Along with these concept builders, I am also [always] working on print output. Now that I have an amazing UV exposure unit, I can work more on print experimentation. And again, similar questions arise... What does this print say in digital format? In color? In Cyanotype? In toning?
For now, I realize there is a goal in my imagery and with the mood I am trying to evoke. The challenge is figuring out the best way to convey this emotion. Take my first thesis image that I'm working with.
Here it is in digital:
Now here it is in Cyanotype:
And finally in a toned Cyanotype:
For now, I find that the toned Cyanotype is creating that fantastical world of old. I feel that this kind of imagery grounds the idea of a per-conceived history of my Korean heritage. I like that I lose the digital-ness of the image. Plus, the grain! Oh the paper grain, how I love it so!
I could care less on overly sharp imagery and the Cyanotype forgives harsh criticism on tack sharp details. I belive the point is to embrace these anomalies. This image also hits close to my love of Pictorialism and I indulge in the soft dreamy feel that the image evokes.
Of course I've looked at great works by Henry Peach Robinson, Steiglitz and Steichen. Their quiet and reflective work creates a timelessness that I hope to achieve.
|Fading Away, Henry Peach Robinson|
|Moonlight the pond, Edward Steichen|
|Gertrude Kasebier, Alfred Stieglitz|