Experimental Photography

"Experimental" is by definition related or based to an undergoing test, procedure or ways to determine the most probable fitting possibility or/and for the sake of experimenting so potentially to explore/discover unknown ways, by all means, to learn, evolve & be amused.

Experimental photography is using all possible features of one's camera so to fully discover its yield/limits and so to perfect one's field/style.

It includes majorly, abstract photography, experiments, extreme and raw forms of photography.


Our original agenda for this article started as an assignment for =CBJJBC so as to support his passion towards this field--which he holds firmly to being one --that is in a class of itself.
Since then---we find that--each of us -hold different opinions as to what experimental photography is.

Experimental photography. What exactly is it?

dA allows us the option to tag ourselves as experimental photographers—but with such a loose definitive--can this be applicable to any and everyone.

We include here--- the POV of the collective.


We asked this question to

As the word indicates--it denotes to me a sense of experimentation- a quest that does not come about par magic, but is executed through a holistic approach.

One seeks a result that is more then just satisfying to ones eyes---visually --but pierces their guts --affords a penetrating involvement that compels one towards research and actualizing.

I perceive it as the ability to participate in photography from the gut with a bulimic approach sort of research and emotion .

Very often-- here on dA and of course elsewhere--as the world does not stop here in this cyber space that is becoming less and less enthralling-- --those who engage in experimental photography tend to lean towards a more hypersensitivity.
These artist have perceive and create with a new eye which will make evolve/move photography beyond the current flow of this genre. They are with out doubt worthy of respect and admiration for taking the risk to evolve beyond the acceptable medium.

To summarize--the experimental image is neither a technique nor a will...it is almost an art of living, an art to photograph with a holistic share, without a controlling thought , to be geared with a particular will so as to reveal the world in a different way.
It is neither a practice of the elitist and intellectual which baring judgment might hinder expression.
(I could quote names of Deviating which while thinking of making experimental only melts to masturbate, but it would not be a very sympathetic nerve of my share… ) on the other hand, DA, abounds in young talents ready to invest, which does not seek the beauty nor even the spectacular one at all the prices and which, gradually, build a work worthy of this name.


Some thoughts from AAA panel:





I would not like to close experimental photography between the walls of a definition, because I think experimental photography is about freedom.

Freedom to translate some scene, action... into feelings, impressions by any means.

The photographer who want to experiment will play with his tools: the film, the camera, the (digital or traditional) dark room... sometimes destroying the visual beauty of the shot, the landscape, the portrait to bring about something deeper, some feeling, some soul...
It's not to show what is beautiful, by the usual process. it doesn't need to be weird either, the importance is not in the aesthetic but the transmission of idea, sensation, feeling.




"Sharing the feeling in the most "voluptuous" way/ colors, contrast, lightness..
A work of art seen as an entity representing a whole identity/ocean of thoughts/universe..etc by using "all means" available to express the visions.
Careless of what your ways are, it is testing experimenting so to be able to embody a vision, realize a dream.."

- Trying, regardless of the result aesthetics.. to achieve something more special, rather unique.. more self representative.

- Being in an awe while looking at the result because our mind wasn't able to figure it out /or haven't processed the light, reflections, subtleties of what might become the photograph after a multiple exposure dragging the camera while running, jumping etc..

- Is a result with the most crazy non-anarchic approach of photography, as all errors or even more pushing the limit of abstraction so to consider a complete mess (with movement and light), a chaos, a unique expression, a work of art."


Experimental photography is a category/style of photography which delimits the non-limits of photography pushing forward possibilities, not just on a technical level but even ethically.

As all experiments, trying to know.

What we may know, is that experiments are just too easy to handle.. and the trials might become industrial even more the level of judgment can get really discursive as if the experimental photographer has no merit at all.

Some even consider that neither intuition, nor the style can be affected by the ways that are employed to create.




experimental - although not my 'cup of tea' - excites me because it speaks about the artist more than maybe traditional photography; it's about pushing the envelope, reinventing the subject and recomposing reality. In fact, we're no longer in the presence of reality, but the metanarratives of it - in the postmodern world there's no longer a need for the signifier as long as there's the will to represent it on a level that keeps it evolving, be it to another shape or expression, or emphasize its features beyond visual comprehension.
To this, I would add that it takes two to tango - experimental artists need 'experimental' followers - the viewer is challenged to follow the same road - free themselves from conventions and mediocrity of senses and actively participate in the deconstruction and rebirth of the plastic expression.

