presentation

[cobalt]

Greetings.

I have been developing an affinity for prints that aren't exactly, what onew might call clean. To clarify, in painting and drawing, I learned long ago to free myself from attempting to simply coldly replicate the subject matter at hand. This has led to a freer, more expressive style when I draw or paint. I have been letting this mode of working, and presentation, spill over into photography.

For example:
http://flickr.com/photos/silverglyph/2188076633/
The above referenced photograph was the result, obviously, of an accident. I like the role chance, and frankly, lack of strict precision with respect to technique. I have a few other photographs that I am thinking of present sans spotting, that is, with scratches, and in some cases debris, intact. I am no Sally Mann, but I noticed that Deep South seemed to take more of an expressionistic approach to the medium of photography, with less than the traditional regard to spotting. Of course, I realize that in this case, the medium and method had a lot to do with the presentation.

Your thoughts are welcome.

[Daniel_Buck]

I really enjoy the 'grungy' that can be had with photographs that are in less than perfect condition. Maybe because I'm from the South? :D

[venchka]

Perhaps there is hope for my negatives "flawed" by light leaks, etc.? I have kept all of my negatives. Partly to remind me of mistakes made along the way. Maybe there is a place for them.

[PaulRicciardi]

Love the effect, keep up the work. It's heartening to find some other LF photographers who aren't afraid of a "flawed" image. I'm actually starting a project based entirely on imperfect prints.

By letting myself disregard the idea of what a photo "should be" I've been able to experiment heavily with the photographic process and do photography that is more in keeping with "me." It took me a while to realize I didn't have to adhere to the traditional, realistic view most LF photographers take. In the past I wanted to make technical masterpieces like many other LFF members. Some of the technical talent here is phenomenal and I wanted to emulate that. Now I'm working with the idea of pushing the photo in the opposite direction to the point where the image itself starts to fall apart and things start to disintegrate into light, colour, shapes, and forms. It's an exercise in capturing the essence of a place instead of literally photographing it.

It seems that most large format photographers have generally stuck to the idea that a photo is at its best when it is both evocative and well executed from a technical perspective. I'm not saying that LF photographers care more about technical mastery (though it can seem that way at times) nor am I saying a literal, realistic photo can't be evocative. It's simply a personal matter-for me I prefer a more abstract, subtle, and loose style of photography.

Perhaps the leaning towards realistic photography and technical perfection is due to the greater quality available in a large format negative and thus LF photographers want to capitalize on that by making the most straight forward and realistic photo. Perhaps it is that the majority of LF photographers are traditionalists. Who knows. For me LF offers the greatest chance to experiment-paper negatives, direct cibachrome positives, ULF, alt processes. And that's what is so great about LF-in my opinion it offers the photographer a chance to make photography "your own." You can use 19th century lenses on a glass plate or modern APO lenses on the sharpest film. No other format lets one do that.

In any event, I've been moving away from the idea of photography as literalism and towards photography keeping with who I am and the way I see as an artist. It's been refreshing since for my job at the newspaper I have to shoot very literal photos. LF's been a way for me to get back to art. Nice to see some work similar to where I've been going. Sorry I wrote half a book, just been having a lot of thoughts bouncing around about this sort of "backwards and flawed" LF photography, glad to have somewhere to get it out.

Cheers
Paul

[Ross Chambers]

It may seem crazy to have been chasing a wee black spot (which I seem to have P/Shopped out of this scan) in the light of the overall imperfections (it's a zone plate negative on APHS 4x5 thus large format!) but it did worry me.

I, too, referred Sally Manne's "Deep South" but she WAS using wetplate collodion.

I'm still undecided.

regards - Ross

[cobalt]

Paul:
Thank you. No worries; you've articulated what I tried to, but far more eloquently.
You obviuosly "get it".