Tag Archives: printing

Cyanotype Workshop led by Peter Gosnell

In advance of the upcoming symposium, Shadow Without Object, Peter Gosnell led a workshop teaching seven selected students how to make Cyanotype prints. Gosnell, Teaching & Learning Technician in the Photography Resource Centre at Camberwell, taught them how to prepare their digital images to be made into ‘tuned-in’ silver halide negatives for printing. The Cyanotype process was then introduced to them within its historical context, and they learned how to be discerning about what papers they selected to use with the Cyanotype printing process. The morning session taught them best practice in how to sensitize papers, dry sensitized paper, calculate correct exposure, and wash-out and dry printed-out paper. In the afternoon students worked independently under supervision.

Shadow without Object considers emerging photographic technologies against a wider historical context of overlooked and marginalised practices, exploring in particular one of the medium’s long-held and contentious theoretical tenets which describes the physical relationship between a photograph and its subject – the index. The symposium is a 1-day event taking place on Friday 4 December at Chelsea College of Arts.

Imperial size cyanoprint from a laser print of a digital collage of Lancelot ‘Capability’ Brown’s edited work at Syon House in west London, framed by iconic images of Brown and the churches at which he was baptised, married and buried, to mark the tercentenary of Brown’s birth in 1716. Painted digitally by Alasdair Saunders with assistance from Camberwell staff at the digital print and photographic facilities.

Imperial size cyanoprint from a laser print of a digital collage of Lancelot ‘Capability’ Brown’s edited work at Syon House in west London, framed by iconic images of Brown and the churches at which he was baptised, married and buried, to mark the tercentenary of Brown’s birth in 1716. Painted digitally by Alasdair Saunders with assistance from Camberwell staff at the digital print and photographic facilities.

Alasdair Saunders, MA Fine Art Digital student at Camberwell, was one of the students who participated and told us of some of the outcomes. ‘The workshop was extremely instructive and most efficiently organised. The Cynotype was much admired during the MA pop-up show on Wednesday 25th November and as a result a number of other co-students have asked me for introductions to the technical staff running the symposium and workshops. I believe that the broader public will likewise much appreciate the Cyanotype, if and when, it is on display at Somerset House in June 2016 as part of a photographic exhibition to mark the tercentenary of Lancelot Capability Brown in 2016. I am meeting with the Syon House management next week to discuss its possible use as part of their celebrations and, if these and other discussions advance, many more such prints could be required.

The success of these initiatives will create opportunities to credit Camberwell with the Cyanotype process before a wide audience.  It will also require me  to further exploit the Camberwell facilities.’

Top image: Giacomo Raffaelli With a Relative Uncertainty

Jo Love at GiG Munich

GiG Munich is happy to introduce the work of Jo Love, MA Visual Arts: Printmaking Course Leader at Camberwell College of Arts and Senior Lecturer at the University of Brighton. Love has recently completed her PhD at CCW, entitled Dust: Exploring new ways of viewing the printed photographic image. The research project explored how the visual presence of dust shifts the perception of temporality and materiality within the printed photographic image, thereby opening up new avenues for thought.

Her show at GiG Munich marks the continuation of her research into the viewed surface, the materiality and the time of the printed photographic image. Her work combines drawing with printmaking and photography, and uses the specks of dust found on the surface of the photographic image as the starting point of her investigations.

At GiG Munich Love shows two bodies of work. The first consists of a series of landscape drawings made in collaboration with a senior scientist at the Natural History Museum in London. In this series she re-draws the electron microscope images of marble and graphite particles in order to reclaim the tactile materiality lost to modern technology. She also imbues the image with a different kind of temporality to that of the digital experience. In the second body of work, Love draws over a digital print of a video still, covering the inkjet surface with a layer of graphite. Only small pockets of saturated colour are left exposed. Taken together, the two different layers create an optically unstable image, disturbing and disrupting the act of viewing.

Both drawings operate at the limits of human perception and invoke ideas of the technological sublime. As Love states, ‘My interest lies in constructing images which are resonant with my experience and perception of the world: more fractured, open and complex than the more coherent image can convey, and one that offers an arena within which we can contemplate themes of time, memory and mortality.’