Sentences with phrase «in darkroom photography»

The discovery of this medium in combination with Bancroft's background in darkroom photography and painting melded into her current mixed media practice.

Not exact matches

Afterbecoming the Cowboys» inaugural draft pick in 1961, he dived into photography, frequenting camera stores and building his own makeshift darkroom.

Soon after turning to photography, he built a darkroom in the basement of his house and later opened a portrait studio in his hometown Ravenna, a seaport jewel in the provinces of central Italy with deep historic links to the East, as exemplified by the opulent Byzantine mosaics and the orientalist architecture of its Sant «Apollinare church.

Bradley was exposed to photography at a early age by his father, who was an avid hobbyist who was always taking pictures of his young son no matter the time or location, going so far as to converting living space in the family home to a darkroom and hanging the results in every room.

As a photographer who lived and breathed film, so - to - speak, that was my cue to enrol in a graphic design program where I could manipulate images with my expert photography skills in a digital darkroom — Photoshop!

Tillmans has become increasingly interested in the chemical foundations of photographic material, as well as its haptic and spatial possibilities, creating works without a camera in the darkroom that present photography as a self - referential medium.

with Melissa Miles and Daniel Palmer), Performance Ritual Document (Macmillan, 2014), LOOK: Contemporary Australian Photography, since 1980 (Macmillan, 2010), Pat Brassington: This is Not a Photograph (Quintus / University of Tasmania, 2006), The Darkroom: Photography and the Theatre of Desire (Macmillan, 2003) and Body and Self: Performance Art in Australian, 1969 - 1992 (Oxford University Press, 1993, Kindle edition 2015).

While he loved the allure of large format photography and the mystical appearance of images in a traditional darkroom, his «discovery of color» via his first digital camera led him to challenge himself to see beyond the natural landscape he had become comfortable with and to explore a new environment, the urban landscape, and seek out color as a vital component of those images.

On the cover — Wolfgang Tillmans: Martin Herbert meets up with the Turner - Prize winning German artist, who has gone from London street and club photography to that of broader cultural eyewitness in New York and Berlin, globetrotting still life and natural photography, abstract photography and, more recently, colour and darkroom experimentations that addresses the history of the medium.

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.

Although these new combinations may look at first glance like darkroom mistakes they are actually carefully orchestrated exercises in composition, revealing an ongoing engagement by the artist with the formal concerns of photography.

And each of these artists has his or her roots in classic silver print darkroom photography.

In 1937, after traveling to Portland from Minnesota and taking up residence at the downtown YMCA, White joined the Oregon Camera Club, using its darkroom and library to hone his photography skills.

His earliest memories of photography are from when he was 10 years old and would explore West Virginia with his grandparents, taking pictures and then developing them in the darkroom.

Since 2008, the Baxter St at CCNY Workspace Residency Program has provided participating artists with three (3) months of free access to the International Center of Photography's darkrooms, digital work stations, and shooting studio as well as the scanning stations at Baxter St (prior to 2014, all access was in - house at The Camera Club of New York's old 37th street location).

Classically trained in the black and white darkroom, Burns presently works digitally from capture to print and also experiments with different technologies and approaches including infrared photography which he is exhibiting here.

James Karales (1930 - 2002) received a B.F.A. in photography from Ohio University in 1955 and then headed to New York and found work as a darkroom assistant to master photographer W. Eugene Smith.

In photography circles, the decades - long debate continues between darkroom and digital.

On the occasion of In the Darkroom: Photographic Processes before the Digital Age, Kennel talks to host Barbara Tempchin about the major technological developments in the 170 - year history of photographIn the Darkroom: Photographic Processes before the Digital Age, Kennel talks to host Barbara Tempchin about the major technological developments in the 170 - year history of photographin the 170 - year history of photography.

Her photography career began in the silence of the darkroom, but later shifted under the influence of critical theory to combine the traditional practice of documentary photography with the impulsive reflections of ordinary experiences.

