Photography – Photograms – A Beginner’s Guide – A Blurring of Boundaries 2 – Paul Klee’s Influence – An article by Goff James

Welcome followers and visitors to another update in A Beginner’s Guide to Photography. Today I will be discussing some more ideas with regard to experimenting further with photograms as well as continuing discussing more ideas related to one of my personal favourite artists – Paul Klee.

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Goff James, Fear is a habit, Photogram, 2017

In past articles I have often stated, especially for a beginner, it is good to look at ones own photographs as well as those of other photographers and artists; by doing so, one is able to learn to understand better what photography is all about.

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Goff James, White Line, Photogram, 2017

Here I have taken the photogram and reconstructed elements onto the surface and then rephotographed the image and then experimented further with them in an editing suite.

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Goff James, Box with Two Red Arrows, Photogram, 2017

Paul Klee has had a significant influence on my developing art practice. His ideas subconsciously influence other areas of my own practice including working with the process of creating photograms.

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Paul Klee, Affected Place [Betroffener Ort], 1922,
Ink, pencil, and watercolor on paper; top and bottom strips with watercolor and ink, mounted on cardboard,
Zentrum Paul Klee, Berne

Created in Klee’s early Bauhaus years, this piece shows a scene of ambiguous signs and symbols over a background of modulated purples and oranges.

The various strips of colour hint at a horizon, their horizontal emphasis counteracted only by the boldly painted arrow, which abruptly suggests something as ordinary as a road sign.

Like the many gradations of colour, the arrow generates movement, compelling the viewer’s eye to the centre of the picture.

The influence on Klee of Cubist still lives art by such as those of Picasso and Braque, is clearly apparent: Klee suggests a motif painted from nature while also cancelling it, as though to remind us that this is no window but a kind of abstract sign system.

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Paul Klee, Two Ways,1932
Watercolor on paper, mounted on paper
sheet:313 x 484 mm; mount: 443 x 610 mm)
Solomon R. Guggenheim Museum, New York, Estate of Karl Nierendorf
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Paul Klee, Scherzo with Thirteen (Das Scherzo mit der Dreizehn),1922
Oil transfer drawing, watercolor, ink, and pencil on paper on board,
279 x 359 mm, © 2017 Artists Rights Society (ARS),
New York / VG Bild-Kunst, Bonn

Whilst Klee was at the Bauhaus, he explored distinctive ways of image–making, including transfer drawings. This work was created by tracing the lines of a pencil drawing through a black-inked surface onto another clean sheet of paper.

The clean sheet received the outline of the drawing in black as well as additional smudges of excess pigment, to which Klee then directly added motifs in watercolour and ink.

It is the the arching and angled arrows, before which whimsical figures appear to dance, indicate motion and spatial depth that I find extremely interesting.

The reference to music, a mainstay in Klee’s life and in his Bauhaus activities, is accentuated by his use of the word “scherzo,” referring to a vigorous and playful composition, in the work’s title.

I like this idea of introducing letters and words into a composition. This is something that one might like to experiment with within ones own photography. There is so much to be learned from ‘playing’ with such ideas.

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Goff James, Circle and Three White Shapes, Photogram, 2017

This is something that I have experimented with in my own photographs and photograms. I continue to develop such ideas with regard to symbolism and pictorial narrative. The following images are the results of my own past endeavours.

Gallery

Reference Attribution List

http://www.theartstory.org/artist-klee-paul.htm

https://www.guggenheim.org/artwork/artist/paul-klee

https://www.moma.org/collection/works/79456

Photogram Attributions, Goff James

Copyright (c) 2021 Goff James – All Rights Reserved 

More photography by Goff James

I trust that you find some of these ideas useful within the context of your own photography. Don’t be afraid to experiment and allow different ideas to develop as you go along.

Remember what I referred to in previous articles about taking photos and creating photograms; the same applies to considering your own photos, other photographers’ work as well as applying different artist’s ideas too.

Don’t be afraid to experiment.

Experiment! Experiment! Experiment!

