See the entire series of eight lightboxes here: LINK
Although I’ve shared some of the work from this series through Twitter, I haven’t found a time to talk about it in any length. For my final project for my Alternative Photo Processes grad class this fall, I produced a series of light boxes with images that had been transferred via gel medium from a xeroxed color image – the gel medium, having transparent qualities, was then applied to the front of a 5” box and glued in place. A small light source was placed in the back of the box, allowing for soft light to backlight the image.
If you know anything about me as a photographer, this is a huge departure from my normal style of work. Even when considering what type of work inspired me to enroll in the Alt-Process class at AAU, this is still a huge departure. I was hoping that the class would refine my technique using the Van Dyke Brown process – and that, along the way, I’d learn a couple new processes. What ended up happening is that each week I found myself pinging in dozens of different directions, passionately inspired by every new process we learned. Each week I also aspired to challenge myself – choosing the more difficult options on each week’s assignment and, as this project shows, stretching my own photographic interests well past my comfortable limits.
I never have enjoyed nature photography – whether landscape, fauna or flora, I’ve left those inspirations to those that are good at it. In my opinion, much of it has to do with the over-saturation of the field – there’s very little you can do to make your work uniquely yours when it comes to nature photography. What does interest me is capturing the frailty of things – whether it’s a decaying, crumbling old husk of a once great copper mine or a frail personal letter from a miner’s family in the Lower-48, its delicate existence draws me in. This probably explains why it took us until November to cut down our massive 10+ foot tall sunflowers in our front yard – fragile and paled, their dried form was as beautiful as the plant was in full bloom – but in a completely different way. I found myself looking at the frozen world around me this fall and noticing the remnants of summer – their paled colors oddly vibrant against the dull blue hue of the surrounding snow. Chokecherries, Rose buds, Irises – all standing out in one vibrant finale against the dark winter.
My initial plan with this project was to use Polaroid Transfers from some recently purchased Impossible Project film – I had some limited experience with emulsion lifts previously and refined my technique this semester in my Alternative Processes class. Although the plan looked good on paper and I managed to drum up a photographer that had practiced with backlighting transferred polaroids, I didn’t have any luck myself. I had initially come up with the concept for the lightboxes with no prior knowledge of Jessica Beagan’s work (LINK) but after a tedious online search for any artists that had played with backlit transfers (as a proof of concept), she was the only artist I found. In retrospect, my attempts weren’t anywhere near as successful as Beagan’s prior work because where her work was Polaroid Transfers, mine was Polaroid Lifts – two slightly different processes that produce very similar results externally.
Any good photographer has a backup plan – and mine was Gel Mediums – something that, when applied to the boxes, could easily mimic the same fragile form I was hoping for from the Polaroid Lifts. Taking a Color Xerox copy of an Inkjet Print of the image, several layers of Gel Medium was applied to each Xerox copy – the gel application process lifts the image off of the paper and, eventually with enough layers, the paper backing can be rubbed off while the image remains inside the gel. With the image pliable, the medium was stretched across the opening of each 5” box and tacked, with pins, to the edges. A final coating of gel medium was applied to the edges to seal it in place, pins removed (which left an interesting pattern – one that suggests a worn quality to the image) and light installed.
Each box was also aged using a simple technique I learned from several online hobbyist websites: a mixture of India Ink and Rubbing Alcohol. I definitely wanted each box to look weathered – to look as fragile as each image did – and coating each box in this simple concoction did a good job of doing exactly that.
This entire process was extremely exciting – crafting an entire project like this really brought that latent element of the “hand” into it – something that I’m always struggling with. As a traditional film photographer, I’ve always had issues with the [potential] sterile nature of digital photography. I’ve always strived to, with my own work, have it contain a piece of me – have my influence and a fairly literal “hand” in my work. Both Lightpainting and Alternative Processes have shown me how to do this – and I think this project continues that trend. I’m considering expanding and refining this series over the next couple of winters – potentially working with a couple local gardeners to add extra variety to the series.
I hope you all enjoy looking at these as much as I enjoyed making them. I’ve already had a couple people enthusiastically ask to purchase a box or show them somewhere – so I may have to do something like that. Let me know what you think – comments and critique are always welcome! Please visit the following link to view all the different boxes: LINK








