On 9th & 16th of September I attended seminar sessions by Sheila Pinkel, an American artist. The goal was to take photos but without using any devices. We were asked to take with us any material that we would like to photograph, like small plants, flowers, glass objects etc. The process might be know to photographers, but it was the first time that I have used it: in a dark room you lay the items you wish to photograph on a piece of photographic paper, you cover this with a piece of glass (if they items are not heavy enough), you cover everything so that the paper is not burned out and you take everything outside for 30-45 mins. It is very simple process, however you need to make several experiments to see under which conditions you get the best results:
- It works better when fibre based photographic paper is used, preferably expired because you get a variation of colours
- One must take into account the time of the day that the paper is exposed in the sun and the place. I did the experiments at 12:00 in Cyprus under a very strong sunlight, so 30 mins of exposure was enough.
- The small size plants and flowers are the best materials to be used for this experiment. Their surface is pressed against the paper by the glass and better results are obrtained.
- The thickness of the glass is also important. In experiments where I did not use glass, the imprints on the paper were not as strong. Where I used thick glass of 1cm the imprints were more intense.
The results of these experiments will be exhibited in a group show. The following text accompanied the invitation of this exhibition.
Over the past two decades photographers have witnessed major changes in imaging technologies. Digital cameras, computers & cell phones have allowed all people using these technologies to become ‘photographers.’ In addition, new imaging techniques now used in the sciences and social sciences have allowed both artists and scientists to make visible phenomena never seen before.
By focusing on the modalities of the medium, this exhibition separates itself from the historicities and ontological traditions of genre, pointing to new alternative ways of looking at and studying the processes of image creation. This practice is anchored in photography’s unrealised artistic potential to engage with new debates about ways of presenting, seeing, and interpreting the world.