First Photogram
Process
Firstly I should make it clear that I am not satisfied with this result and that I hope to refine it by experimenting with the length of exposure.
For this photogram I was considerate when I chose the objects which I wanted to use. I considered the transparency of the object, the form, the potential of lines to direct us and to produce an interesting composition, the transparency and the texture. The objects that I chose are as follows: sugar for experimental purposes, a glass soda bottle to provide transparency, two gemstones for a jagged organic shape (they were only partially transparent), a twig as a directional line and finally a leaf and two rose petals to provide a soft organic curved element. The objects which I chose should have produced a varied photogram in the sense that there would be a variety of shapes and line, providing a soft yet captivating composition. I positioned the bottle diagonally across the paper, with the top ‘blocked’ by the twig (splitting the photogram in two unequal parts) which had petals and leave son the other side. I sprinkled the sugar around the photogram to fill some of the empty space.
Once I was satisfied, I switched the light on and counted five seconds (which were actually more like eight seconds), as we were requested. After the five seconds I switched it off and removed my objects. I then carefully, using the tongs, placed the photogram face down in the chemical solution so that the image could develop. I swayed the tray slightly to ensure the whole photogram was submerged, and then flipped it over in order to see if the image was coming out. Unfortunately, I was quickly disappointed as you could only see the twig and the leaf... The bottle and gems were not visible, neither was the sugar (which was probably the most upsetting aspect of the photogram). The reason for this may be that due to the paper being exposed for eight seconds, most of the light managed to go through the bottle, the gemstones and the sugar. Therefore, next time I will experiment with the length of exposure to light, starting at five seconds in order to find which would be the best for the different elements (opaque, transparent, semi-transparent etc.). I then washed the photogram in water which had some washing up liquid, then put it in the fix, leaving it there for a short time. I then washed it again and put it on the drying rack to dry being careful to avoid getting the substances on me.
For this photogram I was considerate when I chose the objects which I wanted to use. I considered the transparency of the object, the form, the potential of lines to direct us and to produce an interesting composition, the transparency and the texture. The objects that I chose are as follows: sugar for experimental purposes, a glass soda bottle to provide transparency, two gemstones for a jagged organic shape (they were only partially transparent), a twig as a directional line and finally a leaf and two rose petals to provide a soft organic curved element. The objects which I chose should have produced a varied photogram in the sense that there would be a variety of shapes and line, providing a soft yet captivating composition. I positioned the bottle diagonally across the paper, with the top ‘blocked’ by the twig (splitting the photogram in two unequal parts) which had petals and leave son the other side. I sprinkled the sugar around the photogram to fill some of the empty space.
Once I was satisfied, I switched the light on and counted five seconds (which were actually more like eight seconds), as we were requested. After the five seconds I switched it off and removed my objects. I then carefully, using the tongs, placed the photogram face down in the chemical solution so that the image could develop. I swayed the tray slightly to ensure the whole photogram was submerged, and then flipped it over in order to see if the image was coming out. Unfortunately, I was quickly disappointed as you could only see the twig and the leaf... The bottle and gems were not visible, neither was the sugar (which was probably the most upsetting aspect of the photogram). The reason for this may be that due to the paper being exposed for eight seconds, most of the light managed to go through the bottle, the gemstones and the sugar. Therefore, next time I will experiment with the length of exposure to light, starting at five seconds in order to find which would be the best for the different elements (opaque, transparent, semi-transparent etc.). I then washed the photogram in water which had some washing up liquid, then put it in the fix, leaving it there for a short time. I then washed it again and put it on the drying rack to dry being careful to avoid getting the substances on me.
Annotation
The focus of the photogram is quite soft which is an illusion produced by the transparency or tonal values of the elements within it. However, the outlines are quite sharp as they have clear focused edges. The photogram also appears slightly shallow due to the twig being less visible inside. The reason for the bizarre focus (sharp yet soft) may be due to having exposed the photogram for too little or too much time, thus I must refine this technique until I discover the optimal length of exposure. Perhaps using a timer would provide more accuracy.
As for the light in the photogram, it resembles that of Schad or Moholy-Nagy’s, and is far from replicating Ray’s fantastic chiaroscuro effect. The photogram is underexposed in some areas such as where the bottle and gems should have been as the light went straight through thus the paper is black. However, it is usual for photograms to appear under-exposed and is often preferred as it gives better results. The light is from directly overhead and is directed hence is quite harsh. Due to the position of the light there are no shadows thus the photogram may appear quite ‘flat’ at first glance yet once you look you can see the depth of the leaf. The brightness area is to the bottom right at the tips of the leaf were it was thicker. Of course, the darkest areas make up around half of this photogram. My photogram lacks contrast and depth thus the objects resemble silhouettes. Hence my photogram veers more towards Moholy-Nagy’s or Schad’s style due to their basic shapes and the fact that their properties are brought forward due to the position of the light.
Although there are only two elements in the photogram they produce a variety of lines, which are mainly organic, giving it consistency. The twig acts as a curved and jagged line which oddly and essentially separates the leaf from the negative space and ‘tears’ the paper, like a razor sharp objects which we would fear to touch. The twig’s line is also quite thin and curvy creating the illusion that it is a sharp curve and it re-enforces the organic/natural aspect of the leaf which is quite gentle in terms of its round or oval shape. Although the lines are basic, they do act as a compositional element: the twig separates the photogram into two unequal (in size) triangles, one which is negative or empty space and the other being full. Hence the separation could represent ‘light’ and ‘dark’, or possibly the ‘ying-yang’ symbol; this interpretation of course depends on the viewer. Furthermore, it could be seen as the separation between the living or as crossing over to the other side, since we metaphorically view life as a series of lines and obstacles which we must or must not ‘cross over’ in order to reach a specific goal or stage. On the other hand, the lines do not direct our eyes to a particular point; they only restrain us from crossing over to the ‘dark’ of the photogram. Again, this could serve as a representation of humans striving to achieve immortality and be a reflection of our constant battle with death, although death is inevitable, as our eyes end up passing over to the negative space in the end.
