Photograms or Camera-less photography

Equipment:
Photographic Paper
Enlarger
Processing machine
Various found objects

Photograms are immediate and honest; the product of direct contact between light, object, and photographic paper.In this age of digital manipulation, the truth of a photogram is extremely refreshing.

                                   (Ten second exposure with Aperture Value [AV] 6)

In the dark room, I placed my chosen objects upon the photographic paper then shone light from the enlarger onto it for ten seconds. Then, taking the exposed paper I ran it through a processing machine which developed and fixed my photo for me.

I experimented with adjusting the intensity and time of the light to get different results, but I found that for a sharp image with good contrast, ten seconds at AV 6 was best.

                                                      (Ten second exposure on a lower AV)


Then, using the techniques I had learnt in making a negative photogram, I tried to make a positive image. I sandwiched the negative image along with a new sheet of photographic paper between glass plates then exposed it to AV 6 light for ten seconds.

I really like the Pop Art reference implicit in the repetition of everyday objects. I then experimented to make the positive image more tonal by varying the length of time I exposed it for.

 I especially like how the blurred edges in the positive image give it a sense of movement. This works with the subject matter which is a peg being pinched open, movement is therefore inherent to the image.


Taking the idea of pegs further, I wanted to create an image that told a narrative.

 I think this above sequence works very well as a narrative as it's remniscent of pictures of evolution. Also, the properties of the final peg meant that it lets very little light through, thereby giving it the bright, white effect. This shows how different materials with different properties will give a wide range of results in a photogram.


Then, I worked towards making a selection and assembling a triptych of work. In photography, I've learnt that editing is crucial. Choosing what works, and putting aside what doesn't work is vital, and helps distill your work to its basic message instead of bombarding the viewer with a mass of images. 

My triptych displays items in a sequence that can then be repeated: Flora, Flora, Fauna. Fauna, Fauna, Manmade. Manmade, Manmade, Flora. All the items could be seen as the 'rubbish' of that category, for example; the feathers have been shed, the leaves were fallen, and the manmade product were litter. Somehow though, by presenting them in this deliberate and almost reverential way, they have ceased to be debris. Photography has given them validation, and I find that very exciting.