"Xenia" ~ Salt print by Roman Aytmurzin.
The salt print was the dominant paper-based photographic process for producing positive prints during the period from 1839 through approximately 1860.
The salted paper technique was created by British photographer William Henry Fox Talbot. He called his negative process calotype printing, while the salt print process was used for making positive prints from the Calotype negatives. They both employ a technique of coating sheets of paper with silver salts, but the Calotype process differs slightly in chemicals used in the sensitization procedure, and uses an extra ‘accelerator’ step, immediately prior to exposure of the sensitized paper.
Display of Cyanotype prints…
I have created this Tumblr specifically for “alt.photo” work… or photographic prints made using traditional chemical means rather than digital. For seven years I published “Darkroom User” magazine in the UK and featured many of the more accessible (and less dangerous) vintage printing processes that our forefathers used. Unsurprisingly, in this “digital age” an increasing number of passionate photographers are returning not just to film, but to full hands-on coating their own glass and papers with a concoction of chemicals to get back to basics. “AltPhotoBuzz” is my page which will show some of the better examples I find… enjoy!
"Figure Study" ~ Fred Lyon.
Fred Lyon was born in 1924. He was active in the 1960s and 1970s and worked for Time, Inc. The Art Institute of Chicago held an exhibition of his “Photographs of San Francisco” in 1955. Stern Magazine included his images in “The World Exhibition of Photography: What Is Man?” in 1964. His work is in the Time Inc. Picture Collection and in the Art Institute of Chicago.
Caro… from a long time ago.
Photo 1974 © Ed Buziak
There’s similar sensual work over at… http://smartgallery.tumblr.com/
I’m thinking, “Oh ye, of little faith.” (Luke 12:28)
Marina Abramović and Ulay - Rest Energy, 1980
“Together we held a taut bow and a poised arrow. The weight of our bodies put tension on the bow while the arrow pointed at Marina’s heart. Small micophones were attached to both of our hearts, recording the increasing number of our heartbeats.”
"The Birth of the World" ~ Joan Mirò, 1925.
From Wikipedia I note that the artist is described as Catalan rather than Spanish… rather apt considering the strong Catalan vote in elections over the weekend.
“Joan Miró i Ferrà (1893-1983) was a Catalan painter, sculptor, and ceramicist born in Barcelona. A museum dedicated to his work, the Fundació Joan Miró, was established in his birth city in 1975. Earning international acclaim, his work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, and a manifestation of Catalan pride. In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods as a way of supporting bourgeois society, and famously declared an ‘assassination of painting’ in favour of upsetting the visual elements of established painting.”
Trees, by Greg Hargreaves.
Greg Hargreaves, Waterloo, Iowa. (Artist Statement)
“It’s difficult to describe what actually occurs as the artist broods over the a raw canvas facing him. For me, the dialog that plays out is between myself (the artist), the environment (the landscape), and the medium (the paint). I suppose we could include the canvas, as well, but the canvas really is just inviting us over to his house. The painting assumes a more subordinate (non-speaking) role and stays pretty much out of the way; in the background while the three of us tackle the business at hand.
"My environment (Iowa) is home. Pastoral, bucolic, lush, green, and harnessed. For me, the reassuring theme is that the viewer is always aware of mans presence when looking at an Iowa landscape. Those ridged fence rows, and squared off rectangular fields and woodlots present a never ending source of design possibilities. Reassuring us that we are never that far away from civilization, food, comfort and man. In Iowa the wildness is still there, but subdued. It has been harnessed and there is something deeply comforting in that.
"My medium is acrylic. It affords me a flexible, workable, durable and dependable conduit. I say conduit because after a 35 year career using acrylics, it has become an old friend who knows my mind better than I do. We have reached an understanding. I demand that it dry immediately and it does; and it watches me goof up repeatedly and never says a word."