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Chemical bath setup. From tests I worked out area of steel this large needed a week in photo fix for optimum silver reclaimation

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Chemical bath setup. From tests I worked out area of steel this large needed a week in photo fix for optimum silver reclaimation

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*IMPORTANT*I Had the opportunity to talk with a scientist about plant based developers and tried to understand the reaction further. Incredibly useful in modifying my own recipe

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*IMPORTANT*I Had the opportunity to talk with a scientist about plant based developers and tried to understand the reaction further. Incredibly useful in modifying my own recipe

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Single mother Arafa Hassan Gouda said she and her six children - Mayas, Gaida, Ethar, Amr, Waieel and Akram - had to cross borders in the back of trucks, in cars and on boats before resettling in the city through the government's UN gateway resettlement programme.

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Hull tent art installation shows refugee family's journey

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The Dirar family fled war-torn Darfur and spent four years at a refugee camp before moving to Hull.

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Scott Hunter - Artist with loads of amazing projects.. lots on environmental photographic practice. silver reclamation etc. 

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Scott Hunter - Artist with loads of amazing projects.. lots on environmental photographic practice. silver reclamation etc. 

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suddenly just thought, what if actually some of these plants could absorb the silver from waste photographic fixer and use it in a positive way? Like actually what if there’s something more going on here that I could explore and somehow create more of a holistic ecosystem within photography?” (4:18)

Hannah discusses the main issues of sustainability within analogue photography , including: the amount and type of water used, the use of bovine gelatine, waste chemistry disposal, and the use of plastic. (7:18)

Hannah discusses the main issues of sustainability within digital photography, including:  the ethics of your camera’s manufacturer, the mining of minerals and materials for your camera, disposal of your old camera, and the storage of digital photographs. (12:27)

“In 2019 I founded an initiative called The Sustainable Darkroom which is basically a kind of platform and research and learning initiative to support other practitioners in finding their own more environmentally friendly approach to working with analogue photography.” (16:26)

“I knew that I needed collective knowledge and the help of scientists and experts, which is why I kind of thought I need to make something that is going to bring together lots of people to really work in this way of activism and community resilience. Because I really believe that these forms of actions are some of the most powerful ways that we can move forward in society.” (18:51)

“I think we need to be open to possibilities for new understandings and new visual languages within our photography because that’s the only way that we can really move forward.” (23:40)

“None of these ideas that I’m putting forward are solutions to working completely environmentally friendly. None of them are perfect. None of them are solutions yet. But I believe that just making an informed decision, knowing what materials you’re using, where it came from, why you’re using it, why it makes sense for your practise, being able to justify it. I believe that this is one of the most powerful things that we can do as a society, is to inform ourselves and make conscious decisions.” (26:06)

“If we are thinking about the whole ecosystem of photography, it relies on so many other industries to exist. And I think we need to not think of ourselves as an individual photographer existing on our own.” (30:12)

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In this episode, we talk with Hannah Fletcher about how to develop a more sustainable photographic practice. She discusses the issue of sustainability within analogue and digital processes. Hannah explains the need she identified for a wider conversation around sustainability within photography and how this led her to found The Sustainable Darkroom. She explains her relationship with science and why it is so important for photographers to consider themselves within the broader ecosystem of photography and all the industries photography is connected to.
What you'll find inside:

"I suddenly just thought, what if actually some of these plants could absorb the silver from waste photographic fixer and use it in a positive way? Like actually what if there's something more going on here that I could explore and somehow create more of a holistic ecosystem within photography?" (4:18)

Hannah discusses the main issues of sustainability within analogue photography , including: the amount and type of water used, the use of bovine gelatine, waste chemistry disposal, and the use of plastic. (7:18)

Hannah discusses the main issues of sustainability within digital photography, including: the ethics of your camera's manufacturer, the mining of minerals and materials for your camera, disposal of your old camera, and the storage of digital photographs. (12:27)

"In 2019 I founded an initiative called The Sustainable Darkroom which is basically a kind of platform and research and learning initiative to support other practitioners in finding their own more environmentally friendly approach to working with analogue photography." (16:26)

