Salt prints – Not setbacks only learning curve

The same image of the last post, plus two images that I really will love to have beautifully printed.

But, art is not a safe place, when it becomes so efficient that you can count with the notion of control it becomes BORING. At least for me off course, I lack the patience or is simply that I’m unable of find stability in anything. Anyway… here we go again.
The eternal image from the web

Salt print, image from the web employed as a learning tool, original from Carmelo Blázquez Jiménez. Canson paper.

Original image from Carmelo Blázquez Jiménez, you can see it here.

The two images I love so much.

The first one is from Miguel Boller a friend with whom I’ve been working recently in projects of design about the Nasa People, their history and traditions<.

I think the problem was the salt, still dealing with that issue.

Here is the original image.

Salt print original of Miguel Boller, watercolor paper.

The second one is another image I really love. Is from Javier Liz, you can see the original here. It reminds me so much of my bro Yuluts and even of my own childhood when in vacations we traveled to my grandma’s house.

Before and after fixer scans.

Javier Liz’s image, salt print after fixer, watercolor paper.

Javier Liz’s image, salt print before fixer, watercolor paper.

There was something with the chemistry those days, the black stain again, in these photographs I really don’t like it.

Faceless – salt print

Salt print, original from Carmelo Blásquez, employed like a learning tool

Original image here.

There’s a great short article of Gonzalo Bénard called: Anonymous: defaced, unfaced, 2faced and overfaced, in it he talks about the very common “de-identification of one” in photography.

I differ a bit of Bénard appreciation about the possible origins of this practice, for me that process is directly linked with one of the basic frames in which photography was born: The industrial era, and with it, the speed of life and travel.

That velocity loved for the futurists have the effect of blur faces, landscapes and even relationships. Every day we see hundred of people in an small travel downtown, to the work or in a trip. But almost all the faces of those people are not more than shadows erased by the speed of our journeys.

We have become faceless people among streets full of faceless people. We can cope with all the visual input we receive and for that reason our brains have to decide what deserves a minimum of pregnance in our mind, the rest is blurred.

Thinking about the psychological consequences of that new reality I always end with the sensation that in some way we have been becoming small versions of Griffin and how H.G. Wells predicted the consequences of a world without faces.

This is another version of one of those images I took from the internet and try to use as an step in my learning process. You can see the other version here (gum print) and here (salt print – double exposure).

Is a salt print over watercolor paper, I don’t know why the black stain on the image, but was love at first sight and that force me to think once again about Gonzalo’s Essay.

Fractals: New versions, new one.

The original images were created for 100×75 centimeters prints or alike. Pleasesee the full images to see some of the details.

Fractal made in Apophysis 7X

Fractal made in Apophysis 7X

This is the new fractal.

Fractal made in Apophysis 7X

A desolation: Digital version

Self portrait, experimentation with digital sabatiers and HDR captures. I have bipolar disorder and there’s always an overwhelming feeling of loneliness, an inability to explain to others what means to fight all the time with your own mind. That’s a recurrent theme in many of my selfportraits, that’s my own therapy and my way to channel the intensity of some of my mood changes.

Self portrait, experimentation with digital sabatiers and HDR captures. I have bipolar disorder and there’s always an overwhelming feeling of loneliness, an inability to explain to others what means to fight all the time with your own mind. That’s a recurrent theme in many of my selfportraits, that’s my own therapy and my way to channel the intensity of some of my mood changes.

In process: Gum print over salt print.

I think I’m obtaining consistent results. All is matter of time in life indeed.

Salt print over gum

I don’t claim property over the image, employes as part of my process of learning and as like a homage, original from Carmelo Blázquez Jiménez

Original image from Carmelo Blázquez Jiménez, you can see it here.

The image before the salt print can be seen here

Salt print over gum

The image before the salt print layer can be see here.