The shapes are like the lines, they are organic, jagged and curved thus bringing harshness to the photogram which over-shadows the natural nature of the objects. It should be noted that there are two triangles splitting the photogram in two.
My photogram features some repetition, although it was unintentional. There is a repetition of grey tones and values, with some brighter and darker areas. There is also the repetition of geometrical shapes (circles and triangles0 which provides a sense of unity. Finally, the jagged forms are quite repetitive in the leaf and the twig and they provoke pain or hurt due the association with something which pricks or cuts for the jagged shapes seem to tear and break the surface of the photogram. Unfortunately, the repetition present is not as important or effective as Moholy-Nagy’s or Ray’s.
Regarding space, my photogram has a large amount of negative/empty space (where all the light has reached the paper) which directs our eyes to the sole elements, hence re-enforcing their presence. The empty space also heightens the peculiar arrangement of the leaf and twig creating right angles. Adversely, the negative space is also unsettling as it produces an uncomfortable void which we may lose yourself in thus the space can become suffocating unlike Moholy-Nagy which uses it as a tool for composition.
Finally, the texture is quite simultaneously smooth and sharp, with a rough impression from the leaf due to uneven or patchy tonal values. The tonal values are quite limited and dim the object’s impact. Had I positioned the light at an angle there may have been more tones.
In conclusion, my first photogram is a partial success and demonstrates that I should experiment with objects and the position of the enlarger/light source in order to achieve stronger compositions and effects which are surprising. Nethertheless, it is a first toward what I hope will be improved photograms which show my development and experimentation within photography. It is interesting to be able to go back to the beginning of photography as with digital cameras we can just take a dozen photos and not worry too much about the composition as at least one will come out decently.
As for the light in the photogram, it resembles that of Schad or Moholy-Nagy’s, and is far from replicating Ray’s fantastic chiaroscuro effect. The photogram is underexposed in some areas such as where the bottle and gems should have been as the light went straight through thus the paper is black. However, it is usual for photograms to appear under-exposed and is often preferred as it gives better results. The light is from directly overhead and is directed hence is quite harsh. Due to the position of the light there are no shadows thus the photogram may appear quite ‘flat’ at first glance yet once you look you can see the depth of the leaf. The brightness area is to the bottom right at the tips of the leaf were it was thicker. Of course, the darkest areas make up around half of this photogram. My photogram lacks contrast and depth thus the objects resemble silhouettes. Hence my photogram veers more towards Moholy-Nagy’s or Schad’s style due to their basic shapes and the fact that their properties are brought forward due to the position of the light.
Although there are only two elements in the photogram they produce a variety of lines, which are mainly organic, giving it consistency. The twig acts as a curved and jagged line which oddly and essentially separates the leaf from the negative space and ‘tears’ the paper, like a razor sharp objects which we would fear to touch. The twig’s line is also quite thin and curvy creating the illusion that it is a sharp curve and it re-enforces the organic/natural aspect of the leaf which is quite gentle in terms of its round or oval shape. Although the lines are basic, they do act as a compositional element: the twig separates the photogram into two unequal (in size) triangles, one which is negative or empty space and the other being full. Hence the separation could represent ‘light’ and ‘dark’, or possibly the ‘ying-yang’ symbol; this interpretation of course depends on the viewer. Furthermore, it could be seen as the separation between the living or as crossing over to the other side, since we metaphorically view life as a series of lines and obstacles which we must or must not ‘cross over’ in order to reach a specific goal or stage. On the other hand, the lines do not direct our eyes to a particular point; they only restrain us from crossing over to the ‘dark’ of the photogram. Again, this could serve as a representation of humans striving to achieve immortality and be a reflection of our constant battle with death, although death is inevitable, as our eyes end up passing over to the negative space in the end.
The shapes are like the lines, they are organic, jagged and curved thus bringing harshness to the photogram which over-shadows the natural nature of the objects. It should be noted that there are two triangles splitting the photogram in two.
My photogram features some repetition, although it was unintentional. There is a repetition of grey tones and values, with some brighter and darker areas. There is also the repetition of geometrical shapes (circles and triangles0 which provides a sense of unity. Finally, the jagged forms are quite repetitive in the leaf and the twig and they provoke pain or hurt due the association with something which pricks or cuts for the jagged shapes seem to tear and break the surface of the photogram. Unfortunately, the repetition present is not as important or effective as Moholy-Nagy’s or Ray’s.
Regarding space, my photogram has a large amount of negative/empty space (where all the light has reached the paper) which directs our eyes to the sole elements, hence re-enforcing their presence. The empty space also heightens the peculiar arrangement of the leaf and twig creating right angles. Adversely, the negative space is also unsettling as it produces an uncomfortable void which we may lose yourself in thus the space can become suffocating unlike Moholy-Nagy which uses it as a tool for composition.
Finally, the texture is quite simultaneously smooth and sharp, with a rough impression from the leaf due to uneven or patchy tonal values. The tonal values are quite limited and dim the object’s impact. Had I positioned the light at an angle there may have been more tones.
In conclusion, my first photogram is a partial success and demonstrates that I should experiment with objects and the position of the enlarger/light source in order to achieve stronger compositions and effects which are surprising. Nethertheless, it is a first toward what I hope will be improved photograms which show my development and experimentation within photography. It is interesting to be able to go back to the beginning of photography as with digital cameras we can just take a dozen photos and not worry too much about the composition as at least one will come out decently.