Remember there are no right or wrong answers or ways of doing it.

Your photographs are your world.

You can do what you like. 

Don’t worry about the theory and trying to remember everything about how to take or consider how to look at or stage a photograph.

Don’t worry about what you might think is right or wrong in talking about or taking photographs.

 Make mistakes. Laugh. Have funJust enjoy the process.

Happy Photography. 

Thank you for your visit.

I cordially invite you to subscribe to Goff James Art Photography Poetry at goffjamesart.wordpress.com (Doing so will allow you to be notified whenever new content is published on my blog.

goffjamesart.wordpress.com

Art Photography Poetry

Photography – Photograms – A Beginner’s Guide – A Blurring of Boundaries – Paul Klee’s Influence – An article by Goff James

Welcome followers and visitors to another update in A Beginner’s Guide to Photography. Today I will be discussing some more ideas with regard to experimenting further with photograms as well as introducing ideas from one of my personal favourite artists – Paul Klee.

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In past articles I have often stated, especially for a beginner, it is good to look at ones own photographs as well as those of other photographers and artists; by doing so, one is able to learn to understand better what photography is all about.

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© Goff James, Moon with White Line, 2017
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© Goff James, Moon with Arrow, 2017
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© Goff James, Moon with 5,2,9,, 2017

Here I have taken some of Klee’s concepts and attempted to introduce them into photograms. I have taken the photogram and reconstructed elements onto the surface and then rephotographed the image and then experimented with them in an editing suite.

Art does not reproduce what we see; rather, it makes us see.

Paul Klee

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Paul Klee, Historical Site, 1927, Watercolour and ink on paper on board, 355 x 487 mm, Tate.

The appeal of Paul Klee’s work is that it is very difficult to partition him within a particular single artistic movement. His works are at times both fantastical, childlike as well as being humorous.

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Paul Klee, Insula Dulcamara 1938  Oil on newsprint, mounted on burlap, 31 1/2 x 69 in; Klee Foundation, Bern

Klee was fundamentally a transcendentalist. He considered that the world was composed of many differing realities and that the physical world was only one of them.

I find such an idea very interesting in deed. The artist’s use of design, pattern, colour and miniature signs and symbols within his pictorial narratives all speak of a hidden depth and meaning which I find totally absorbing and have become part of my own practice.

Paul Klee’s compositional construction always appears to take precedence over narrative.

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Paul Klee, Tale à la Hoffmann, 1921, Watercolor, pencil, and transferred printing ink on paper, bordered with metallic foil, 311 x 241 mm, Location Unstated
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Paul Klee, Burdened Children,1930 Graphite, crayon and ink on paper on board, 650 x 458 mm, Tate

Klee’s use of design, pattern, colour and miniature signs and symbols within his pictorial narratives all speak of a hidden depth and meaning which I find totally absorbing and have become part of my own practices.

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Paul Klee, Walpurgis Night 1935, Gouache on fabric on plywood
Support: 508 x 470 mm, frame: 725 x 682 x 72 mm, Tate

Another appeal of Klee’s work is the great sense of rhythm and transience that are present within his works as well as his powerful expressive use of intense colour. There is an affinity between between art and music and the artist utilises this analogy throughout his portfolio of works.

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Paul Klee, Abstract Trio, 1923
Watercolour and transferred printing ink on paper, bordered with gouache and ink, 321 x 502 mm,
The Berggruen Klee Collection, 1984 (1984.315.36) MoMA NewYork

Klee challenged the traditional boundaries that segregated writing and the visual arts through “exploring a new expressive, and largely abstract or poetic language of pictorial symbols and signs. Arrows, letters, musical notation, ancient hieroglyphs, or a few black lines standing in for a person or object frequently appear in his work, while rarely demanding a specific reading.”

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Paul Klee, Static–Dynamic Gradation, 1923
Oil and gouache on paper, bordered with gouache, watercolor, and ink, 381 x 261 mm,
The Berggruen Klee Collection, 1987 (1987.455.12), MoMA, NY.

