Professional Documents
Culture Documents
Experimental Photography
A Handbook of Techniques
Marco Antonini, Sergio Minniti,
Francisco Gmez, Gabriele Lungarella
and Luca Bendandi
Edited by Luca Bendandi
620 illustrations,
506 in colour
23.0 x 17.7cm
240pp
ISBN 978 0 500 544372
PLC
A4
Book
19.95
March 2015
ContentS
Introduction: Interview Chapter 3: Operative Hacks
The Paradox of Photography Paolo Capponi by Sergio Minniti Distressing Negatives and Film
Interview with instructions
Chapter 1: Cameraless Kwanghun Hyun by Sergio Minniti Slit-Scan Cameras with instructions
Camera Obscura with instructions Solargraphy with instructions by Tony Kemplen and James Guerin
Profile by Diego Lpez Calvn Interview
Abelardo Morell by M. Antonini Interview Paolo Gioli by A. Kossmann
Darkroom with instructions Wayne Martin Belger by Interview
Exposure Test Strip with instructions Sergio Minniti Cesare Fabbri by L. Brembo
Photograms with instructions Legotron Cary Norton Interview
Clich-Verre with instructions Taiyo Onorato & Nico Krebs douard Decam by L. Brembo
by M. Antonini Interview
Lumen Prints with instructions
Lomography Brana Vojnovic by Sergio Minniti
Multiple Exposures with instructions
Disposable Cameras Polaroid for Wet-Plate Collodion
with instructions
Chapter 2: Handmade, Toy Interview
35 mm SLR for Wet-Plate Collodion
and Disposable Cameras Jno Cook by Beth Horning Microtype with instructions
Making a Pinhole Camera with Interview
instructions by Alan E. Cooper Trevor Paglen by M. Antonini
Experimental Photography
Chapter 4: Print Interview Appendix
Experimental Photography
Cameraless
Experimental Photography
16 C Am er Al e s s A bel A rd o m o rel l 17
Cuban-born artist Abelardo Morell, who moved to the United States in 1962, has
been active as a photographer for more than 30 years. Grounding his formative
work in domestic experiences and observations, Morell first experimented with
large-format photos of household objects and scenes of childhood. Inspired by
classroom demonstrations he conducted while teaching at the Massachusetts
College of Art, he then grew increasingly fond of camera obscura. He now uses
large-scale camera obscura installations to create temporary sets, which he
then photographs. Physical details of the room, such as the furniture and
personal objects left in place, create an unexpected overlap of indoor and
outdoor elements that the artist describes on his website as a weird yet natural
marriage. After working in all sorts of domestic interiors, including his own
home, Morell extended his practice to include a wider range of settings, using
larger, custom-built portable camera obscura devices. These tent-like structures
(see illustration on p. 22) allow him to project images of a landscape onto other
parts of the same landscape, creating compositions that emphasize the harmony
right
Abelardo morell
View of Landscape Outside Florence
in Room With Bookcase, camera
obscura, 2009
opposite
Abelardo morell
View of Landscape Outside
Florence Looking East toward
where Galileo Died in Exile, camera
obscura, 2009
overleaf
Abelardo morell
View of Central Park Looking
North, Spring, Fall, Winter,
Summer, camera obscura,
200813
Experimental Photography
80 H an d m ade , T oy and d is pos ab le Came ras lo m o gra p Hy 81
this page this page
Experimental Photography
94 O per aTIv e HackS S L IT- S ca n ca m era S 95
1 2 3 4
Experimental Photography
136 Pr in t ExPE rimE ntat ion and t E chniquEs c Ya no tYP E 137
The cyanotype printing process relies on the light sensitivity of iron salts,
creating blue-tinted images. It was developed by the pioneering English
chemist and photographer John Herschel in 183942, and became
cYanotYPE popular as a simple and cheap process for creating large-scale copies
of engineering plans (hence blueprints), but it can also be used for
photographic subjects. Although the technique has some disadvantages
(primarily long exposure times and a short chemical shelf life), it is a
great process for beginners due to its relative simplicity and low cost. You
can buy ready-made cyanotype solutions, but it is not too difficult to mix
your own.
1 2 3 4
right
light
sensitive Barbara Ghidini
step Dancer., cyanotype, 21 x 27 cm,
PaGE xx 2013
Experimental Photography
178 Pr in t ExPE rimE ntat ion and t E chniquEs antho tyP E co l o u r rEciP Es 179
Anthotypes may not deliver a wide tonal range, but the individual colours
that can be achieved are as varied as natures palette. The swatches and
anthotyPE
colour recipes here are mainly for inspiration: the precise amounts
colour
of ingredients needed to produce each anthotype colour can only be
rEciPEs
determined by trial and error, and even then the resulting shade will vary
by John Dearing
significantly between batches. Different types and weights of paper stock
will also affect the end result.
Paprika paste, alcohol Madder root powder, alcohol Alkanet powder, baking soda Alkanet powder, alcohol Turmeric, sandal wood, Red cabbage puree (filtered), Raspberry puree (filtered) Pinot noir, from the bottle.
alcohol baking soda, alcohol
Sandalwood, turmeric, Madder root powder, alum, Boiled blackberry puree Blueberry puree (filtered) Turmeric, alcohol Boiled red cabbage, Boiled red beetroot puree Boiled raspberry puree
alcohol alcohol (filtered) baking soda (filtered) (filtered), alcohol
Canned beets Spirulina powder, alcohol 1:2 Blackberry puree (filtered) Raspberry puree (filtered), Paprika (filtered), alcohol Chard puree (filtered), water Red wine Boiled chard (filtered), water
alcohol
Experimental Photography
Experimental Photography
ISBN 978 0 500 544372
19.95 PLC