestnut men out of the nuts,
she goes nuts
Каштан
— это не герань.
Листва шелестит на ветру,
и кора хороша поутру.
Если Тамара лепит каштановых человечков,
она сходит с ума, без словечков.
Bei der russischen Übersetzung wurde ChatGPT mit einbezogen.
Беи дер руссисцхен Юбертрагунг халф ЦхатГПТ мит.
ChatGPT helped me to find Russian Rhymes.
При переводе на русский язык использовался ChatGPT.
Für das Bild des Kastanienblattes machte ich eine Cyanotypie davon. Um die exakten Umrisse und Strukturen zu erhalten, Packte ich das Papier mit dem Blatt in einen Vakuumierbeutel und zug die Luft heraus. Nach Belichten und Entwickeln Scannte ich mit einer Scan-Kurve, sodass eine Pseudosolarisation entstand.
To capture the image of the chestnut leaf, I made a cyanotype of it. To preserve the exact contours and textures, I placed the paper with the leaf inside a vacuum-seal bag and sucked the air out. After exposing and developing the image, I scanned it using a scan curve to create a pseudo-solarisation effect.
Чтобы запечатлеть листья каштана, я сделал их цианотипию. Чтобы сохранить точные очертания и структуру, я поместил бумагу с листьями в вакуумный пакет и удалил из него воздух. После экспонирования и проявления я отсканировал изображение с использованием специальной кривой сканирования, что позволило добиться эффекта псевдосоляризации.