Jessica Eaton Technique

[Shutter20]

I was wondering if anyone here had a sort of step-by-step idea of how Jessica Eatmon created her cube images. I'm not sure if I'm particularly fond of the work itself, but the technique is fascinating. All I could figure out about the process was that she used a tripartite additive colour process with filters and multiple exposures, but I have no idea how calculate and order the exposures layer by layer in a predictable or systematic way so that I'd at least have an idea of what might show up on the negative. If anyone had any insight of have done similar experiments with colour and exposure I'd love to hear about it!

[Denny]

While taking into account horstenj's valuable insight, a google search on "Jessica Eaton technique" turns up a number of articles about the way she works. A common thread is that she has a very high frequency of rejects. I suspect that the details of her technique may be difficult to define, and it may just require 100's if not 1000's of negatives in the circular file to achieve any consistent level of success. Many of the search results offer unique insights to her methods, and might be worth skimming for tips. (Who would have thought to put holes in a dark slide?)

If you learn anything that's transferrable, please post your findings!

Denny

[baronvonaaron]

oh wow. I've been following her on instagram for a while, and I NEVER knew that's what I was seeing.

[Shutter20]

Hornsten, I apologize if I wasn't clear earlier, but I didn't say that I didn't like the results. I meant to say that, while I find the technique/ method fascinating, I haven't made up my mind about the actual work itself and whether it is successful but the fact that her work has drawn me in either way says something. I think, at least for me, I can appreciate the techniques and methods of a work without necessarily liking the finial product, in that I can translate those techniques to produce something different for myself. In any case, links would be very much appreciated!

I had seen in an interview that she goes through a lot of trial and error, but I wonder if a more systematic approach would reduce the number of duds? I have thought about messaging her directly, however, I read somewhere that she has an assistant now who screens her emails because she was spending too much time replying to them rather than working so I'm unsure if a direct inquiry would be fruitful. But I'll try!

Denny, your Google searches must have been better than mine! I did not see the article about putting holes in dark slides! How interesting!

[Denny]

Look here:
http://www.artnews.com/2011/03/01/building-pictures/

[jnantz]

its funny,
i have been making tri chromes for years using 3 separate films i always thought of exposing the same film 3x
but figured it probably would be a waste of time, now i know it isn't
i had never heard of jessica eaton thanks for the links !
john

[Shutter20]

For example, if one were to nest three cubes together into one negative, would you start with the smallest one, then replace that one with the larger one and so on? Is that how the exposures are stacked?

[Denny]

Why would the order of exposures make any difference?

[jnantz]

Why would the order of exposures make any difference?

i only order the exposures so i know which is which so when i drop each film
into its color channel ... it actually makes a color image .. i didn't know
it made a difference when just doing 3 separate exposures on a sheet of film
weird if it does ? unless she had a special techniquie she did so they mix a certain
way since she is doing it over and over and over and over again

[Jaye]

I was wondering if anyone here had a sort of step-by-step idea of how Jessica Eatmon created her cube images. I'm not sure if I'm particularly fond of the work itself, but the technique is fascinating. All I could figure out about the process was that she used a tripartite additive colour process with filters and multiple exposures, but I have no idea how calculate and order the exposures layer by layer in a predictable or systematic way so that I'd at least have an idea of what might show up on the negative. If anyone had any insight of have done similar experiments with colour and exposure I'd love to hear about it!

Step by step here you go:


1. think about very little other than photography for 24 years
2. Start to think about photography as a medium and then question every aspect of it. Focus eventually on the most base technical components.
3. Once you’ve isolated those components, think about the ways they are constructs which replicate our experience of the universe or are perhaps tied to greater universal forces outside of our human abilities of perception.
4. Start to try to fuck with whatever you came up with in step 3.
5. Create your own language and codes and choreograph interactions in time and space that are in conversation with the medium and your thoughts
6. Rethink everything
7. Don’t you ever give up!