This one-day workshop introduces you to one such ‘cameraless’ process the Photogram. This technique produces a shadowy negative image that is obtained by placing objects directly on photographic paper or other light-sensitized surfaces in the darkroom and then exposing it to light, in this case, using an enlarger. Through the control and placement of simple geometric forms/ objects, you are asked to explore the dynamics of composition: the relationship between positive and negative objects and space, variations in scale and the space between the objects.
Working within a format of 8” x 10”, aim to create a series of FIVE photograms exploring the following attributes of visual form: 1. structure (formal, balance, symmetrical, asymmetrical) 2. chaotic (informal, visual noise, irregular grouping, layering) 3. movement (active, time-based)
This is a process I’ve used in the past, so I knew the basics. Test strips are a mandatory part of the process, as every machine is different due to age and the manner in which it’s been used. We started with just a plain test strip to get the basic idea of what timings and aperture we would be going for, and then moved on to test strips using acetate and tracing paper to gauge how the light would affect the patterns we were going to use.
Using some basic patterns and the shapes we used in our screen printing workshop, I created various test strips that somewhat resembled the compositions I was planning on using. I wanted to make sure that I utilised the shapes at hand to my best ability to represent the ideas we have been given in the brief; structured, chaotic, and movement.
To create the illusion of movement, we were shown a method in which we moved the shapes around on the plate between exposures to create the shadowed effect shown on the left here.
Rather than just having these shapes, I also decided to keep a static and orderly component to the composition to contrast nicely. My need to make a stable composition is why I don’t think my attempt at chaos was too successful. Just turning one of the lines to away from being parallel with another hurt me inside, but I feel that after I finished, in comparison with my attempt at order, it was at least somewhat successful.
I decided to take some inspiration from an album cover I’ve always been intrigued with for this one shown below. I wanted order, but I didn’t want it to be boring, which in and of itself is hard to do. I then decided to see what it would be like inverted, and began the process of making it into a positive print (shown to the right). The process involved upping the aperture on the machine and holding the negative print face down against the new paper. This didn’t go entirely to plan as the paper lifted somewhat, resulting in a slight blur, but the effect I wanted is still there.
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After the workshop I wanted to re-research an artist I had looked into a long time ago when I first made photograms, the famous Man Ray. Using objects to block out light on photograph paper is a technique pioneered by Man Ray, adopted by many and used throughout the art world since then. His compositions are what impress me the most; using random household items to create such an interesting canvas isn’t an easy thing to do, but he accomplishes it perfectly.
Overall, I can see myself using this technique again in the future for simple compositions that require basic shapes or items, but past that, I’m not too sure how useful this would be. It’s interesting for what it is, and maybe further experimentation will make it more useful to me.
Prosaic Vocabulary 