View allAll Photos Tagged Photogram
Glass daguerreotype
Becquerel developed.
Dagerrotípiáim, avagy kortárs dagerrotípiák. Contemporary daguerreotype
A photograph of a photograph of photograms. During a visit to the Walker Art Center, they had a little hands-on workshop to create photograms, the camera-less way to capture images and the descendant of photography. Mary made spirals while I made what we'll say are two abstract trees in the rain.
My 52 week project for 2017: a photo each week with the Leica Sofort and a photo of the resulting print at the scene of the shooting.
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A photogram made by placing several slices of lemon directly onto colour photographic paper, thus creating an image of their transparency. The other white "shadows" are of tomato vine stems, and the background texture is created by enlarging the grain of handmade paper which was placed in the negative carrier. The lemons and tomato stems were placed on a piece of cellophane and some of the creases are visible, as well as some gathered drops of the lemon juice. The varied thicknesses of the lemon slices are what determine both its transparency/translucency and the clarity of the detail - compare the two touching slices nearest to the centre of the image. Deliberate slight cyan cast. No digital manipulation.
Picture by Cormaggio
Picture of the Day, 6 January 2006
Desktop Wallpaper Background 1680x1050
Original available on Wikimedia Commons
Lumen Print 1613 Hickory Nut Leaf. Ultrafine VC Elite RC 8x10 in. paper. Last years wind blown leaf that landed on my door step. Spring is here but there is still very few plants to use for lumen printing. I soaked this dried winter beaten leaf in a tray of water for a few hours. This flattened the badly curled leaf and made it more suitable for lumen printing. I blotted the excess water from the leaf and prepared the composition for lumen printing. This method of rehydrating leaves worked for several types of paper but the method was less successful with several other types of papers.
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.
Image from my archive of scans and sketchbooks. Featured on my portfolio homepage every day for the month of June 2008.
Taking a Black & White Photography class this semester and our first dark room project was Photograms! So far I’m really enjoying the class
Photograms done in the dark room (I splashed fix on the paper with a paint brush before I exposed it).
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.)
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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).
Lumen Print 7 This is the result after I toned the print in gold chloride and then archivally fixed in sodium thiosulfate at a normal dilution for fiber based papers. This papers' idenity is a mystery to me. It was purchased at a yard sale for one dollar. The box was white with no identification as to make or type. The background field was a sky blue before it was toned and fixed. This color palette will be a challenge to work with, however, I look forward to the challenge.