"I knew that I needed collective knowledge and the help of scientists and experts, which is why I kind of thought I need to make something that is going to bring together lots of people to really work in this way of activism and community resilience. Because I really believe that these forms of actions are some of the most powerful ways that we can move forward in society." (18:51)

"I think we need to be open to possibilities for new understandings and new visual languages within our photography because that's the only way that we can really move forward." (23:40)

"None of these ideas that I'm putting forward are solutions to working completely environmentally friendly. None of them are perfect. None of them are solutions yet. But I believe that just making an informed decision, knowing what materials you're using, where it came from, why you're using it, why it makes sense for your practise, being able to justify it. I believe that this is one of the most powerful things that we can do as a society, is to inform ourselves and make conscious decisions." (26:06)

"If we are thinking about the whole ecosystem of photography, it relies on so many other industries to exist. And I think we need to not think of ourselves as an individual photographer existing on our own." (30:12)

Hannah explains her relationship and approach to science (32:00)

What does photo ethics mean to Hannah?
"I think ethics encompasses everything that we do. And I don't think it should be thought of as something separate from photography, you know, it should just be completely intertwined in a way. And ethics isn't this thing which kind of sits, you know, on a podium over there. It's like within everything. It's within the ecosystem. It's within, you know, the camera that you're holding, and it's within the scene that you're photographing, and it's within the chemistries that you're developing in. And I think it's just really about having a complete awareness of how those materials came to be and your relationship with them and a consciousness of that. That you have kind of like done your research, if you like, and you can justify why you're using that camera and why you're taking the image you can... I think if we're more conscious beings then we don't have to think about it so much because it will always be there within the way that we work and the way we approach our practise and our kind of just wider lifestyle." (35:18)
Links

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Hannah Fletcher: On working sustainably - Photography Ethics Centre

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In this episode, we talk with Hannah Fletcher about how to develop a more sustainable photographic practice. She discusses the issue of sustainability within analogue and digital processes. Hannah explains the need she identified for a wider conversation around sustainability within photography and

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Thinking about exhibition install possibilities

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Thinking about exhibition install possibilities

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The heart of installation art is immersion. Installations rely on the gestalt-the entirety of the vision-to create a greater response in a viewer than a more conventional exhibition. Perhaps more importantly, they aim for transformation by immersion; the viewer becomes not simply audience, but participant in the art. As one enters or engages with an installation, one is transported to a fictional space that bends time, distorts reality, and reimagines the parameters of artistic creation.

Contemporary art has seen a flourishing of art installations, with some, like the works of Christo and Jean-Claude or Rebecca Horn, on a scale never before imagined. Installation art theory has flourished along with it. Critics and historians have sought to understand installations in the context of art history, placing them alongside precedents such as religious architecture and iconography, and contrasting them with more static exhibition aesthetics. Nonetheless, contemporary photography has yet to find its footing within the world of installation art, nor has it put forward comparable installation stars like Christo and Jean-Claude.

Commentators typically draw attention to two primary features of installation works. The first is immersion. As University of London professor Harriet Hawkins observes, "installations create space to which you take your whole body," and lead to "intimacies of encounter" made possible only through an immersion in the artwork. That intimacy highlights the second feature of installation art, which is its dialogic character. Installations demand a kind of dialogue between audience and work simply because the audience becomes part of the art experience. The audience member transforms from, in Hawkins's words, "not one looking at or into a frame, but rather being within that frame." As such, the work becomes, in Katarzyna Kosmala's terms, "engaged practice" whereby the artist and the participant fully embrace dialogue as a central feature of the work. Kosmala, a curator and professor of visual media at the University of West Scotland, finds this engaged practice as one of the defining characteristic of installation art.