Ultimately, we're talking about the process rather than the results - like the touch of an angel which although cannot be physically represented - the metaphor of it never grows old or redundant.




I have never felt that art is anything...i feel that there needs to be a measure of serious ambitions and vision to realize a particular concept.
this goal also requires hard work and a constancy to realize the vision.
A determination to work --sweat--hurt--fail--fail again---and get right back to the process. A willingness to learn to develop to follow or choose not to--to be critiqued--to listen ---to discern when not to. To hold firmly to a particular concept--despite the popular concession. To dare to stand alone---with ones visionary pursuit---and do whatever is necessary to achieve it.
Surely ever person has the gift to be creative--in most folks it lays dormant--yet there are those who utilize the right hemisphere of their brain--in a more fluid and natural way.
These unique folks---will stand out --stand apart--and seize to create --not because its a cool thing to do---or its the in thing--or because they have nothing else to do---no--they seize upon this drive--because they can not not do so.
In whatever means possible they will afford a canvas to express what they must.
With regards to experimental photography--its a perception that they aim to actualize--with less thought to the standard modes of accomplishing such --and more towards the impression realized. While in no ways a definitive statement--a more restless spirit would use toys to accomplish their goal---will---risk their apparatus to present an abstraction of their vision.
Some--will use any or everything as a lens---that distorts the reality--presenting more of the intuitive expression --as opposed to the precision of the tool.
They will contort both self and tools to find themselves in a round box---because that is what they want to be seen.
Some will risk their materials for the sake of the experiment and engage in the pure bliss of unadulterated fun---to see from a different angle...and capture that moment.
Experimenting can be scientific---the results uncertain--but a particular drive is causing the impulse to go against the typical---so as to formulate a presentation--of which words deny.
So can every and any one be an experimental photographer---
without doubt---but that does not mean that they are in fact of the rare essence. As few are willing to go against the crowd--to be viewed with a lack of understanding--to be a minority amongst the populace.
The experimental photographer --sees beyond the obvious--and dares to deny it.
One example from an outside source is Susan Burnstine [link] to
She develops her own camera in order to actualize her visions.





experimental photography is more a thing of the mind, rather than what equipment you have access to in order to create a non-traditional image.
if you think outside of the box, you can create outside of the box.
you don't necessarily have to use analog cameras, a darkroom, or different printing techniques.
experimental photography is just as valid in the digital darkroom.
walking down the traditional photography path in order to be experimental, may however earn you more kudos points from some.
but to me, it makes no difference how your image was created; if you have the ability to think in a different manner, it will shine through, regardless of the technique you use.





I feel a shortage of words to express towards this genre.
I would much rather have the photography speak for themselves.



The following galleries and interviews are but of few of the Experimental Photographers here on dA. (It is in no way conclusive) Please visit their galleries to show your support.

*kahoxworth




=fabienpio



*xspyfishx



*Alexeiz



`whoatherechief



~whatwASheRnaMe



=torajima



~niavaah



=baccanteinvasata



~Otiik



~Noman82



~Metronomy



~Veniamin



~Anti-Pati-ya



*hclay



~madder-cat




~nikom



~vakceber



~CaterpillarOfAngst



~spokojnysen



~charlesguerin



=katworks



~urbantrip



~MissUmlaut



~FiLH



~opiumia



~lemura



*Art2mys



~EOneArt



*iram



*plutonicfluf




Introducing:



1. what inspires you to approach your work via non-traditional means (and by non-traditional means i mean your way of thinking outside of the box)

I can't say I really know how I ended up in the non-traditional non-groove... in part I suspect it's down to having had a rather odd upbringing, leading to a slightly unorthodox outlook on life in general. Which is also to say: being a little contrary in nature, in this era when picture perfect digital photography is only a day's-wage camera and a click away, I wallow in imperfection.
That, and a desire to try to create pictures that are more akin in essence (feeling, ambiance, not necessarily narrative) to works of fiction like the Green Knowe or Gormenghast novels (and many others besides), than to the doxa of photography itself. Essentially, in the words of the poet Novalis (although up until 5 minutes ago, I thought it was a quote by an anthropologist, about anthropology ) ‘to make the familiar strange, and the strange familiar’.


