kayaks ✍ angela shetler
St Paul’s in a puddle 3 (by Gavin Hammond)
From a series of photographs of London in puddles
![believermag:
This interview with photographer Jessica Eaton was conducted by Otino Corsano. The process behind photograph 108_06 (pictured above) is discussed. Last week, we featured three of her images on The Believer Logger.
THE BELIEVER: Is there a simple way to describe the process involved in the creation of 108_06, or are the techniques you employ inherently complex and sophisticated?
JESSICA EATON: The techniques themselves are not inherently complex or sophisticated. The techniques involved in much of my work actually deal with the most basic elements of the photographic medium. However, these basic elements are combined in ways not readily available in the commercial packaging of the medium – so it can seem mysterious. 108_06 was made inside the camera on a single sheet of 4x5 film. I used masking—a set of 108 masks—which means covering up parts of the film during each exposure so no light sees the negative. I also used additive colour separation, which involves separate exposures of the additive primaries of red, blue and green.
[…]
BLVR: Tell me why analogue materials are essential to this project.
JE: 108_06 would be, in essence, impossible to create digitally.
Read the full interview here.](http://24.media.tumblr.com/tumblr_m021pwjqrC1qzh8wko1_1280.jpg)
This interview with photographer Jessica Eaton was conducted by Otino Corsano. The process behind photograph 108_06 (pictured above) is discussed. Last week, we featured three of her images on The Believer Logger.
THE BELIEVER: Is there a simple way to describe the process involved in the creation of 108_06, or are the techniques you employ inherently complex and sophisticated?
JESSICA EATON: The techniques themselves are not inherently complex or sophisticated. The techniques involved in much of my work actually deal with the most basic elements of the photographic medium. However, these basic elements are combined in ways not readily available in the commercial packaging of the medium – so it can seem mysterious. 108_06 was made inside the camera on a single sheet of 4x5 film. I used masking—a set of 108 masks—which means covering up parts of the film during each exposure so no light sees the negative. I also used additive colour separation, which involves separate exposures of the additive primaries of red, blue and green.
[…]
BLVR: Tell me why analogue materials are essential to this project.
JE: 108_06 would be, in essence, impossible to create digitally.
Read the full interview here.
The vertiginous “infinity pool” at the Marina Bay Sands resort offers a sweeping view of Singapore, a country that’s achieved success while building up instead of out.
(via Photo of the Day: Best Pictures of January 2012, Gallery - National Geographic)
Underwater Experiments: Astounding Photographs of Jellyfish by Alexander Semenov | Colossal
Russian biologist Alexander Semenov […] works as the chief of his diving team at the White Sea Biological Station, camera always in-hand, where he’s captured some of these extraordinary photographs of jellyfish.
See more here.