The photograph, with its representational qualities, asks viewers for a different kind of engagement than other visual arts, one akin to the practice Kosmala describes. Photographs are ubiquitous in our culture, and their popularity rests on their ability to "capture reality." The power of photography as an art form is its ability to challenge the line between representation and expression. It holds that power because audience expectation of what constitutes a "photograph" is deeply embedded in society through the pervasiveness of the camera. Because photography has a rich history of broad (even democratic) use, it offers a particularly powerful way to connect with personal histories and the wider world. Installations promise even greater capacity for that connection.

Among recent artists creating installations is John Brill, whose work explicitly weds the personal with the unexpected to challenge audience expectations about place and memory. Entirely self-taught, Brill is loathe to self-identify as an "installation artist." Instead, he imagines himself an obsessive seeker of new photographic processes. He is fascinated with the details of photography-the subtle differences between types of paper, the layers of processing that give birth to unexpected images, and the history of materials that has changed as digital expression has made so much of darkroom alchemy obsolete and unattainable.

In 2002, Brill was given an opportunity to create an installation by Kent Fine Art in New York, and the success of that work led to a second installation in 2006, and a third in 2013. At the 2015 Outsider Art Fair, Kent exhibited a portion of one of Brill's installations, drawing significant attention from attendees. The OAF exhibit excerpted a portion of Brill's 2013 "Every Boy's Dream" installation, which originally occupied an entire room. A small desk and two side consoles were littered with photographs, as though someone had been interrupted while compiling a photo album. Scattered across the desktop next to candlesticks, dolls, and lamps, the photographs invited viewers to come close and pick them up, just as you would if you had been invited into a friend's room. The images, however, challenge the familiarity of the scene. Faces in portraits melt away to become unrecognizable shadows; waxy surfaces betray ghostly images beneath them. If these were family histories, they were dark memories and distorted lives.

Brill is keenly aware of the theater he creates. Installations provide him with a medium through which he can engage an audience in a new way: "What I gain mostly is the opportunity to play with and ultimately subvert the expectations set up by the seemingly familiar personal tableaux." He does so by combining the autobiographical with the whimsical to create a purely fictional reality. The familiar scene of a cluttered room, strewn with photographs, invites viewers to physically join in the process of seeing the photographs in new ways. Picking them up, setting them down in different places, placing some alongside others, the viewer becomes participant, shaping the imagined history of that room, that place, and the people who populate its images. The family photo album is completely reimagined, and the impact of the room is dependent on what the viewer brings to it. Brill comments that this dialogue is "like a big Rorschach."

Brill's installations, then, function in two directions. On the one hand, the individual small photographs across the tops of the desks and consoles invite viewers to engage with the photographs. On the other hand, the entire installation welcomes audiences to a familiar world: an everyman's room, if a somewhat eccentric everyman. These invitations forge connection between the artist and the photographic work, transforming viewers the minute they choose to engage with the installation. That Brill's images, many haunting and ethereal, might unsettle anyone is almost beyond the point. The fact that the viewer has experienced their eerie stories by stepping into that world means that a new creation has come from their immersion in the scene.

Of course, personal engagement is the hallmark of many photographers. Deborah Luster's series One Big Self, for example, was exhibited in a cabinet so that viewers would open drawers to discover her tintypes of inmates in Louisiana's infamous prisons. The act of opening and then cradling in one's hand the image of a prisoner humanized the subjects, creating a connection that fosters dialogue about the nature of crime and punishment. Similarly, Sally Ayre creates installations whose tactile qualities connect layers of personal history with the transitory nature of memory. Challenging notions of certainty, Ayre's work bridges entire room installations like Brill's and the single artifact installation like Luster's, yet it relies on the same immersion that animates the others' art.

Ayre has built her artistic reputation on cyanotype and Van Dyke brown printing. Most of her work comes through scanning physical objects, usually natural ones like flowers or stones, in a difficult process that captures the intricacies of the object. From these scans, she creates cyanotypes and, more recently, screen prints. She prints each image on a very fine silk organza and hangs several one in front of another with a small space between. The base image, typically on a thicker silk fabric and printed with the Van Dyke process, provides a foundation and grounds the images on top of it. The layers of images floating above the base provide depth, such that the viewer gets the sensation of looking into something, not simply at something. Each piece of the installation, often hung from the ceiling by a fine, virtually invisible nylon line, hangs freely, and as people move toward or past the installation, small currents of air in the room lift and shift the fabric and the images. As the air in the room circulates, the installation changes, even if each image individually never does.