In addition to photography (shot with a 35 mm disposable camera), Gutiérrez's solo show will also feature videos of her working in the darkroom, animations created from her own prints, and binaural audio tracks of her walking through various environments, welcoming you in on multiple sensory levels.&raquIn addition to photography (shot with a 35 mm disposable camera), Gutiérrez's solo show will also feature videos of her working in the darkroom, animations created from her own prints, and binaural audio tracks of her walking through various environments, welcoming you in on multiple sensory levels.&raquin the darkroom, animations created from her own prints, and binaural audio tracks of her walking through various environments, welcoming you in on multiple sensory levels.&raquin on multiple sensory levels.»

I have also worked as the Assistant Curator at City Ice Arts Gallery in Kansas City and I have taught digital and darkroom photography through the Kansas City Art Institute.

Open studios are offered in ceramics, printmaking, painting, drawing, and darkroom photography.

Inspired by the avant - garde photography of Man Ray and others, Teske soon learned how to manipulate and transform his photographs in the darkroom.

This book presents an unparalleled selection of modernist images, which introduce a crucial moment in the history of photography when artists were beginning to use the camera and darkroom to redefine and transform visions of the modern world.

Aaron Siskind and Abstract Photography of the 1950s and 60s, Darkroom: Photography and New Media in South Africa since 1950, The Fleeting Glimpse, and Visions of France: Three Postwar Photographers

During my 2 years at ICP I hung exhibitions, built darkrooms, participated in master class workshops, and taught photography.

For him, every step in photography serves getting into the darkroom.

Eschewing today's prevalent digital technologies, artists in the exhibition revel in materials and process, employing darkroom techniques that shift our understanding of photography as a medium that merely records the world.

«It's so softly developed in the darkroom that it almost appears like a drawing,» says director Lucas Hirsch of the photograph, which draws from Surrealism, 1920s photography, and the work of Spanish - Mexican filmmaker Luis Buñuel.

Although he never formally studied photography, Welling set up a darkroom in 1976 and began learning about printing and developing with a series of architectural photographs of Los Angeles, CA.

In 1958 he became a color darkroom technician and manager at a large commercial color photography lab.

Throughout the 20th century, artists have explored their studio spaces using photography, from the use of composed theatrical tableaux (in photographs by Julia Margaret Cameron or Cindy Sherman) to neutral, blank backdrops (Richard Avedon, Robert Mapplethorpe); from the construction of architectural sets within the studio space (Francis Bruguière, Thomas Demand) to chemical procedures conducted within the darkroom (Walead Beshty, Christian Marclay); and from precise recordings of time and motion (Eadweard Muybridge, Dr. Harold E. Edgerton) to amateurish or playful experimentation (Roman Signer, Peter Fischli / David Weiss).

At Higher Pictures Roysdon presents a salon - style hang of her photographic projects made over the last decade, distilling her variform thinking and production into an engagement with the specific visual language of photography — its sitedness, its relationship to abstraction, and the translation of physical actions (in the darkroom) into a static image.

Forrest's photography is rooted in traditional Black and White darkroom processes, exploring the unique visual and spatial possibilities of images created solely in the lens.

And then in the future photography became ubiquitous through the smartphone, and Photoshop replaced the darkroom, Instagram the gallery.

This is the emotional engine of a dry, analytic, simple conceptual project of inverting the vernacular binary code of YES / NO in a closed system — in this case, darkroom photography.

[31] Later works created directly in the darkroom without the use of a camera, and often largely accidental (e.g. «Blushes,» «Mental Pictures,» and «Freischwimmer» [33]-RRB-, present photography as a self - referential medium — one that could serve as an experimental ground for the creation of a new type of image structure.

Working in a darkroom, she manipulates the various chemicals used in analog photography to make colorful, unique abstract prints on irregularly shaped pieces of photographic paper.

But most of my experiments in photography will end up on the digital darkroom floor, sitting in my iPhoto archives until one day when my (laptop) memory starts to be seriously impacted by the weight of all these happy photo moments, and I start hitting «delete».

Photoshop processing is commonplace for studio work, and photographers have been altering finished prints since the beginning of photography by «dodging and burning» regions in the darkroom.