JoshuaR Order & Chaos

Source: http://www.cheimread.com/artists/adam-fuss "I see the photogram as being much more truthful and more honest because it's just recording light. There is no manipulation of that light, in the way that a lens manipulates light." - Adam Fuss Adam Fuss was born in 1961 in London but he grew up mainly in Australia. In 1980 Fuss started working as a photographic apprentice at Ogilvy & Mather Agency. He later made a move to New York, this is where he first started to record and document the natural environment around him through photography using a pinhole camera. This later guided Adam to experiment with alternative photographic processes, which later on led to him abandoning using the camera completely. Fuss's photographic works are unique for their contemporary reinterpretation of the earliest techniques of photography, specifically the photograms and camera-less techniques. Fuss believes that to make photographic techniques work, they should be person

How to process black and white film: (BEFORE STARTING) Take the canister with the film rewound back into it from out of the camera.  Take a developing tank, scissors, film canister opener and the canister of film into a dark room. (IN DARKNESS) Once in complete darkness, open the canister, get rid of the film spool and cut the end of the film. once all that has been done load the film carefully onto the spiral. Then put the central tube through the middle of the spiral and then place it into the tank. Lastly, put the funnel on top of the tank making sure that it is on correctly. (PREPARING CHEMISTRY) Using water at 20 degrees, add one part water and one part X-Tol developer: one 35mm film =  300ml of a mixed solution so (150ml X-Tol + 150ml water = 300ml) so for two 35mm films, just double the mixed solution. (DEVELOPING) Pour mixed developer into the tan and put the lid back on. start a timer once the developer is in the tank. the time should be set for around 10 minutes. Ever

Photograms: A photogram is a negative image which is created by using a camera-less process.  To begin with, I gathered objects that I thought would work well for my photograms. I then took my photographic paper and objects into the darkroom making sure that the photographic paper did not get exposed to any light by only opening the box containing the photographic paper in the darkroom. I then placed my photographic paper under the enlarger and placed certain objects in specific locations on the paper making sure that I used my photographic knowledge of the composition of the objects to make the image look good and successful to not just me, but viewers of the image. Next, I changed the timer, which is how long the light on the enlarger is exposing the paper for, the longer the exposure time the darker the areas where the photographic paper was not covered by an object becomes. Once the paper has been exposed I then used the wet process to develop the image. Firstly, placing t

The Anatomy Of The Camera: https://www.pinterest.co.uk/pin/338473728219110890/ The viewfinder - This is what the photographer looks through to create the image and to see what they are shooting in front of the camera. Film speed dial - This allows the photographer to change how fast the film goes past the mirror which would allow for either a longer or shorter exposure time. Shutter release - A button on the camera or anything that can be used to trigger the shutter release. Film advance lever - This allows the photographer to pull the film from within the canister, out and onto the spool. Exposure counter - This shows how many exposures have been taken and how many are left on the roll of film. Mirror - Allows the photographer to looks through the lens to see what is being captured. Pentaprism - Allows the photographer to look through the lens through a viewfinder with everything the correct way up and around. Shutter speed ring - This is the amount

Materials: light sensitive photographic paper pinhole camera  developer, fixative, stop and wash (or Ilford print developing machine) Processes: The process of using the pinhole camera began by first taking a pinhole camera (made from a shoe box) into the darkroom so that when I collected the light-sensitive paper and placed it inside the pinhole camera emulsion side up, the paper was not exposed to any light because the light-sensitive photographic paper does not get exposed to the red light (safe light) within the darkroom. I then went outside with the pinhole camera and experimented, trying different things to see what worked best with the greatest outcomes from the final print. I made sure that the pinhole was completely sealed shut with the black material, making sure that no light was leaking in, overexposing the paper and in theory spoiling the print. I then brought the pinhole camera back into the darkroom and put it into the print developing machine

The health and safety of you and of others around you should be at the forefront of any photo graphical darkroom enthusiast. Below is a list of the key points that will prevent any minor or major incidents from occurring whilst working in the darkroom. Food and drink must not be eaten or drunk inside the darkroom. The extractor fan must be turned on whenever working with any chemicals in the darkroom. If you are using any chemicals, then either tongs or gloves must be used. If your skin comes into contact with any chemicals, then make sure that this is washed immediately. If there is spillage (may it be on worktops or on the floor), make sure to clear it up immediately to prevent anyone from slipping. Do not run inside the darkroom. Darkroom chemicals must not be consumed. Do not touch or interfere with anyone else's workstations or work at any time. When you have finished using the darkroom, make sure that your workstation is tidy with no objects left under enlargers