That shifting quality embodies the indeterminate nature of memory. Ayre sees both the layering of the images and the quiet, airy movement of each piece of fabric as representing our own way of recollecting our past. Memories build up in the mind, each one influencing others, and trying to pinpoint the absolute base or the absolute truth of any particular memory is impossible. "Objects turn into my memory" she says, "and they transform into a visual cue that other people can access with their own memories." In this way, the viewer and the artist become linked, joined together with a shared experience and visual vocabulary.

Ayre's work, unlike Brill's, does not typically occupy an entire room, and yet it offers a similar intimacy. Even Luster's work illustrates that intimacy, existing only when an installation invites a viewer to participate in the moment that has been created. This engagement through immersion is the promise of installation art for photographers. The form seems to be growing in popularity. Last year, London's Oxford House held an exhibition of installation photography, and recent scholarly articles on the social and political impact of installation photography testifies to a growing movement to redefine the boundaries of photographic expression. As with photography's history more broadly, those boundaries will challenge conceptions of creator and receiver of art, and if work like Brill's demonstrates anything, it is that photography as an art form finds its strongest and most lasting expression when the artist deliberately uses photographic media to blur the lines between creator, audience, and reality.

This article first appeared in Issue 5.

Roger Thompson is the Senior Editor for Don't Take Pictures. His critical writings have appeared in exhibition catalogues, and he has written extensively on self-taught artists with features in Raw Vision and The Outsider. He currently resides on Long Island, New York, where he is a Professor at Stony Brook University.

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Installation Photography and the Transformation of the Viewer - Online - Don't Take Pictures

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The heart of installation art is immersion. Installations rely on the gestalt-the entirety of the vision-to create a greater response in a viewer than a more conventional exhibition. Perhaps more importantly, they aim for transformation by immersion; the viewer becomes not simply audience, but parti

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Female Singapore - The Progressive Women's Fashion & Beauty Magazine

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If the super-packed calendar of Singapore Art Week has left you with art fatigue, you can take your time in exploring certain shows. For example, the always-popular Light to Night festival has been extended to February 3 - which means more time to check out the many works dotted all around the Civic District. More shows and details below.

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Things To Do In Singapore: An Art Exhibition In A Camping Tent! & More

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For the uninitiated, Robin is a series of mini-art shows held in a camping tent. For those who like guerilla-style experiences, this is it!

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visualisations of landscapes with cyanotypes

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visualisations of landscapes with cyanotypes

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Really cool work with photographic film and salt

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Really cool work with photographic film and salt

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So much here... materiality of photography through environmentally concentred methodology. Please see notes in sketchbook

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So much here... materiality of photography through environmentally concentred methodology. Please see notes in sketchbook

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New Materialism & The Sustainable Darkroom - Liz K Miller, Noora Sandgren, Karel Doing, Melanie King

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Ive applied for the GSA sustainability award. As my main methodology is sustainably orientated... seems like a fair opportunity. 

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Ive applied for the GSA sustainability award. As my main methodology is sustainably orientated... seems like a fair opportunity. 

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A few super useful screenshots for working out table design

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A few super useful screenshots for working out table design

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A few shots of the many stages the table top went though... was constantly rusting when exposed to air. had to be cleaned with white spirit and acetone for hours! and ground down to smooth surface to stop enough! Hard bloody work.

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A few shots of the many stages the table top went though... was constantly rusting when exposed to air. had to be cleaned with white spirit and acetone for hours! and ground down to smooth surface to stop enough! Hard bloody work.

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Was contacted by Marita for images/text for press. A further opportunity to expand network and get work out there (professional practice)

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Was contacted by Marita for images/text for press. A further opportunity to expand network and get work out there (professional practice)

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I have applied and was interviewed for a studio assistant role at GSA. Interview went well (I hope) and will  hear back on the week of 14th August....

