I have written many times about my artistic convictions related to the manipulation of photographic images. There is the popular misconception that photo manipulation was born with the invention of PhotoShop and digital cameras. This notion is completely false. Photographers have made heavy alterations to photographs in the darkroom for decades.
I usually write about my own photography, but I would like to share the work of a few artists that have been an inspiration to me. Coincidentally, these artists create all of their photographic works using film and darkroom techniques.
Misha Gordin
Above photograph by Misha Gordin from the series entitled “Shout”
Misha Gordin was born in 1946, the first year after the end of World War II. He was raised amongst the Russian speaking population of Latvia.
It would be pointless for me to say much more, since Misha explains his own artistic convictions so well. Below is an excerpt from his artist statement. Please visit Mishas website to see more of his compelling photographic works.
“It is not a new idea to manipulate photographic images. As a matter of fact all images are manipulated to a certain degree. The real power of photography emerges when altered reality is presented as existent and is expected to be perceived as such. An obviously manipulated image is a trick that shows a lack of understanding of the unique power of photography — the belief engraved in our subconscious that what was captured by the camera has to exist. In the best examples of successfully manipulated images the question “Is it real?” does not arise.
My first introduction to digital manipulations showed me how similar analog and digital techniques are. Each has it’s bright and dark spots. At this moment I don’t see any reason to switch to digital. I still prefer the glowing quality of original print and the laborious process to achieve it. Yet, I believe that it is only matter of time before digital approach replaces the analog and conceptual transcends the conventional. I also want to believe that, many years from now, artists will continue to develop the language of photography, understanding and preserving its unique power.”
-Misha Gordin
Jerry Uelsman
Above Photograph by Jerry Uelsman
Jerry Uelsman was born in Detroit on June 11th 1934. He recieved his BFA degree at the Rochester Institute of Technology in 1957 and his M.S. and M.F.A. at Indiana University in 1960. He began teaching photography at the University of Florida in Gainesville in 1960. He became a graduate resarch professor of art at the university in 1974. His photographs are in the permanent collections of museums worldwide, including the Metropolitan Museum of Art and the Museum of Modern Art in New York, the Chicago Art Institute, and the International Museum of Photography at the George Eastman House. Read his complete bio here.
This is an excerpt from a recent interview with Jerry Uelsmann conducted by Tim Anderson at Camera Arts Magazine:
Tim Anderson: What do you think of the current photography market where it seems though digital camera makers are pushing film-based cameras aside?
Uelsmann: It is the future. You can’t deny it. When word processors came in to being, other modes of working were challenged by that. It’s just the way things are headed and I don’t think that traditional photography is going to disappear. At SPE (The Society for Photographic Education) recently, in Miami, I talked to someone from RIT (Rochester Institute of Technology) and he said their plans are that by the year 2009, silver gelatin will be taught along with alternative processes. That’s interesting. I’ve gone from being main stream to alternative. But I do think mistakenly, that many people believe that the only true photograph is a silver gelatin print. We both know, however, that’s not true.
See more of Uelsmans work by clicking here
Dora Maar
Above photograph by Dora Maar – “rue d’Astorg”
In 1927 Dora Maar began studying painting in Paris, but shortly after switched to photography at the “Ecole des Photographie de la Ville de Paris.” She became prominent among the Surrealists (Andre Breton, Man Ray, Paul Eluard.) She produced a compelling body of work that included photo montages, portraits, nudes, landscapes, fashion and advertising photography. She began a somewhat toxic relationship with Pablo Picasso which lasted from 1936 to 1946. Maar became the rival of Marie-Therese Walter who had given a daughter to Picasso. Maar eventually came to suffer from this relationship after she discovered she was sterile.
She was the subject of many paintings by Picasso and he appeared in many of her works as well. She gave up photography entirely, partly because Picasso felt photography to be an inferior artistic medium.
Posted by dancoburn 
Posted by dancoburn 
Posted by dancoburn 
