As I will have limited hours of sun in Finland I am interested in documenting this for a pinhole project. This is called Solargarphy, and has been used by many artists in the past. Solargraphy is a process that exposes black and white photographic paper in a pinhoel camera over an extended period of time, for example days, weeks, months. The negative can then be scanned for further processing in Photoshop, where the image is rendered in colour. I have experimented with solargraphy once before and had some interesting results, but I only left them for a day. I am interested in using the process to document the movement of the sun over the period I am in Finland.
This is a useful blog when looking at the different effects each type of paper gives. I have only used Ilford before so it would be interesting to experiment with other types.
http://www.greggkemp.com/projects/papers-for-solargraphy
15 December 2009
Feedback from Peers
As well as feedback from the tutors I got some feedback from my peers, which is interesting and has given me some things to think about while I am in Finland. To make use of my time in Finland they have suggested that I could start a mail art project involving pinhole photography, which is the way I got into pinhole photography in the first place. It was also suggetsed that I could collaboarte with someone here while I was away, which is definately something I want to think about more. These would both aid as a networking opprtunities. It was also proposed that I could think about whether my final piece could be something else other than the photograph. This is again something I had never thought of before, I do percieve my photograph and camera to be final piece but maybe it could be something else?
Tutorial with Jon
As this was my last tutorial until I get back from Finland I found it very motivating. It highlighted all of the aspects that I need to focus on next term, which I knew I had to do, I just needed to focus my attention on it. Next term I should explore what the relationship is between the camera, the environment being photographed and the photograph. This is somehting I tried to do for my last exhibition, where I photographed the street outside the exhibiton yet the wheelie bin had little relevance to this. A way to help with this is to maybe answer these questions when looking at other pinhole artists work.
- Is the subject of the photograph important?
- How does this relate to the process of pinhole photography?
- How are the camera, photograph and environment related?
Answering these questions when lookin at other artists work may help me to see where my exploration of pinhole photography is going. Hopefully, with this the context of my work will appear. It was suggested in my tutorial that I should investigate site-specific installations, media-archeology, optical illusion and early film. With specific direction towards, Siegfried Zielinkski Audiovisions and Erkki Huhtamo's work.
Another, suggestion by Jon was to think about how much information Igive to the veiwer in the exhibition. This is something I wasn't going to do as I quite like the obscurity of the photograph and camera, yet as it had been brought to my attention maybe it is something I need to think about. Should I make it obvious that it is a pinhole camera? Jon also suggested that I should think about maybe placing the image back into the camera, which is something that I had never considered. But, this could be an intersting concept as you will see the image in the camera where it was created.
- Is the subject of the photograph important?
- How does this relate to the process of pinhole photography?
- How are the camera, photograph and environment related?
Answering these questions when lookin at other artists work may help me to see where my exploration of pinhole photography is going. Hopefully, with this the context of my work will appear. It was suggested in my tutorial that I should investigate site-specific installations, media-archeology, optical illusion and early film. With specific direction towards, Siegfried Zielinkski Audiovisions and Erkki Huhtamo's work.
Another, suggestion by Jon was to think about how much information Igive to the veiwer in the exhibition. This is something I wasn't going to do as I quite like the obscurity of the photograph and camera, yet as it had been brought to my attention maybe it is something I need to think about. Should I make it obvious that it is a pinhole camera? Jon also suggested that I should think about maybe placing the image back into the camera, which is something that I had never considered. But, this could be an intersting concept as you will see the image in the camera where it was created.
09 December 2009
Tutorial with Gavin
My essay for my HCC id well underway now, I have always been interested in land art yet I have never really looked into it as an art form. Which, I should have really as I suppose some of my work could be linked in some ways, especially my work last year. Anyway, I have for my essay I have focussed on artists who tried to escape the gallery system in 1960's, which has led me on to research Richard Long, a well-known land artists who uses walking as his medium for his work. I had a tutorial with Fionna and she directed me to Gavin, who is doing his Phd in Walking as Art. I find walking as a art an interesting concept, as it is talking art down to its minimum and questioning what actually is art. Gavin was really helpful and gave me a great insight into walking as art, there is a divide actually two forms which I never realised; rural and urban walking. This is something I need to make clear in my essay, even if I don't use urban walking I still need to recognise that it is different from rural walking.
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