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I have applied and was interviewed for a studio assistant role at GSA. Interview went well (I hope) and will  hear back on the week of 14th August....

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Building up layers of copper, silver, fix.

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Building up layers of copper, silver, fix.

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Casting Woes - Grooves in frame too narrow for casting and got stuck to silicone. Will be back at woodshop to make...

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Casting Woes - Grooves in frame too narrow for casting and got stuck to silicone. Will be back at woodshop to make...

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Shelf making - needs some work ( a lip to hold prints on shelf - and needs better screw fixings, but coated in silver will look good)

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Shelf making - needs some work ( a lip to hold prints on shelf - and needs better screw fixings, but coated in silver will look good)

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The process, sustainability etc supports/holds up work

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Disaster strikes! - Copper leaf flakes away with addition of fix... Nice textures but needs work

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Disaster strikes! - Copper leaf flakes away with addition of fix... Nice textures but needs work

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A quick log of ideas - easier to post on paddlet than copy in essay folder

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A quick log of ideas - easier to post on paddlet than copy in essay folder

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First Attempt at Guilding! Success! Quite easy process actually - for flat surface anyway... will need to see whether silver exchange occurs

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First Attempt at Guilding! Success! Quite easy process actually - for flat surface anyway... will need to see whether silver exchange occurs

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Sizing table for exhibition space (6x4ft Min)

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Sizing table for exhibition space (6x4ft Min)

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Testing metal reactivity for metals (copper expensive)

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Testing metal reactivity for metals (copper expensive)

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Steel reactive (suprisingly) - Need to test whether coating is silver...

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Steel reactive (suprisingly) - Need to test whether coating is silver...

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Priming boards for copper guilding - leaf

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Priming boards for copper guilding - leaf

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Casting workshops - trying to mass produce lightboxes -- opens up multiple material options such as iron/rust/silver as opposed to painted mdf

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Casting workshops - trying to mass produce lightboxes -- opens up multiple material options such as iron/rust/silver as opposed to painted mdf

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Had a couple chats with Christina McBride for my exhibition. Particularly.... having some input in the FIX photo collective. (post uni) A great opportunity for continuing this practice and developing a network to further ideas/research

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Had a couple chats with Christina McBride for my exhibition. Particularly.... having some input in the FIX photo collective. (post uni) A great opportunity for continuing this practice and developing a network to further ideas/research

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Got a place (and will be attending) SHIFT programme. Proabably best opportunity for professional practice/career development post university. Very excited for this one!

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Got a place (and will be attending) SHIFT programme. Proabably best opportunity for professional practice/career development post university. Very excited for this one!

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Site under thread from future forestry plantation felling

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Site under thread from future forestry plantation felling

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Video documentation of process (IMPORTANT)

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Video documentation of process (IMPORTANT)

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Experimented with video documentation/shot types for showing process (v. important for exhibition)

Please note: shots placed in timeline but not edited (in sequence or length - please skip through at leisure to get a feel)

Problem is... I dislike top down - instructional video framing. Feels like a YouTube tutorial!.

Also takes mystery out of process.

Struggle without videographer/putting camera on tripod - very undynamic.

Showing site increases specificity. Takes the ambiguity out of work. (makes it individual instead of collective - meaning that someone else can do process)

Also struggle with myself in frame!

Therefore, this work is being replaced by installation idea/tent/artifacts of process.

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Looking for further tuition from Christina McBride - Similar subject matters/ways of working 

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Looking for further tuition from Christina McBride - Similar subject matters/ways of working 

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Don't waste SILVER from photographic film! here is how it can be reclaimed ... feat. @MelanieKing

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Pulling in favours from local institutions for used fix (personal use not enough) tried GSA, Streetlevel, Stills, COGC, Gelatine and others. (Unsuccessful so far)

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Pulling in favours from local institutions for used fix (personal use not enough) tried GSA, Streetlevel, Stills, COGC, Gelatine and others. (Unsuccessful so far)

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Adversitng photographer - assisting job - Shooting Key art for BBC doc series about Aamer Anwar. (10th July 23)

https://www.bbc.co.uk/mediacentre/2022/the-firm-bbc-scotland

Link outlines premise of programme. Shoot complete - went really well. Hopefully more assisting will come from this in future.