2. are there any particular non-traditional/experimental methods you would like to share (meaning can you explain how you go about in creating your images)

My two main 'techniques' are random meddling and accidents. I do hope one day to find some sort of consistency and progress in my practice of photography; what I do now is a long way from anything I would really be happy about. Ironically, I suspect what I do is probably more anachronistic, or retarded (in the non-pejorative sense of the word), than non-traditional. After all, the box brownie (which I use a few of) was once the Britney Spears of the camera world.







Introducing:




Two collections of yours have really drawn our attention.

One being the pinhole series:



And the other--your Holga series:



For the pictures: the one of my pinholes I like most is:


Of my BW Holgas,I think these are the ones i like the most:


The last really experimental picture I posted is this one:
made by holding the lens a little inclined before the camera. But if you're not satisfied with this one, as said in the text, I'm gonna upload a larger series of this technique. Maybe in one or two hours. And some of them are better than this one.


I’m going to explain it into the chronological order. I came to photography with an old Miranda REII reflex my parents gave me, but at that time I didn’t know how to develop film. I started to work on my pictures when I got my first digital camera. In 2005 I did my first photo manipulations. One of my favorites pieces is « Who I thought I was ([link]) ». But when I felt sufficiently at ease in digital edition, I thought that it was time to go back in time and learn how to process traditional silver photography : I couldn’t stand being missing this part of the work, which is also the longest part of the technical history of photography. I had also realized that most of the photographers were trying, by digital edition, to achieve this nostalgic feeling which is peculiar to old traditional pictures…

So, during the last summer, I went to the workshop of a photographer of my town, and stepped with himself into the darkroom, where I developed under his guidance my first roll of 120mm. Talking about an experimental photographer, this was indeed kind of an experiment ! I went home home with some chemicals, and started practicing on my own.

Although I did a lot of shots with my Holga, I didn’t want the negatives for darkroom prints, but wanted to have them turned digital. I first tried to scan them, but my scanner, with its special negative inversion software, was only giving me crap. That’s why I decided to shoot my negatives with my digital camera, using the following disposition :

[link] .
The negatives are slipped between two glass leaves, and the light is revolved from the white paper to avoid any reflection on the glass. The benefits of this technic are that you can manage the colour turn of your negatives in the moment you shoot them : they’ll turn cold blue if you use a warm white balance, and warm yellow if you use a cold white balance ; you can even make HDRi of your negatives ! And of course, the gesture remains photographic all along the line, which means a lot if you’re fond of your camera ! When it’s done, I invert my pictures on Ps, and go on with my usual digital editing.

Once I knew how to develop my films, I decided to learn how to make my own camera. I found here on DA some instructions to build a pinhole, and based on them, I built my own model. I’m still unhappy with it, because I only used it with 3200 iso film, and this is very hard to obdurate 1/30seconds with your fingers…

After all that’s been said, if we are to know whether if I am an experimental photographer or not, I’d say that I don’t consider myself as an expérimental photographer, even though I do some experiments in photography. The point is that I want to show that we can make pictures even if we don’t have a super camera, we can achieve some beautiful images with very few means, only some crappy stuff we find at home. But I also prefer a photography that not only reflects the world, but the photographer too : all these experiments we do are some kind of a weaponry to distort the view in our way. I’m also very interested in the weariness : when I was a kid, my preferred game was to break my toys – but not completely : it was a kind of a quest to find a very specific balance : « how much this thing can be broken, and still work yet, still complete its function ? » I’m sensitive to this weariness in the world (the world is broken, but still Works – more or less), in the life (we’re all balanced between life and death, health and sickness), in the perception – especially when I wake up ! and I apply it to my cameras. I’m going to upload soon some pictures that were made by mismounting the lense on my camera. In fact I just hold it loose before the camera. It perturbation the geometry and creates a directional focus.
Lately I’ve read in a book that, when you develop film, if the temperature variation between the developer bath and the water bath is of more than 41°F (5°C), it would create a thermic shock that would crack your film… and I thought « what a great idea ! I’m gonna try this as soon as possible ! No need to apply a texture on Ps anymore ! »"





Introducing:



You consider yourself an experimental photographer
Why is that?

