More moth wing macros, using a scanner this time. I did about 30 of these last night but these where the few I liked the most.
Click to view larger.
(via guillotine-chan)
Digitially documented examples of natural pattern i’ve gathered from walks and visits.
Documenting some of my collection of natural objects.
Working in the darkroom.
My studio space.
Investigation of salt crystals.
(Source: loveontheground, via annadraconida)
Garry Fabian Miller
In 1984 Garry Fabian Miller (born Bristol, England, 1957) discovered a method of using a photographic enlarger that allowed a direct translation between plants and the photographic print. Later, in 1992, he turned to making abstract images in the darkroom, using only glass vessels filled with liquids, or cut-paper forms to cast shadows and filter light.
‘Breathing in the Beech Wood, Homeland, Dartmoor, Twenty-four Days of Sunlight, May 2004’
In photography as in photosynthesis, light plays a fundamental role in creation. This work was made using beech leaves gathered from late April to early June in the artist’s garden on Dartmoor. Each vertical line was printed on one day, with the time period increasing incrementally from one day between the first lines to around two weeks in the later stages.
I like the simple honestly that can be achieved with the dye destrcution print method that Miller usesin much of his work. I really think this will helpto inform my practice.
Dye destruction paper
Dye destruction or dye bleach is a photographic printing process, in which dyes embedded in the paper are bleached (destroyed) in processing. Because the dyes are fully formed in the paper prior to processing, they may be formulated with few constraints, compared with the complex dye couplers that must react in chromogenic processing. This has allowed the use of richly colored, highly stable dyes. It is a reversal process, meaning that it is used in printing transparencies (diapositives).
Ilfochrome (originally Cibachrome) is currently the only widely available dye destruction process, and is known for its intense colors and archival qualities. Older dye destruction processes included Utocolor (early 1900s) and Gasparcolor (1930s).
In terms of Processes i would like to try my hand at this next. As much as i’m enjoying the experimental side of my work i would really like to have some pieces that are a direct study of natural pattern.
I’m not going to limit myself to this but i think it will help me achieve focus towards my final show to have some prints that clearly and plainly demonstrate the patterns i’m interested in.
If nothing else i think t will help to inform the rest of my work, much like my digital microscope has.
Floris Neususs-Gewitterbild,Kassel,1984.
“Sometimes, the abstract qualities of Neussus’ work are the result of natural forces.The image shown here was created by placing photographic paper in a garden at night duringa thunderstorm, and letting lightning expose the paper”
Photograms made outside after dark.
Inspired by Susan Derges’ use of the night sky as her darkroom.
Susan Derges.
Adam Fuss.
Photograms of water.
Made in the darkroom with a flashgun.
Photographs of lichen and patterns in water.
I like the parallels that occur between the photographs i’ve taken of naturally occuring patterns and the aerial photographs of Kacper Kowalski.