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My firm is involved in some of the most high-profile cases in Scotland as well as the United Kingdom, but no matter how big, small, controversial or complex the case, my team gives it everything and we always fight to win.
- Aamer Anwar

Internationally renowned lawyer, Aamer Anwar, and his fearless team of criminal law experts are the subject of a new eight-part documentary series commissioned by BBC Scotland, to be aired on the channel and BBC iPlayer in 2023.

Aamer Anwar & Co. have years of experience and professional expertise in representing clients in criminal and civil courts all over Scotland. Aamer has worked on some of the biggest cases in Scottish legal history including the Ice Cream Wars appeal, the perjury trial of Tommy Sheridan and the Lockerbie Appeal.

Aamer's current caseload includes representing bereaved families in the UK Covid-19 inquiry; at the Public Inquiry for the family of Sheku Bayoh who died whilst in police custody and is described as Scotland's George Floyd; the families of Katie Allan and William Lindsay who died by suicide in prison; and the mother of murder victim, Emma Caldwell.

Made by STV Studios, the production team has exclusive access to Aamer's firm of legal professionals, all of whom are 100% committed to championing the underdog and ensuring justice is served. There is no client or case too big or controversial.

The series is currently in production in Glasgow and will comprise 8 x 60" episodes.

Craig Hunter, Creative Director of Factual at STV Studios, says: "This series promises high stakes and high stress as we follow Aamer and his tight-knit team, who are constantly fighting to stay on top of high-profile caseloads. Every episode will offer an unfiltered, privileged glimpse into this fast-paced world at this crucial time for Scottish legal practices. We're thrilled to be bringing this exciting new series to BBC Scotland."

David Harron, Commissioning Executive, Factual at BBC Scotland says: "We are really excited to have secured access to Aamer Anwar & Co for this new series. Aamer is one of Scotland's most high-profile figures and this promises to provide the audience with a fascinating look behind the scenes of both the legal world in Scotland and the workplace that he operates in."

Aamer Anwar says: "My firm is involved in some of the most high-profile cases in Scotland as well as the United Kingdom, but no matter how big, small, controversial or complex the case, my team gives it everything and we always fight to win. We're unlike any other law firm out there and I'm delighted to open our doors so that viewers can see for themselves the inner workings of the Scottish legal system, how we operate and what inspires us to fight for justice."

Commissioning Editors are Louise Thornton and David Harron. Executive Producer for STV Studios is Craig Hunter. Production Executive is Paul McCaffery. The series will be Produced and Directed by Iain MacAulay.
STV Studios: kirstin.stevenson@stv.tv BBC Scotland: pressofficescotland@bbc.co.uk

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New factual series delves inside Scotland's premier criminal law firm, Aamer Anwar & Co

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BBC Scotland commissions 8-part exclusive documentary from STV Studios

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Robert Mackie - Sanna Mac - 2 days photo assisting, models+still life for winter catalogue/lookbook etc. (images are from shoot I assisted last year)

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https://shiftintoyourfuture.com/

Programme helping graduates shift from education into career - action planning, finance, soft skills etc.

(fundamental aim to setup as professional photo assistant - with secondary aim to network with creatives from wider pool in Scotland - possibly for project, work, or collective formation)

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Beautiful Gold Leaf And Copper Leaf Window Sills

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Looking into guilding for table - cheaper alternative to sheets of copper!

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Looking into guilding for table - cheaper alternative to sheets of copper!

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https://barnabasgold.com/how-to-apply-copper-leaf/

(extended info - especially when applying to wood)

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Samara Scott - Light inartistic to exhibition

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Samara Scott - Light inartistic to exhibition