Another appeal of Klee’s work is the manner in which it appears to be very childlike with a great sense of spontaneity, freedom and simplicity.

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Paul Klee, Ghost Chamber with the Tall Door (New Version), 1925
Sprayed and brushed watercolor, and transferred printing ink on paper, bordered with gouache and ink;,487 x 294 mm
MoMA, NY

Paul Klee’s work practice was fundamentally experimental in terms of technique, expressive use of colour and challenging accepted academic perceptions with regard to art and keeping his work within the realm of the “ordinary”.

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Paul Klee, Comedians’ Handbill, 1938, Gouache on newsprint,
48.6 x 32.1 cm, Location Unstated

Everything vanishes around me, and works are born as if out of the void. Ripe, graphic fruits fall off. My hand has become the obedient instrument of a remote will.

Paul Klee

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© Goff James, Red Circle with Four Red Lines, 2017
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© Goff James, 9, 2017
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Goff James, Box and Red Circle, 2017

Photogram Attributions, Goff James

Copyright (c) 2021 Goff James – All Rights Reserved 

More photography by Goff James

I trust that you find some of these ideas useful within the context of your own photography. Don’t be afraid to experiment and allow different ideas to develop as you go along.

Remember what I referred to in previous articles about taking photos and creating photograms; the same applies to considering your own photos, other photographers’ work as well as applying different artist’s ideas too.

Don’t be afraid to experiment.

Experiment! Experiment! Experiment!

Remember there are no right or wrong answers or ways of doing it.

Your photographs are your world.

You can do what you like. 

Don’t worry about the theory and trying to remember everything about how to take or consider how to look at or stage a photograph.

Don’t worry about what you might think is right or wrong in talking about or taking photographs.

 Make mistakes. Laugh. Have funJust enjoy the process.

Happy Photography. 

Thank you for your visit.

I cordially invite you to subscribe to Goff James Art Photography Poetry at goffjamesart.wordpress.com (Doing so will allow you to be notified whenever new content is published on my blog.

Reference Attribution List

http://www.theartstory.org/artist-klee-paul.htm

https://www.guggenheim.org/artwork/artist/paul-klee

https://www.moma.org/collection/works/79456

https://www.lrb.co.uk/v36/n01/tj-clark/at-tate-modern

goffjamesart.wordpress.com

Art Photography Poetry

Photography – A Beginner’s Guide – Talking Pictures – Image and Message (4) – An article by Goff James

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Sometimes, especially for a beginner, it is good to look at photographs one has taken as well as those of other photographers; by doing so, one is able to learn to understand better what photography is all about.

In my last article we looked at photograms. Today I have selected revisiting staging still life and I have again used one of my own photos for you to look at and consider. The still life was set up on a table at home. No complex lighting accessories, just drew the curtains, closed the doors and a simple lamp and torch.

The concept is to try to develop narratives through the medium of still life and the use of symbolism. I have to confess that still life is one of my favourite genres.

Today I continue to develop some ideas with regard to symbolism, narratives and still life.

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This shoot could be called Playing with Candles and Roses. Again the concept behind the shoot was to develop the notion of narrative further by introducing one new element into the composition and see whether it changed the dynamics of story telling.

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IMGP0488aB&W FBO

This, of course, is totally subjective and totally dependent upon the different perceptions of individual viewers. I have again created two identical images of each composition the one in colour and the other in black and white to see if this makes any difference to the dynamics and interpretation of that which is being observed.

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IMGP0499ab B&W FBO

I have also staged each composition with regard to whether it reads from left to right or visa versa as well as being centred around a middle vertical axis. I have also experimented with the classic thirds structuring of an image as well as setting them just to the left or right of the grid axis both vertical and horizontal.

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IMGP0532ab B&W FBO

Primarily the candle lit or unlit remained the dominant focus of each composition. However in the next image I introduced the rose in an attempt to counterbalance that effect and to see if it changed the overall dynamics of the composition.