1

I think that, by default, it fits me the best (and this from all available categories on dA even if i hesitated with 'Angelina Jolie Fetishisht' !)

Seriously though, it's more because i cannot prevent myself from seeking other ways in creating, from transforming images; on another hand i dislike to use the same procedure on each and every serie.. it's something which bores me.

For example the treatment of my serie "STRUCTURE" which is very specific to the subject of photography and to say the least a proper way for this serie, even more a part of each the artworks.



So i can't and won't re-utilize the same procedures for another series.

I always seek a new treatment for a new series and this is where experimentation resides in my opinion.

For certain series, there's few modifications, few manipulations on the image.

I can stay rather an hour, two days, three weeks or even six months on a series.
As other series and like on my next one, I've worked on it more than just a year (for each consecutive series).


What makes you veer towards this genre as opposed to the standard procedure?


All depends on our way of perceiving/understanding 'traditional photography', there are times where i take rather "classical" shots like this portrait of Xavier Plumas destined to the Press :



This is new to me, but it's finally always a pleasure for me to make this kind of photography.
The most funny part is that in my first interview(s) i always said that i am not willing to accomplish portraits nor work on other's command !
We must believe that our determination evolve with time...

Next,for my personal creations, i never cease to put a mark on my works, at least a certain specific genre...
I think i've had loads of opportunities in everything and anything regarding the different aspects of being a "dark photographer", "gothic", "anxious", "depressive" (very original i think !), i would never know how to define myself..
but i am maybe that photographer willing to give a part of surreality : for the every day life, to the landscapes.. etc.




What are your inspirations?

What are my inspirations ?

Music. I mostly have thoughts and illuminations for photography, from track titles, from subjects i discover throughout the music i listen to.
I've also discovered the style of photographs that i wanted to accomplish while looking in the covers of albums and artworks in the CD booklets of those 80's Rock bands.

Even today, i give lots of attention to the CD booklets in each album; for me it's on equal importance with the music itself.
My other major influence is the Press of Rock music in the 80/90's, it's like useless to mention myself as a fan of the photographies made by Anton Corbijn and Rochard Dumas !




Would you share with us some particular methods of which you utilize to actualize your vision?

I am particularly waiting for a day, when the sky is open, a moment when i'm alone...
I discover the surroundings, the space i am in, i take the necessary time to observe, no need to rush.

This is the essential.

For the rest, all depends on my mood, what i feel at the very moment of my shooting session, feelings have a major impact on my being...

1 - Listen to a good CD/album.
2 - Open a photo in your editing software.
3 - Push the black levels to their limits.
4 - & it's done !

No, frankly, like that in words, it's impossible to describe it, explain it, i am not very pedagogue.

I have no recipes so well prepared and like snapshots, all depends of what i've on mind at that very moment of post-processing the shot, anything can happen in a real limited time...



Which photos in your gallery are you most fond of?

Certainly photographies that are cover artworks of albums and those in the CD booklets, as i mentioned.



Those photos are for me, a sort of consecration, as if the curl was all curly, younger, i used to daydream, escaping while looking at those cover arts and listening to the music, now it's my turn to trigger that in others...

And the other significant incident regarding those photographs is that they came to me with many pleasant meetings and many beautiful photographic adventures...

A preference on the "Commodore" Serie which gave birth to my first publication :



Another lovely adventure.. which is still unfinished because i am still preparing a continuation to it with new photographies realized in the Hotel.


Why is your fascination with darkness?

Obscurity is the night, the dream, the strange...
the black/darkness is a free area to hide/show many facets of myself, of others, of everything that surrounds us. The darkness is like an outlet to our fears, our anguishes...
We can drown in our desires, regrets...



~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
End of interviews...


Thank you all for participating in this article of for the time spent in formulating your thoughts to share with the community.




For a additional as well as a wider variety of Experimental works please consider these collections of Experimental photography etc.
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