This is an overview of some of the projects/work.
Camera-less employs many process from the humble cyanotype and lumen print to argyrotype, kallitype, anthotype and salt, within these techniques are then the varying range of complexities. The work here covers some of these techniques and processes.
I started using cyanotype and lumen over ten years ago and my interesting primarily was the lumen process, the mark making upon the surface of the paper was my reason for pursuing degenerative series which allowed for the progressive recording of deceased forms to leave their essence on the surface. The paper would then be processed by stabilising in chemicals and then scanning digitally, sometimes this was done prior to chemical treatment in order to retain the rich colours that occurred as part of the extended exposures. Post scanning the images are generally just adjusted slightly and cleaned up in photoshop.
The original silver gelatine prints are stabilised and are unique prints in their own right, though they can have an ‘odour’ hence the use of archival pigment prints for exhibiting/sales purpose.
I also make digital negatives/internegs of work and these can then also be contacted printed onto the preprepared substrates using a variety of processes. I do not consider this
direct camera-less work but it is a method of production which allows me to explore
seeing the works in different media.
Sometimes the exposures for these prints are very long lasting months with only a feint image, the fugitive qualities and the
passage of time, being part of the process are in fact part of the creation of that image in a performative way, they can be left in places capturing an aspect of that environment that could not be managed within a studio situation.