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IMGP0543ab B&W FBO

The reintroduction of the apple into the composition was reassessed to see if it shifted the focal point from the candle or the rose to the apple. This was also an exercise in trying to achieve a greater sense of compositional harmony.

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IMGP0548ab B&W FBO

The final exercise in this shoot required the removal of the apple from the composition, The final introduction of a small glass ornament (foreground bottom right) a basket containing two red birds was set in place. Though subtle in terms of composition I wanted to discover if they contributed a different dimension to the overall narrative.

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IMGP0570ab B&W FBO

Photo Attributions, Goff James

Copyright (c) 2021 Goff James – All Rights Reserved 

More photography by Goff James

I trust that you find some of these ideas useful within the context of your own photography. Don’t be afraid to experiment and allow different ideas to develop as you go along. Experiment with the use of monochrome and colour and see if they effect narrative creation in any way.

Remember what I referred to in previous articles about taking photos; the same applies to considering your own and others photos.

Don’t be afraid to experiment.

Experiment! Experiment! Experiment!

Remember there are no right or wrong answers or ways of doing it.

Your photographs are your world.

You can do what you like. 

Don’t worry about the theory and trying to remember everything about how to take or consider how to look at or stage a photograph.

Don’t worry about what you might think is right or wrong in talking about or taking photographs.

 Make mistakes. Laugh. Have funJust enjoy the process.

Happy Photography. 

Thank you for your visit.

Please feel free to share the link to this blog post on your favourite social media networks.

I cordially invite you to subscribe to Goff James Art Photography Poetry at goffjamesart.wordpress.com (Doing so will allow you to be notified whenever new content is published on my blog).

goffjamesart.wordpress.com

Art Photography Poetry

Photography – A Beginner’s Guide – Photogram 5 – More Experimentation – Mix ‘n Match – An article by Goff James

Experimenting with photograms.

A photogram is a type of contact print, made without the use of a camera or negative.

A photogram is created by placing objects on light sensitive material and then exposing it to light.

For more information about the whole process of creating photograms refer to my article ‘Photograms 3 – Process’ & ‘Photograms 4 – Process -Hands’

As a beginner, don’t be afraid of experimenting with photograms and trying to understand the processes involved. They are great fun.

The following are some further notes and reminders to assist one in the process.

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Don’t be afraid of experimenting with photograms as well as developing ideas from that base point.

Experiment by introducing and reconstructing different elements onto the photographic surface, rephotograph the image and then experiment with them in an editing suite.

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One could call them a mix ‘n match of photogram, photomontage and photograph. 

Whatever they may be called the results are great fun to create and experiment with.

The images I have used here are only a small indication of the effects that can be achieved.

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If you have a photo editor don’t be afraid to experiment. This is your photography world you can do what you like.

I trust that you find some of these ideas useful within the context of your own photography. Don’t be afraid to experiment and allow different ideas to develop as you go along. Toyed with the use of monochrome and the effect and impact that it might have or not have on narrative creation.

Remember what I referred to in previous articles about taking photos and photograms; the same applies to considering your own and others photos.

Don’t be afraid to experiment.

Experiment! Experiment! Experiment!

There are no right or wrong answers or ways of doing it. 

Don’t worry about the theory and trying to remember everything about how to take or consider how to look at or stage a photograph.

Don’t worry about what you might think is right or wrong in talking about or taking photographs.

 Make mistakes. Laugh. Have funJust Enjoy the process.

Happy Photography. 

Photograms Attribution © Goff James, Art Photography Poetry

goffjamesart.wordpress.com

Art Photography Poetry

© Copyright 

The works referenced here remain the copyright of Goff James

© Goff James Art, Photography, Poetry. Unauthorized use and/or duplication of this material without express and written permission from this site’s author and/or owner is strictly prohibited. 

Excerpts and links may be used, provided that full and clear credit is given to Goff James, Art, Photography, Poetry and goffjamesart with appropriate and specific direction to the original content.

Thank you for your visit.

