A powerpoint of starter examples and annotation guidance for GCSE students using Photograms, Cyanotypes and Chemigrams

1. UNIT 2
ALTERNATIVE PHOTOGRAPHY
TECHNIQUES
AO1: ANALYSING ARTISTS PROCESSES,
TECHNIQUES & IDEAS
A01: RESPONDING TO ARTISTS WORK

2. Analysing art: starter questions – UNIT 2 – CAMERALESS PHOTOGRAPHY TECHNIQUES
CHALLENGE: CHOOSE TWO OR THREE IMAGES from the examples you are given: compare
them using the prompt questions below. Try to use photographic language and aim to
write in depth; reflectively and analytically. (using only description without analysis will gain
poorer grades and not help your understanding or skill improve significantly)
1. Why did you choose this image – consider what it is that attracts your interest. what does
your choice say about you as an artist – what would you like your own outcome to be?
2. What do you think are the best things about this photogram/cyanotype?
3. How do you think the image is constructed – what objects and processes have been used?
Think about what we have discussed? If you had to make a composition like this, how
could you do this? Predict the steps: visual elements, props, organisation, equipment &
techniques
4. List 3-5 photographic elements that you think the photographer might have been
interested in capturing in this composition? (such as TEXTURE, FORM, SHAPE, ANGLES,
SPACE, CONTRAST).
5. Are there other qualities that make it interesting? (such as MYSTERY, COMPLEXITY,
ORIGINALITY, a STORY or INNOVATION). Explore and explain the things you think are
unusual OR memorable OR eye-catching about the photograph.
6. Analyse and discuss the effect of TRANSPARENCY, TRANSLUCENCY & OPACITY on the
composition image. Is it a negative OR a positive
7. The best learning comes from trying to see and experience the artist’s viewpoint: what do
you think the artist is trying to say and why? Is there a message or meaning?
8. Finally – consider where the work sits in the ART / CRAFT and/or DESIGN spectrum. Is this
important to te final outcome or to your understanding?

3. PHOTOGRAMS

5. http://www.joygregory.co.uk/project/t
he-handbag-project/

8. 1943
Fotogramma, stampa alla
gelatina sali d'argento
199 x 254 mm
© L. Moholy-Nagy Foundation
LAZLO MAHOLY-NAGY
1940s

10. László Moholy-Nagy (1895-1946)
Senza titolo [Fotogramma]

11. http://www.geh.org/amico2000/htmlsrc/

12. http://www.abelardomorell.net/photography/
photograms_01/photograms_06.html

13. http://www.seedsandfruit.com/2010/01/ethan-jantzer-
photogram-artist/

14. http://www.daveeva.co.uk/

16. Floriss Neususs
http://www.museumofnewmexico.org/
mfa/ideaphotographic/artists_neususs.
html

19. http://michaeljorg.weebly.com/p
hotograms.html

20. THOMAS RUFF
http://www.loeildelaphotographie.com/2013/03/26/article/20777/thomas-ruff-photograms-
m-a-r-s/

21. http://thecreatorsproject.vice.com/en_uk/blog/8-
photographers-who-dont-use-cameras-to-take-pictures

22. ADAM FUSS
http://www.xavierhufkens.com/artists/adam-
fuss#go

23. CYANOTYPEShttp://www.alternativephotography.com/wp/processes/cyanotype/cyanotype-classic-
process
http://www.alternativephotography.com/wp/essays/cyanotypes-a-new-look-at-an-
old-technique-thesis

24. Phase 1: To Record The first period of “photograPHIC” exploration was to produce a scientific record
of natural objects . Anna Atkins was one of the first involved in this scientific photographic development and is
arguably the most well known for starting this style. Her work can be seen in these two images
British Algae:
Cyanotype
Impression,
1843
Poppies:
Cyanotype
Impression,
1850
STARTER - Look closely at both images; discuss them in pairs. Talk about how the following are used
• COMPOSITION, DEPTH OF FIELD, TEXTURE & CONTRAST
• OPACITY, TRANSLUCENCY & TRANSPARENCY.
NEXT – complete the main task USING CYANOTYPE images that you have chosen yourself. Below are
other starter images to inspire you

26. Elaine Humpleby

31. From a negative
From actual flowers contacting
with the chemical soaked fabric

32. http://www.chris
topherjames-
studio.com/build
/ALTcyanotype.ht
ml

33. http://marciatreiger.com/cyanotypes

34. CHEMIGRAMS
http://www.pierrecordier.com/15.html chemigram*
Invented in 1956 by Pierre Cordier, the chemigram combines the physics of painting
(varnish, wax, oil) and the chemistry of photography (photosensitive emulsion,
developer, fixer) ; without a camera, without an enlarger and in full light.*

35. The chemigram process was initiated by Pierre Cordier. It is
a unique and fascinating process which uses resists onto
light sensitive, or photographic paper, even paper which
may be old or previously exposed to light. Usually when
photographic paper is exposed to light for a period of time it
begins to turn black when it is developed but this is not the
case when a resist is added. A resist will block the chemical
effects of developer and fix and the parts protected by the
resist will continue to change colour due to continued
exposure to light. This is where you may see pinks and
yellows rather than just various shades of black and white.
What you then begin to experience are various patterns
which occur naturally.
You can experiment with various ways of applying the
various 'resists' by using cotton buds, straws, fingers,
paintbrushes and even stencils to apply the various liquids
and chemicals. The resists also varied in thickness and
solidity: I have used: oil, honey, moisturising cream, bleach,
cleaning solutions, cooking oil, hand soap, spray glue, clear
nail polish, body spray and even saliva.
It can be interesting to use various degrees of light to
complete this experiment; normal room light with the light
fully open and also a darkened room with the lights off and
the blinds closed. This is a process which can be created in
daylight as it is a chemical process rather than a process
which involves the use of light but I found that by
experimenting with exposing the paper to various degrees
of light the results were more varied
http://tallisalevelphoto.weebly.com/cameral
ess-photography.html

37. Chemigrams are created by a
cameraless process utilizing
conventional photographic paper
and chemistry. It breaks all the
rules of traditional photography
with results that can be stunning
or heartbreaking due to the
unpredictability of the process.
Pierre Cordier invented the
technique in 1956. I take it one
step further by introducing
photographic images in the work.
Among some of the examples of
this process are images from
“The Lost manuscript Series,”
“Stravinsky Suite,” and an
ongoing project that began over
twenty years ago, titled
“Vanished.” The chemigrams are
16″ x 20″ and mounted on
anodized aluminum sheets.
http://markdroberts.net/

38. http://www.jessemerrell.net/blo
g/2014/8/fun-with-chemigrams

39. http://michaeljorg.weebly.com/

40. lchemist Chemigrams
The story of Peter Schlemihl was
written in the nineteenth century.
During that time, poetry and
philosophy were impregnated in
scientific thought. There was liberty
for the actually observed and fantasy.
The flowers in the following
chemigrams appear to be unknown
organisms. The blossoms were
immersed in various liquids such as
oils, alcohols and acids before being
placed between two sheets of paper
and pressed. The reaction that
occurred between the various
solutions, the plants, and
photographic paper resulted in the
following alchemic imprints.
http://www.heleenpeeters.com/index.
php?/projects/alchemist-chemigrams/

41. http://botkaildiko.com/ind
ex.php?page=chemigram

42. TIMOTHY PAKRON
http://www.timothypakron.com/2
781442-silver-drips
http://benpeterspost16photography.weebly.co
m/cameraless-photography.html