How to be audacious in burying photography. Full attempt for a non-lesson.
by luc dewaele
I recently discovered the work of an unburied artist Tino DiMeslov.
Although I instantly admit his portfolio’s factual irrelevance in the breeding ground of contemporary art, I still like to unveil his technique, known as ‘the predictable behaviour of stripes in photography’.
The time-based procedure (at a normal speed, about 5 minutes) doesn’t go beyond traditional photoshop-techniques and is mentioned to be forgotten as soon as published.
Conveying this experience, I would suggest to feel free again, making pictures that really matter and which impact will bring you to a different level of relevance. Rediscovering the essence of the photographic image, this consciousness will certainly stimulate you to really make pictures instead of constructing stories and concepts, with an almost religious and exclusive undertone.
1. Use a camera. In order to grant relevance to the work you can use an old russian panorama type Holga, Kiev, Zorki or Horizon. An Agfacolor 400 film will do. Simple minds use a Fuji X100.
2. Don’t choose a subject; just go outside in an academically accepted (neutral) environment; you’ll be caught by the feeling of being choosen by the subject itself.
Use the camera or a mobile phone, as a research instrument. A flatbed scanner will also do, but this could influence the conceptual statement. Just check this first at http://www.photogalaxy.com/articles/scanner.php
3. Try to create an image, with an extended x-axis. Be aware of not paying attention to terminology as ‘freeze’, ‘split moment’, ‘taking a picture’. Be guided by the concept of ‘rhythm’ or ‘wave’. And know there must be at least 30 (!) artists actually using this technique, all around the world.
4. Then, in the darkness of a darkroom, develop the film, preferably using the C41-process. Skip this advice if you used a X100. The liquids are corrosive.
5. Dry the entire film. It’s ready to be scanned by a professional photographer.
6. Sacralizing pretended expertise, go to Photoshop (= software, mostly installed on Mac). And stay there.
7. By means of printscreens, the procedure should be clear. If not, remain calm and don’t print this article. Help yourself and nature. Go out and make traditional pictures, led by the righteous justification of astonishment, a standard of the photo industry. This mechanism is only known to photographers and people who don’t ‘hate photography’.
8. Unveiling the work of Tino DiMeslov is heading to bury the so to speak freshly pronounced standards (stripes) in forgotten techniques. Guided by amazement, one can just continue to make pictures even during the funeral of this deviation.
9. Traces of the trick of drip photography is recently discovered in Austrian caves, by the reliable art scientist Adolf Darkongla. Unfortunately the spreading of this cucumber time discovery seems to be false. To be continued.