Please feel free to share the link to this blog post on your favourite social media networks.

I also invite you to subscribe to Goff James Art Photography Poetry at goffjamesart.wordpress.com (Doing so will allow you to be notified whenever new content is published on my blog).

Photography – A Beginner’s Guide – Photograms 4 – Process – Hands – An article by Goff James

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Experimenting with photograms.

A photogram is a type of contact print, made without the use of a camera or negative.

A photogram is created by placing objects on light sensitive material and then exposing it to light.

For more information about the whole process of creating photograms refer to my article ‘Photograms 3 – Process’.

As a beginner, don’t be afraid of experimenting with photograms and trying to understand the processes involved. They are great fun.

The following are some further notes and reminders to assist one the process.

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The darkroom, if one has access to one, needs to be lit with a safelight red dome that does not fog paper. The safelight allows one to see what one is doing in a room that would otherwise be totally dark.

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Printing paper 


Printing paper is coated with a light sensitive emulsion and is used to expose the items on to make the photogram.

Temperature

It is important that the chemicals are at the correct temperature. The temperature of the developer is the most important part but, unlike film, one can watch as the image appears and adjust the developing time accordingly. Watching the image appear I found quite fascinating.

Unlike film, one can watch as the image appears and time the development accordingly.

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Time

One needs to use the correct timings time when the paper is in the developer, stop bath and fixer, although accurate timing is less important than it is with film processing.

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Developer

The developer reacts with the exposed areas of silver in the paper’s emulsion turning these parts black to form an image.

Areas that receive more light become blacker when developed. Areas that receive no light stay clear. It is the developer that produces a result.

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Stop Bath

The stop bath contains the acid solution that quickly counteracts the developer to prevent over development of the paper.

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Fixer 

The fixer dissolves any unused silver halides that were not developed and stops the paper from being light sensitive.

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Diluting Chemicals

The chemicals that one uses for development need to be diluted before use. The dilution rate is 1:10 parts water. The chemicals are harmful and need to be handled with great care.

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The Development Trays


Three shallow trays not much larger than the prints being made need to be used to avoid using too much solutions to cover the print.

The trays hold:

the developer,

stop bath and

fix for processing.

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Goff James, Hand, 2017

Running Water 

Running water is required to ensure all traces of fixer are removed before the print is dried.

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20171020_091930a FBO Half Tone

Electric Dryer

After completing the development process the prints need to be dried. The prints travel through the dryer which allows air to travel over both surfaces to ensure rapid drying.

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20171020_091930a FBO Cut Out

If you have a photo editor don’t be afraid to experiment. This is your photography world you can do what you like.

I trust that you find some of these ideas useful within the context of your own photography. Don’t be afraid to experiment and allow different ideas to develop as you go along. Toyed with the use of monochrome and the effect and impact that it might have or not have on narrative creation.

Remember what I referred to in previous articles about taking photos and photograms; the same applies to considering your own and others photos.

Don’t be afraid to experiment.

Experiment! Experiment! Experiment!

There are no right or wrong answers or ways of doing it. 

Don’t worry about the theory and trying to remember everything about how to take or consider how to look at or stage a photograph.

Don’t worry about what you might think is right or wrong in talking about or taking photographs.

 Make mistakes. Laugh. Have funJust Enjoy the process.

Happy Photography. 

Photograms Attribution © Goff James, Art Photography Poetry

goffjamesart.wordpress.com

Art Photography Poetry

References

Reference List

Andrew Johnson

https://www.ephotozine.com/article/making-a-photogram—traditional-darkroom-ideas-4688

Photography – A Beginner’s Guide – Photograms 3 – Process – An article by Goff James

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Goff James, Untitled, Photogram, 2017

Experimenting with photograms and finding out what they are.

A photogram is a type of contact print, made without the use of a camera or negative,

A photogram is created by placing objects on light sensitive material and then exposing it to light.

Understanding the processes involved in creating photograms.

Darkroom

A darkroom is divided into two different areas with enough space for
exposure processing and
developing processes.

