Samantha Pugsley

I reblogged a post Samantha Pugsley put up regarding her photography and body dysmorphia a little while ago (here). Today when I was looking into what I wanted to bring in for my theory Tuesday image, I started looking through more of her work. Here are some examples of some really moving work that encompass body and emotional disconnect and longing in a beautiful and expressive way from the artist’s flickr page.

Day 87 Alt

Day 87

Day 97

Day 88

Day 168

Day 157

Day 156

Day 130

Day 110

Day 108

Day 107 Extra

Day 105

Researching photographers who work with photopolymer

Barbra Sanders artist’s website

antler study
La Hacienda de los Martinez
image size 21 1/4” X 16 3/8 inches

cholla study
San Isadore Church
image size 21 1/8” X 15 1/4 inches

toil in repose
11 3/8” X 16 1/4”
edition of 10

Trace Nichols
illusion
Illusion is a dialogue between photography and museum dioramas. I’ve photographed a lot of that kind of thing and really considered the way the work talks about itself. I was also planning to use some stuff I photographed at the museum for my photo polymer plates, since our theme is “science,” so I’m really excited to find work by someone else who is exploring this same unique dichotomy.

Trace Nichols Artist Statement about Illusion:

While visiting the Denver Museum of Nature and Science several years back – camera in hand – I wound my way around to its numerous sets of dioramas. As with many other spectators there, I began to aim my camera through the glass and capture what I saw as compelling bits of story and history, hoping to create my own unique narratives. It dawned on me then that there was an interesting relationship between dioramas and photography, and how when combined a new dialog is formed.

When someone uses a camera to capture a diorama, what is the intention for that image: to express historic accuracy or to create individual fictions? Does the camera have the ability to inject life – a semblance of actual existence – into the constructed scene it captures?

In time, as I continued to explore these questions, my interest moved to a careful observation of what other visitors where seeing and doing when viewing these constructed spaces. I began stepping back a bit to include their presence within my compositions – not so outwardly as to make them identifiable, but rather a suggestion of their presence through a reflection, a shadow, a simple sign of the fabricated nature of the scenes.

My final addition to the dialog came in how I produced and presented the final images. Instead of printing them using contemporary means, I chose to use one of the most historic processes of photographic reproduction – the photogravure – to give the final images a more historic aesthetic, adding to its suggestion of authenticity – a record from the past.

As you view the works in this portfolio, think about these two methods we use to capture and recreate our realities. Consider how when combined, their union actually produces a more fictional narrative that is both drawn from our imagination and our innate desire to tell stories.

Jon Lybrook
artist’s website

Intaglio Photogravure Prints from Luminograms

These hand-printed variable editions are made by applying multicolored oil-based inks and blending them directly onto the plate. The plate is then printed onto art paper from an intaglio press.

Key Epiphany
Hand-printed variable edition intaglio print on silk

Nighttime Ember
Hand-printed variable edition intaglio print

The Microscopic Photography of Dr. Gary Greenberg

BLUE, ORANGE & PINK SAND GRAINS) The tip of a spiral shell has broken off and become a grain of sand. After being repeatedly tumbled by action of the surf this spiral sand grain has become opalescent in character. It is surrounded by bits of coral, shell, and volcanic material.

(MASK SAND) A single grain of sand from the island of Corsica, France, looks like a mask (magnification 150 times)

A slice through a fresh grape is seen using lighting that passed through the grape.

A slice through the same grape is seen using lighting that has reflected off the surface of the grape.

A small capillary in the lung is full of red blood cells seen in orange. The dark blue spaces are air sacs. The walls of these tiny sacs (alveoli) carry red blood cells close to the oxygen rich air sacs, which is where the red blood cells pick up oxygen and give off carbon dioxide.

A section of bone has been stained with fluorescent markers to illuminate areas of new bone formation. The row of cells at the bottom are bone-forming osteoblasts. The bright colors show where new bone has been formed.

All images courtesy of The Art of Science.

Long exposure pinhole photo

A pinhole camera was left in the photo lab office for 3-5 days. This is the resulting image.

I’ve been thinking a lot about long exposure, pinhole, making a scanner camera: so many ways to distort imagery in-camera for awhile. I’m currently working on a project distoring imagery in photoshop and last semester I did some work with glitch (which I’ve done for personal projects before, too) and there’s this….pull for me with distortion, both digital and analogue, both aesthetically and as a way to communicate, so this photo really appealed to me. It’s a timelapse composited into one image – light writing at it’s very core. I’m sort of inclined to break out my pinhole and set it up again.

Using Photoshop Threshold to Separate Colors for Screenprint

A classmate came up to me today and asked how to seperate black and white onto two different images to print them out. We discussed trading white for light grey since the lab doesn’t have white, but I couldn’t figure out how to do what she wanted.

Enter the google machine.

Using Photoshop Threshold to Separate Colors for Screenprint

I won’t be using this for screenprinting any time soon, but it could be useful for other photographic or graphic work in the future.

Lake Morari, Tibet (Astronaut photograph)

The featured astronaut photograph ISS013-E-76262 was acquired September 4, 2006, with a Kodak 760C digital camera using an 800 mm lens, and is provided by the ISS Crew Earth Observations experiment and the Image Science & Analysis Group, Johnson Space Center. The image in this article has been cropped and enhanced to improve contrast. The International Space Station Program supports the laboratory to help astronauts take pictures of Earth that will be of the greatest value to scientists and the public, and to make those images freely available on the Internet. Additional images taken by astronauts and cosmonauts can be viewed at the NASA/JSCGateway to Astronaut Photography of Earth.

Instrument: 

ISS – Digital Camera (source)

It doesn’t seem real. It looks like a painting.

BPD

In Marsha Linehan’s view, the sensitivity, intensity, and duration with which people with BPD feel emotions have both positive and negative effects. People with BPD are often exceptionally idealistic, joyful, and loving. However, they can feel overwhelmed by negative emotions, experiencing intense grief instead of sadness, shame and humiliation instead of mild embarrassment, rage instead of annoyance, and panic instead of nervousness. People with BPD are especially sensitive to feelings of rejection, isolation, and perceived failure. Before learning other coping mechanisms, their efforts to manage or escape from their intense negative emotions can lead to self-injury or suicidal behavior. They are often aware of the intensity of their negative emotional reactions and, since they cannot regulate them, shut them down entirely. This can be harmful to people with BPD, as negative emotions alert people to the presence of a problematic situation and move them to address it.

While people with BPD feel joy intensely, they are especially prone to dysphoria, or feelings of mental and emotional distress. Zanarini et al. recognize four categories of dysphoria that are typical of this condition: extreme emotions; destructiveness or self-destructiveness; feeling fragmented or lacking identity; and feelings of victimization. Within these categories, a BPD diagnosis is strongly associated with a combination of three specific states: 1) feeling betrayed, 2) “feeling like hurting myself”, and 3) feeling out of control. Since there is great variety in the types of dysphoria experienced by people with BPD, the amplitude of the distress is a helpful indicator of borderline personality disorder. (Wikipedia)