After having a critique with Shaun, I went onto the website that he recommended to me for further research- http://www.vam.ac.uk/content/articles/c/camera-less-photography-techniques/
This is taken from the website-
The essence of photography lies in its seemingly magical ability to fix shadows on light-sensitive surfaces. Normally, this requires a camera, but not always. Several artists work without a camera, creating images on photographic paper by casting shadows and manipulating light, or by chemically treating the surface of the paper.
Images made with a camera imply a documentary role. In contrast, camera-less photographs show what has never really existed. They are also always ‘an original’ because they are not made from a negative. Encountered as fragments, traces, signs, memories or dreams, they leave room for the imagination, transforming the world of objects into a world of visions.
From this section of the post, it mentions how artists produce images which cannot be replicated as they are crafted so authentically and just by different artistic processes that they cannot be the same as others as they are often mistakes or formulated by hand that cannot be recreated again. I like that these images are originals and so rare, and this is what I want to create in my work; something raw and authentic.
The website goes on to talk about the different techniques which consist of the most common; photogram, the luminogram and the chemigram. These techniques can also be used in combination.
It gives some information on each technique (rephrased from the website)-
Chemigrams: Photographic paper is manipulated by vanishes or oils and photographic chemicals, and they are produced in full light. This technique relies heavily on the maker’s skill in utilising chance for creative effect. The important part of the process is often the documentation experiments.
Digital C-print: Prints made from digital images from digital printers, where inside the printers are red, green and blue lasers which expose the chromogenic (or ‘C’-type) photographic paper. Then, the paper is processed in the traditional, chemical-based manner. When they are processed in this way, camera-less images can be retouched, enlarged and reproduced as multiples.
Dye destruction print: Prints made using direct positive colour paper. This paper was introduced in 1963 for printing colour transparencies or negatives, which is then coated with at least three layers of emulsion. Each layer is sensitised to one of the three primary colours, which each contain a dye related to that colour. During development of the image, any unexposed dyes are bleached out- hence ‘dye destruction’ and the remaining dyes form a full-colour image.
Gelatin-silver print: Introduced in 1871- Print created by using paper coated with gelatin containing silver salts. Where light strikes the silver salts, they become dark, where the image is then developed out using chemical developer. The paper can have a matt or gloss surface, and the image can be toned.
Luminogram: A variation of the photogram. When light falls directly onto the paper, an image is formed. If objects are placed between the light and paper (but not touching) will filter or block the light, depending on the transparency or opaqueness.
Photogram: Made by placing an object in contact with a photosensitive surface in the dark, and exposing both to light. Shadows are recorded on the paper wherever the object blocks light, either partially or fully.
The term seems to have appeared around 1925. The photogram artist is not able to predict the results and often works in the dark. The final image is only apparent after physical and chemical manipulation or development
The explanation of these terms have helped me to understand the process more as well as decided upon what I want to use and how I want to craft my images. I am quite interesting in the processes of chemigrams, digital C-print, luminogram and photogram.
chloeoliverfmp 