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Goff James, Untitled, Photogram, 2017
Screen Shot 2017-10-20 at 17.25.20
Diagram Source Unstated


Exposure

To create the prints an enlarger is required. This provides an ideal concentrated light source for the exposure of the photogram and is also fitted with a red filter lens and attached timer.

Extend the enlarger until the light covers the paper’s area on the enlarger base.

Set the aperture to fully open.

Place a piece of photographic paper onto the enlarger base with the red filter in place under the lens.

This allows one to switch the enlarger on.

Create a composition of selected objects by arranging them on the surface of the paper.

Then expose the the whole sheet of paper, with the red filter removed, for 5 seconds.

Remember to align the photo paper precisely within the defined marker points.

Take the undeveloped photogram into the developing room and place it in tp prepared chemical trays to process.

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Timings

Developer – 2 minutes
Stop Bath – 1 minute
Fixative – 2 to 3 minutes
Wash – 10 minutes

Developing

Stage 1: Developer

Place paper in the development tray.
Gently tap edges with tongs to ensure paper is fully submerged.
Rock the edge of the tray to agitate the paper – to ensure there are no bubbles.
Process for 2 minutes.

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Stage 2: Stop Bath

Carefully remove the paper from the developer using tongs.
Allow to drip for 7 seconds.
Place the paper in the stop bath tray.
Gently tap edges with tongs to ensure paper is fully submerged.
Rock the edge of the tray to agitate the paper – to ensure there are no bubbles.
Process for1 minute.

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Step 3: Fixer

Carefully remove the paper from the stop bath using tongs.
Allow it to drip for 7 seconds.
Place the paper in the fixer tray.
Gently tap the edges with tongs to ensure paper is fully submerged.
Rock the edge of the tray to agitate the paper – to ensure there are no bubbles.
Process for 2 to 3 minutes.

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Step 4: Water Rinse

Carefully remove the paper from the fixer using tongs.
Allow it to drip for 7 seconds.
Place the paper in the water bath.
Gently tap edges with tongs to ensure paper is fully submerged.
Allow running water to rinse the print for 10 minutes.
Dry print.

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20171020_093015a Pin Li. Neon Glow FBO
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When I was experimenting with photograms I was fortunate that I had access to a dark room with all that was required in place.

How to build a dark room

If you have a photo editor don’t be afraid to experiment. This is your photography world you can do what you like.

I trust that you find some of these ideas useful within the context of your own photography. Don’t be afraid to experiment and allow different ideas to develop as you go along. Toyed with the use of monochrome and the effect and impact that it might have or not have on narrative creation.

Remember what I referred to in previous articles about taking photos; the same applies to considering your own and others photos.

Don’t be afraid to experiment.

Experiment! Experiment! Experiment!

There are no right or wrong answers or ways of doing it. 

Don’t worry about the theory and trying to remember everything about how to take or consider how to look at or stage a photograph.

Don’t worry about what you might think is right or wrong in talking about or taking photographs.

 Make mistakes. Laugh. Have funJust Enjoy the process.

Happy Photography. 

Photograms Attribution © Goff James, Art Photography Poetry

goffjamesart.wordpress.com

Art Photography Poetry

References

Andrew Johnson

https://www.ephotozine.com/article/making-a-photogram—traditional-darkroom-ideas-4688

https://www.slideshare.net

Photography and Photagrams 2 – A Beginner’s Guide – An article by Goff James

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Goff James, Untitled, Photogram

Experimenting with photograms and finding out what they are.

A photogram is a type of contact print, made without the use of a camera or negative,

A photogram is created by placing objects on light sensitive material and then exposing it to light.

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Goff James, Untitled, Photogram
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Goff James, Untitled, Photogram

The resulting image is a negative shadow varying intone density which is dependent upon the transparency of the objects used.

Areas of the paper that have received no light appear white; those exposed through transparent or semi-transparent objects appear grey.

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A photogram takes the principles of photography right back to its roots using light to paint pictures.

