Processes, proposals and experimental possibilities with RA4

[Algo después]

Hey guys, I'm starting a small thread of artists (contemporary or not) who work with the various possibilities of the RA4. Beyond the "politically correct" uses of the material (that is to say, purely experimental) I am interested in collectively weaving a small source of references for future consultations or even to provide feedback for exploration paths. In this way, some names that I locate and that have been working on specific projects (or continuously) with RA4 are:

John Chiara




Mariah Robertson



Robert Calafiore




Richard Learoyd (not sure if his photos are with Ilfochrome or some kind of reversal process)



As you will see, the results of his proposals are so different from each other: from free abstraction to traces that dialogue with Dutch painting. So if you know any other artist feel free to include them.

 

[DREW WILEY]

It's like asking for the names of all the prominent musicians who currently use guitars. Not realistically a "small thread". And most such people are likely to have some kind of ongoing project, if not multiple ones. But indeed, share your favorites. I'm too busy actually doing it to pay much attention to self-promoting token web videos.

 

[Algo después]

Thanks for you reply Drew, great so i would like to identify all those ra4 guitarists.
For now it is a very small thread.

 

[DREW WILEY]

I applaud anyone still with the commitment to work with color paper in the darkroom rather than just punching buttons in front of a screen, even though RA4 processing itself is one of the simplest means of color printing. Their style might or might not appeal to me, but that's a different topic. More people should be encouraged to experiment with it.

 

[Craig75]

daisuke yokata

https://www.anothersomething.org/2015/11/03/color-photographs/

 

[Algo después]

I applaud anyone still with the commitment to work with color paper in the darkroom rather than just punching buttons in front of a screen, even though RA4 processing itself is one of the simplest means of color printing. Their style might or might not appeal to me, but that's a different topic. More people should be encouraged to experiment with it.

Agree with you here. After your first message, I admit that I thought about how problematic the topic of the thread was, especially taking into account that there are many critical positions regarding contemporary art for various reasons that are not worth listing here. Perhaps one of the reasons in between the lines to raise it is to encourage others (starting with myself obviously) to explore this resource with different expectations. I supposed that it could be a different contribution to look with these proposals and artists at other approaches in the use of these materials, that by simple or by their habitual use, sometimes we do not question their potentials.

Very old examples in this direction: rayograms, chemigrams, etc.

////

Thnks Craig. I'm just checking the work
of Daisuke Yokota

 

[Wayne]

I've used RA4 to make permanent copies of Anthotypes, and done other experimentations with paper negatives that I need to get back to

 

[Algo después]

I've used RA4 to make permanent copies of Anthotypes, and done other experimentations that I need to get back to

Where can we see them Wayne?

 

[DREW WILEY]

I'm not convinced that any RA4 print is really permanent, but some types have indeed gotten way better in that respect in recent years.

 

[Algo después]

That is an interesting topic too. On many occasions, artists who decide to work with materials that have a "short life" incorporate this dynamic or behavior as part of the meaning in their works, which is an agreement accepted by those who collect them. On the other hand (and without trying to deviate too much from the central theme of the thread) I wonder if the relative life suffered by ra4 paper has been something that has been tried to correct in current manufacturing processes. According to the studies of Whilhelm Imaging Research, its future is not so promising.

 

[DREW WILEY]

Much of what Wilhelm wrote is now long behind the curve. It's a shifting target, largely to the better, but a lot depends on the display or storage variables. Many of these new miserable e-lights are high in UV. So is obviously direct sunlight. Gotta use some common sense. I just retrieved a number of large earlier Crystal Archive prints which were displayed for 15 yrs under a combination of sunlight (skylights overhead) and less than ideal CFL's about 18 hrs per day. I knew the owners of that big venue wanted to retire right around this time and sell the big building (a remarkably creative remodel), so overprinted these images a little denser in order to reach their peak viewing quality right around now. So, if the same level of abusive lighting torture were sustained, that would hypothetically make them good for that display purpose for about 30 years - not bad. Under stricter UV control, it would be significantly longer, no doubt; and certain of the newer versions of Crystal Archive are allegedly a distinct improvement. But prints on that kind of material will probably outlast me; so I'll never know the real facts. It's hard to even acquire the top-end paper right now, due to covid issues overseas.

But the grass is not necessarily greener on the other side of the fence, if one switches to inkjet. Permanence is a complicated topic, especially in that case. Marketing hype and a real-world track record are different things. UV is bad, regardless.

 

[Algo después]

According to the studies of Whilhelm Imaging Research, its future is not so promising.

Permanence is a complicated topic,

...Nor should it be a reason to give up working with it

 

[Wayne]

Where can we see them Wayne?

Here is my prototype Lumenochrome, which is just a much less impermanent (happy Drew?) RA4 version/copy of a Lumen print from a C41 negative https://www.photrio.com/forum/threads/copying-lumen-prints.135930/#post-1778557

Sorry that photobucket is such a dick now.

I don't know if I have any "anthochromes" digitized, and my RA4 paper negative experiments are still very experimental with no finished prints.

 

[Algo después]

Here is my prototype Lumenochrome

Thanks for sharing this Wayne. Very interesting way

 

[Algo después]

Here is my prototype Lumenochrome

I have decided to change the name of the thread as it may be too restricted and I imagine, as in your interesting process, there must be other forum members who have tried different ways of experimenting with ra4.

The new name could be "Processes, proposals and experimental possibilities with ra4". The only problem is, I don't know how to edit the name, yikes.

 

[MattKing]

The only problem is, I don't know how to edit the name, yikes.

Use the "Report Post" function for your own post, and make your request to the moderators in the window that opens up.
There don't appear to be any moderators on duty right now, and they are a bit over-burdened at present, so the response might take a bit of time.

 

[Algo después]

Use the "Report Post" function for your own post

thanks for the info Matt

...Meanwhile other artist:

Walead Besthy

https://www.thomasdanegallery.com/exhibitions/174/works/artworks4495/

 

[Craig75]

I've used RA4 to make permanent copies of Anthotypes, and done other experimentations with paper negatives that I need to get back to

How long do your anthotypes last for? Always looks a cool process

 

[Wayne]

How long do your anthotypes last for? Always looks a cool process

They seem to fade within a couple of years even if not on display. That's why I preserve them on film, if I like em enough.

 

[DREW WILEY]

If you're trying to wildly "paint" with color photographic media, there was also a minor subset of dye transfer printers doing that sort of thing. One of them is still active around here. I doubt you'll find any of those on the web.

 

[Algo después]

Of course, the choice to "paint" or to work with chance / hazard for the development of photos similar to abstract expressionisms is a possible path, not the only one. It is also to be assumed that there are other cases (such as Learoyd's) where one seeks to be more meticulous with technical use and includes problems of scale or activating a certain relationship with eighteenth-century realistic painting. A factor may also be in the accent of their motives and intentions beyond their technical similarities.

 

[warden]

Richard Learoyd (not sure if his photos are with Ilfochrome or some kind of reversal process)
.

That was outstanding, thank you.

 

[Algo después]

That was outstanding, thank you.

I make the correction: most of his photos are definitely with Ilfocrhome.

 

[mshchem]

The first video appears to be sometime ago. Chiara the artist seems to have made enormous Cibachrome prints. Chiara is 50 years old now. He's got a Wikipedia page, well known.