From a short series of images that came about through an interest in the transformative aspect of the camera, the digital photographic process and the studio environment itself and the inevitable disappointment of the printed work. As someone who has, for many years wrestled with the dark arts of colour workflow – both as a practitioner and a teacher of photography. I became interested in the idea of bringing to life the process colours of cyan, magenta, yellow and black which inherently limit the potential of almost all photographic input when printed. The subtractive CMYK photo process is diametrically opposed to the RGB of monitors, cameras and human experience of colour and environment, starting as it does from a place of light – layering on more and more ink to create a false darkness, the yin to the RGB yang of beginning with absolute darkness and working towards light. In this case the use of the most matt, light absorbing paint available to create a false darkness in the face of bright studio lights.
The painted objects that make up the subject matter lay bare their imperfect materiality; brush strokes, wood grain and so on as an antagonistic gesture to the digital process they must be subjected to In order to traverse the workflow pipelines through eye, to camera, computer and finally print.
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