The principle is simple – one exposes a sheet of light sensitive photographic paper, to light and block its path with selected objects to create silhouette shapes where the light is blocked.

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Silver Halide

Definition

A compound of silver and a halogen; for example, silver bromide (AgBr), silver chloride (AgCl), silver fluoride (AgF), andsilver iodide (AgI).

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The light sensitivity of the silver halides is key to the photographic process. Tiny crystals of all three of these compounds are used in making photographic film. When exposed to light, a chemical reaction darkens the film to produce an image.


AgCl, for example, consists of crystals of tightly packed ions of silver and chlorine, denoted Ag+ and Cl-. The “+” and “-” symbols tell us that Ag ion (Ag+) is missing one negatively charged electron and that Cl ion (Cl-) has an extra electron.

When film containing Ag+ and Cl- is exposed to light energy, the chlorine ion’s extra electron is ejected and then captured by a silver ion.
Electron ejected from chlorine (Oxidation):

Electron captured by silver (Reduction):

When silver metal forms as a result of the electron capture, it forms a dark image on film. Chemically the Ag+ has been “reduced” to Ag (metal). At the same time, Cl- is said to be “oxidized.”

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I have also done a little experimenting in the photo editor I have. If you have an editor don’t be afraid to experiment. This is your photography world you can do what you like.

I trust that you find some of these ideas useful within the context of your own photography. Don’t be afraid to experiment and allow different ideas to develop as you go along. Toyed with the use of monochrome and the effect and impact that it might have or not have on narrative creation.

Remember what I referred to in previous articles about taking photos; the same applies to considering your own and others photos.

Don’t be afraid to experiment.

Experiment! Experiment! Experiment!

There are no right or wrong answers or ways of doing it. 

Don’t worry about the theory and trying to remember everything about how to take or consider how to look at or stage a photograph.

Don’t worry about what you might think is right or wrong in talking about or taking photographs.

 Make mistakes. Laugh. Have funJust Enjoy the process.

Happy Photography. 

goffjamesart.wordpress.com

Art Photography Poetry

Reference List

http://encyclopedia2.thefreedictionary.com/Silver+Halide

https://chlorine.americanchemistry.com/Science-Center/Chlorine-Compound-of-the-Month-Library/Silver-Chloride-Helping-Us-Get-the-Picture/

https://www.reference.com/hobbies-games/silver-bromide-used-photography-5a11256b501f8929

Photography and Photograms – A Beginner’s Guide – A Different Perspective – An article by Goff James

© Goff James, Art Photography Poetry
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Photograms – the who, the when, the what, the why and the where.

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© Goff James, Art Photography Poetry

I trust that you find some of these ideas useful within the context of your own photography. Don’t be afraid to experiment and allow different ideas to develop as you go along. Toyed with the use of monochrome and the effect and impact that it might have or not have on narrative creation.

Remember what I referred to in previous articles about taking photos; the same applies to considering your own and others photos.

Don’t be afraid to experiment.

There are no right or wrong answers or ways of doing it. 

Don’t worry about the theory and trying to remember everything about how to take or consider how to look at or stage a photograph.

Don’t worry about what you might think is right or wrong in talking about or taking photographs.

 Make mistakes. Laugh. Have funJust Enjoy the process.

Happy Photography. 

goffjamesart.wordpress.com

Art Photography Poetry

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Photography, A Beginner’s Guide -Talking Pictures, Image and Message (4) – An article by Goff James

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Goff James, Untitled, 2017 (FL 18.00mm, Exp. 1/15sec, f/4.0, ISO) 3200)

Sometimes, especially for a beginner, it is good to look at photographs one has taken as well as those of other photographers; by doing so, one is able to learn to understand better what photography is all about.

In my last article we looked at Still Life. Today I am going to look at still life again using one of my own photos for you to look at and consider. The still life was set up on a table at home. No complex lighting accessories, just drew the curtains, closed the doors and a simple lamp and torch.

The concept is to try to develop narratives through the medium of still life and the use of symbolism. I have to confess that still life is one of my favourite genres.

