Experimental Photography Gallery
Inspired by the Science Museum’s exhibition, ‘Revelations: Experiments in Photography’ Photofusion has invited photographers to send in one photograph made using experimental photographic techniques or alternative processes.
If you’d like to submit and image, click here for more information.
Chemigram created using an oil and salt resist and a circular mask.
Instagram account: sallyvgu
I shoot with old cameras, expired film and print through various semi-transparent materials like mouldy cine film, damaged glass, etc. This image of my son was shot with expired (later bleached) film, printed through a randomly chosen section of Chinese cine film I found in the projection booth of the ICA cinema many years ago.
I make chromogenic colour prints in the darkroom of family photographs, using vintage Kodak 126 film, and then carefully hand-sand them with various types and grades of sandpaper.
X-Ray montage of computer memory card with wax ear and nose from the Gordon Museum London. Part of a a commission for the Guy’s & St Thomas’ Charity .
Through the process of applying different techniques to alter the surface of Polaroid film, this work bring to the forefront the physical nature of photographic surface, together with its inherent fragility.
The sheets of instant film have been modified in ways that ordinarily have no place in photographic processes, by using instruments, heat, bleach and other methods. Each piece is unique reflecting the decisive role that chemicals play in the image making process – with no picture to develop, they themselves become the image.
States of Destruction attempts to reveal the tangibility – as well as the limitations – of analogue materials and processes that are absent in digital photography.
I am interested in the urban landscape and especially in the way people and buildings create visual and virtual patterns, lines and stories when they interact. This particular photograph was made exposing the same sheet of resin coated paper twice, splitting the exposure in two halves. For the first exposure, I inserted the negative into the enlarger emulsion side down while for the second exposure I inserted the negative emulsion side up so that the image would be reversed. This photograph is part of the Darkroom Ghosts series I am working on at the moment.
This image was taken as part of a series titled ‘Remembered Landscapes’ as part of my final degree show at Leeds College of Art. I took the entire series on 35mm film and experimented with light leaks and over exposures to create an abstract, almost dream like effect. This particular frame was created by using expired film and opening the film back for a split second after taking the shot.
This series can be seen on:
Instagram account: jodiefbphoto
Image name: “New Unknown”, Polaroid enlargement, digital c-type print, 2014.
“New Unknown” is a futuristic photograph about going forward. One day you speak the unspoken words and start to win different fears. Suddenly you’re in a new, surreal world, trying to be unafraid. Life isn’t hollow anymore, but what happens next?
The photograph is a Polaroid enlargement, a work from my “New Unknown” -series, in which I combined ink-drawings and photographs. I photographed the circle by using expired Polaroid films. Polaroid was the right medium to express the surreal world of the circle.
Working with expired films is quite risky and the results can be very unexpected.
But, behind an unexpected moment is a new, unknown world -and there’s no way back!
Title: Mushroom – photographed on vericolor copy film (12asa)
The image has been done with the use of various BW and Colour photographic chemicals over colour photographic paper that’s been left exposed to react with a natural light.
‘Burghley Lunar-See, Camera 11’ 2013 (c-type photograph) Pinhole photograph of the moon’s path across the nocturnal sky. 1175 hours of exposure using a homemade timelapse pinhole camera.
The Card Players. Digital bulb exposure.
‘Crab’ shot as a part of a series using a hospital x-ray machine, the x-ray machine software and then Capture One with the help of radiologist Amy Spalding. The crab (and a lobster) were kept chilled so they were docile enough to handle. The series was shot for and exhibited at The Times Science Festival in 2011.
This is a piece from a collaborative work, ‘Oil + Developer’, between Max Brazier-Jones and Tom Flynn. An oil painter and experimental photographer, respectively.
The work uses photographic process as it’s material; chemicals, light and time. Max’s painting style influencing his approach and expectations of this new material, Tom’s familiarity creating and capturing chance moments. Working together to control, push and realise the process, has led to a series of images that fade, spill and ooze into other worlds, spaces, textures and possibilities.