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Tagged: Polaroid


Posted by The Center on October 21, 2010

(Photo credit: Jo Bradford 7 Galaxies, 2009, 7 x Unique Photograms and Cliche Verres, made using meteorites and space dust.)

That’s right – UK photographer Jo Bradford produced these images with the assistance of meteorites and space dust.

She writes:

Working in my darkroom, I arrange meteorite fragments onto light sensitive paper, making several exposures, one for each colour. The space-dust blocks light during the exposures to create the stars in my galaxies. The creation process is a truly revelatory experience, my visual sense entirely detached by the darkness, the olfactory sense is amplified; the powerful metallic odour of the chondrites is intensely reminiscent of blood. Meteors are commonly associated with both the wonder of planetary formation and the terror of potentially cataclysmic extinction level events. Handling this interstellar dust I am intensely aware that the alien matter in my hands forms the very building blocks of everything we know.

When this work is presented without accompanying text, I am often asked, “What kind of telescope did you use to take these photos?” In considering the authenticity of my outcomes, the realism of the subject appears validated by the inherent perception of truth conferred by the photographic medium. When all is said and done, my pictures of the stars do posses some truth, as the direct indexical trace of the stardust used in their creation.

The pictures in this gallery are cameraless in their creation. Known as photograms, they are an obscure photographic printmaking technique that predates the invention of photography.

The demise (tho it has been somewhat resurrected) of Polaroid also hit home for Bradford. She has expanded her personal farewell to the cult film into a year long project – a Polaroid a day for 2010. You can follow the project at 365goodbyes

See more of Jo’s work at

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Posted by The Center on March 1, 2010

(Photo Credit: Hunter by Jennifer Trausch)

“I chose an atypical way of working with the camera, eschewing control and extreme detail for highly selective focus and long exposures that are loose and gestural.”

Hunter, a photograph by Brooklyn-based artist Jennifer Trausch, was selected for the Director’s Selection in the Center’s “Elements of Water” exhibition. The image is from her Wilson’s Night Spot series. To approach this series, Trausch used a 20×24 Polaroid camera, which is one of only five in the world. Due to her “refrigerator-sized camera”, she had to interact with her subjects on a much different level than a standard hand-held camera affords. In her own words,

“The 235-pound camera is used primarily in static and controlled circumstances due to its size and the high-powered flashes needed to obtain the focus and detail associated with it … [it] profoundly altered how I experienced the region and how I interacted with my subjects. The camera looks like an enormous turn-of-the century field camera, and its unique and tactile presence disarms people.”

The relevance of photographing using this method is especially historically relevant because of Polaroid’s decision to discontinue production of all of its instant films, which may run out as early as 2011.

The Wilson’s Night Spot series is a part-documentary, part-constructed view of the American South. Capturing the South with a sense of freedom and exploration, Traush explains,

“Most of these trips were spent utterly lost, albeit intentionally so, freed to work off impressions and off the subtle details of each found place and interaction.”

More of Jennifer’s work can be found at:

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