(FL 18.00mm, Exp. 1/15sec, f/4.0, ISO) 3200)

(FL 18.00mm, Exp. 1/13sec, f/4.0, ISO) 3200)

In this series of still life images I have introduced some new objects to see how this might change the narrative. I also wanted to see the effect that the light  might have on different surfaces.

(FL 23.00mm, Exp. 1/13sec, f/4.0, ISO) 3200)

I also experimented with the orientation of the compositional structure, the use of solid and transparent materials as well as the concept of magnification of certain areas by other objects within each still life set up.

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Goff James, Untitled, 2017 (FL 28.00mm, Exp. 1/20sec, f/4.5, ISO) 3200)

Low Key Lighting was once again adopted. I find this kind of ambient lighting adds subtlety and a sense of heightened drama to the final outcome. I particularly like the juxtaposition of light and dark, the flow of light through and around objects and use of varying textures.

(FL 28.00mm, Exp. 1/20sec, f/4.5, ISO) 3200)

I trust that you find some of these ideas useful within the context of your own photography. Don’t be afraid to experiment and allow different ideas to develop as you go along. Toyed with the use of monochrome and the effect and impact that it might have or not have on narrative creation.

Remember what I referred to in previous articles about taking photos; the same applies to considering your own and others photos.

Don’t be afraid to experiment.

There are no right or wrong answers or ways of doing it. 

Don’t worry about the theory and trying to remember everything about how to take or consider how to look at or stage a photograph.

Don’t worry about what you might think is right or wrong in talking about or taking photographs.

 Make mistakes. Laugh. Have funJust Enjoy the process.

Happy Photography. 

goffjamesart.wordpress.com

Art Photography Poetry

Images used Copyright © goffjamesart/poetry/photography

https://goffjamesart.wordpress.com

Photography, A Beginner’s Guide,Talking Pictures, Image and Message (3) – An article by Goff James

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Goff James, Self Portrait 1, 2017 (FL 18.00mm, Exp. 1/5 sec, f/5.6, ISO 3200)

Sometimes, especially for a beginner, it is good to look at photographs one has taken as well as those of other photographers; by doing so, one is able to learn to understand better what photography is all about.

In my last article we looked at portraiture. Today I have selected looking at staging still life and have again used one of my own photos for you to look at and consider. The still life was set up on a table at home. No complex lighting accessories, just drew the curtains, closed the doors and a simple lamp and torch.

The concept is to try to develop narratives through the medium of still life and the use of symbolism. I have to confess that still life is one of my favourite genres.

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Goff James, Self Portrait 2, 2017, (FL 18.00mm, Exp.1/5sec, f/8, ISO 3200)

For this article I have selected alternative objects to experiment with. Again I  selected the Manual Mode on the camera as it gives one greater flexibility working with different lighting and the development of narratives.

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Goff James, Self Portrait 3, 2017, (FL 18.00mm, Exp.1/5sec, f/8, ISO 3200)

In this series of still life images I included six objects in an attempt to create a narrative related to a particular individual. In a sense it is biographical.

Apart from the lighting the only other variable is the candle. I wanted to to see if by changing the significance of whether the candle was lit or unlit changed the impact upon the interpretation of the image upon the viewer.

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Goff James, Self Portrait 4, 2017, (FL 32.00mm, Exp. 1/5 sec, f/4.5, ISO 3200)

Low Key lighting was once again adopted. I find this kind of ambient lighting adds subtlety and a sense of heightened drama to the final outcome.

Remember what I referred to in previous articles about taking photos; the same applies to considering your own and others photos.

There are no right or wrong answers or ways of doing it. 

Don’t worry about the theory and trying to remember everything about how to take or consider how to look at or stage a photograph.

Don’t worry about what you might think is right or wrong in talking about or taking photographs.

 Make mistakes. Laugh. Have fun. Just Enjoy the process.

Happy Photography. 

goffjamesart.wordpress.com

Art Photography Poetry