• Please use real names.

    Greetings to all who have registered to OPF and those guests taking a look around. Please use real names. Registrations with fictitious names will not be processed. REAL NAMES ONLY will be processed

    Firstname Lastname

    Register

    We are a courteous and supportive community. No need to hide behind an alia. If you have a genuine need for privacy/secrecy then let me know!
  • Welcome to the new site. Here's a thread about the update where you can post your feedback, ask questions or spot those nasty bugs!

Artist Al Wildey

Rachel Foster

New member
I just had the pleasure of seeing an exhibition and speaking to artist/photographer Al Wildey. As far as I'm concerned, his work is good enough to hang in almost any gallery.

Some can be seen here.
 

Mark Hampton

New member
I just had the pleasure of seeing an exhibition and speaking to artist/photographer Al Wildey. As far as I'm concerned, his work is good enough to hang in almost any gallery.

Some can be seen here.

Rachel,

thanks for this link - intreasting work - some connections with what I working through.

cheers
 
Very impressive! Now who has done that with film with multiple expsoures?

Asher

Multiple exposures on film is a clean different way of picture making than the image file cookery that Al Wildey has done.

There is a history of combining picture file data to make a new images. In every case the place where the picture file manipulation (addition, subtraction, and other algorithms) is done is in a processor, a brain in effect, and Al Wildey's use of an electronic brain for his work is elegant indeed.

An even greater example of blending multiple image data sets in a brain, a human one this time, is Claude Monet's famous paintings of Rouen Cathedral, 1892 to 1894. Monet superimposed hundreds of multiple aspects of the cathedral in different weathers, different seasons, and different times of day to produce a grand series (more than thirty) of stunning paintings. The labour involved was immense and I do wonder if Monet would have preferred a computer to do the the image crunching.
 

Mark Hampton

New member
Very impressive! Now who has done that with film with multiple expsoures?

Asher


Asher - for some work i sanwiched negatives - heres one.



20100624_0910.jpg

extract from looking for the wobble (1996) - selenium and gold toned silver print - Agfa MC Classic 118 Black & White Variable Contrast Fiber Base Double Weight - this was a working print - film would have been technical pan (35mm) rated around 25 iso - probably around 14.5cm wide printed. one of the images is of flowing water (you may not make it out to well - ) - the black dot is a fly - left in - i think it makes it! so only two exposures loking back the mojority of my film work was useing two negatives -

i am trying to remember the name of a german photographer who once use police images (or the process) to make strangely beautiful portraits. he lectured us in 1995 or so at GSA.

cheers
 

Asher Kelman

OPF Owner/Editor-in-Chief
Asher - for some work i sanwiched negatives - heres one.



20100624_0910.jpg

extract from looking for the wobble (1996) - selenium and gold toned silver print - Agfa MC Classic 118 Black & White Variable Contrast Fiber Base Double Weight - this was a working print - film would have been technical pan (35mm) rated around 25 iso - probably around 14.5cm wide printed. one of the images is of flowing water (you may not make it out to well - ) - the black dot is a fly - left in - i think it makes it! so only two exposures loking back the mojority of my film work was useing two negatives -

i am trying to remember the name of a german photographer who once use police images (or the process) to make strangely beautiful portraits. he lectured us in 1995 or so at GSA.

cheers

Mark,

I'm impressed with your path and this work. You have a lot of film to mine.

Asher
 

Asher Kelman

OPF Owner/Editor-in-Chief
Maris,

Your so right about Claude Monet, I'm glad you pointed this out. He kept all these images stored in his brain and then exported them, minute portions at a time to achieve delicate vibrance and poetics.

It does appear that All Wildley's work is informed by similar controlling ideas, I am wondering how folk have succeeded with film using numerous live overlays, one exposure after the other with the same film to build something as delicate as either
Monet or Wildley's work.

Asher
 
Maris,

Your so right about Claude Monet, I'm glad you pointed this out. He kept all these images stored in his brain and then exported them, minute portions at a time to achieve delicate vibrance and poetics.

It does appear that All Wildley's work is informed by similar controlling ideas, I am wondering how folk have succeeded with film using numerous live overlays, one exposure after the other with the same film to build something as delicate as either
Monet or Wildley's work.

Asher

There are fine examples of multiple overlay exposures in the work of John Blakemore, a famous British landscape photographer. Subjects like trees swaying in wind or sparkling brooks cascading over stones lend themselves to this technique. Don't worry, I haven't failed to borrow John Blakemore's technique for my own purposes.

A typical challenge is to photograph a cataract with a 2 second exposure but not have the water turn into the familiar sluice of whipped cream that moving water delivers with time exposures. The answer (thanks John Blakemore) is to give 16 exposures each being 1/8 second. The glitter of the water is preserved but full exposure is achieved too.
 

Asher Kelman

OPF Owner/Editor-in-Chief
There are fine examples of multiple overlay exposures in the work of John Blakemore, a famous British landscape photographer. Subjects like trees swaying in wind or sparkling brooks cascading over stones lend themselves to this technique. Don't worry, I haven't failed to borrow John Blakemore's technique for my own purposes.

A typical challenge is to photograph a cataract with a 2 second exposure but not have the water turn into the familiar sluice of whipped cream that moving water delivers with time exposures. The answer (thanks John Blakemore) is to give 16 exposures each being 1/8 second. The glitter of the water is preserved but full exposure is achieved too.


Thanks Maris for the Pointer to John Blakemore and thank goodness for his sharp-minded approach of multiple discrete exposures. I am amazed how it's so universally fashionable to transform sparking falls into columns of foaming yogurt! The experience of the waterfall or the rushing stream is centered around the millions of bright discrete lenses and then clear water through which rocks and plants can be seen.

It's a relief to me that even the slowest shutter speeds with frozen waterfalls cannot completely ruin the experience recorded that way!

Asher
 
Top