'The Print Exposed is a truly unique exhibition aimed at encouraging the…
The Print Exposed is a truly unique exhibition aimed at encouraging the understanding, and appreciation for handmade alternative/ historic photographic print processes evolved from the birth of photography.
Photographers selected for the exhibition are automatically considered for The Mike Ware Award.
The photographs bring a mix of beauty and intrigue created by passionate photographers and photographic artists from across the world.
It is the end result of the handmade image regardless of how it is captured (some on analogue film and others digital).
Stuart Clook (NZ), Wendy Currie (Vic), Danielle Edwards (Vic), Hengli Ge (China), Keiko Goto (Japan), Dianne Longley (Vic), Kong Nai (China), Sally North (QLD), Elizabeth Parsons (Vic), Robert Pool (UK), Gale Spring (Vic), Yvonne Todd (QLD), Li Zhe (China).
Invited Artists: Mike Ware (UK), Elizabeth Opalenik (USA), Sam Wang (USA), Karl Koenig (USA), Tim Rudman (UK) Ellie Young (Vic) and Jianming Zhong (China) Bob Kersey (NSW) Maija McDougal (UK).
Processes include: Bromoil Transfer, Carbon Transfer, Chrysotype, Cyanotype, Daguerreotype, Gum bichromate, Gumoil, Mordancage, Opalotype, Orotone, Platinum/palladium, Palladium, Palladium/cyanotype, Salted Paper print, Silver gelatin, and Vandyke Brown.
The Print Exposed 2020 is split into 2 groups – those who are invited those who have submitted works for approval. It is the submitted works that qualify for Mike Ware Award. The Mike Ware Award is made on the combination of visual artistic merit, the craftsmanship of the work and the control of the scientific processes that create these images.
Gold Street Studios & Gallery, Trentham East, Victoria until 29 November 2020.
Main photograph above: Live Oak (Quercus Virginiana) 28 x 20 cm Platinum Palladium photograph, (captured in infrared). Photograph by Danielle Edwards.
‘Silver plate itself is metal. When the image of metal object emerges on the silver plate, the first thing to see is the texture of different metal surfaces. Through the contrast of bright and dark parts, there would be unique 3D illusion on the subtle ups and downs. Something dramatic would happen, when the metal image combines with various tone of daguerreotype, like the prismatic effect and gilding tone. The combination of the two produces a tone which would bring a changing viewing experience to the metal object in the image. It’s hard to tell the colour of the metal in the daguerreotype, only to feel the texture of metal clearly. If the viewing angle changes, it would present gold, magenta and cyan, which makes it harder to decide which kind of metal it is.’