A century or so ago, championed by Alfred Stieglitz and Camera Work, the Pictorialist photographers emulated the visual characteristics of painting, often through extensive
darkroom manipulation, in a bid to establish photography as an art form.
It is in
the darkroom manipulation where science becomes art.
Not exact matches
The photographer — who rose to fame in the early 1990s with a modern style characterised by the merging of digital
manipulation and
darkroom techniques — has since started «composing» his images by integrating an interest in the natural world with concepts typically associated with painting and cinema.
The artist shoots exclusively in film, printing each image in a
darkroom, in an effort to reduce the possibility of
manipulation and thus reconfigure our understanding of natural phenomena.
Although the six artists in this installation — Walead Beshty, Daniel Gordon, Leslie Hewitt, Carter Mull, Sterling Ruby, and Sara VanDerBeek — represent diverse points of view, working methods, and pictorial modes ranging from abstract to representational, their images all begin in the studio or the
darkroom and result from processes involving collection, assembly, and
manipulation.
Produced entirely in the
darkroom, the Freischwimmer works are created without the aid of either camera or negative, the result of the
manipulation of light sources by the artist over photosensitive paper.