visualsundae

“Perception is a recurring theme within my practice, and has become a foundation for me to explore ideas that reflect on notions of time, space, simultaneity and duration. As an artist, I am interested in the aspects of experience where the real, the known, and the imagined collide. Spatio-temporal relations, and visualizing the invisible are predominant subjects. My interpretations are informed in part by science, philosophy and fiction. Experimentation and process are at the forefront of much of my work, at times resulting in ambiguous narratives and hybrid exercises.” — Isabel M. Martinez

Count | 2010
chromogenic prints

Count #1 (One Hundred Mississippies)

Count #2 (Forty Inhalations)

Count #3 (Two Hundred and Fifty Heartbeats)

Count #4 (Thirty-Two Happy Birthdays)

Count #5 (One Hundred Blinks)

Quantum Blink series | 2011
chromogenic prints

“The photographs in Quantum Blink are composed of two exposures taken instants apart. The striped pattern is the result of masks placed in-camera, this feature allows me to blend two images together and at the same time keep them from fully fusing onto one another.”

Carrousel

Crosswalk

Chevron #1

Chevron #2

Talking Hands

Dock #1

Dock #2

Pond

Staff

Onlooker

Visit Isabel M Martinez’s website for more…

Wet plate collodion images (ambrotypes) by Fred Fraser

“Wet plate photos are created on glass sheets of varying sizes but for portrait work the sizes are most frequently 5x7 or 8x10 inches.

Using a combination of chemicals in the darkroom each plate is made light sensitive minutes before the exposure is made in the camera and then returned to the darkroom immediately after exposure for development — the light sensitive emulsion created in the darkroom must stay wet during the entire procedure, hence the name “wet plate” photography.

Part of the charm of the wet plate look is the inherent unpredictability of the process. The way in which the various chemical treatments flow across the glass plate in the darkroom create a texture and variation in the tonality of the image. The effect is not repeatable from plate to plate giving each photograph a uniqueness that is not available from any other photographic process.

The photo is visible for a preview within 10 minutes of the exposure but takes approximately a week before the emulsion has cured and the finishing touches can be applied to the glass plate. Print (paper) copies can be made, but the decision to make print copies must be made before the plate is finished and delivered.” — Fred Fraser

Animal

Animal masks created by Liz Dungate

Hare Variations

The end of the hare masks created by Liz Dungate

Portraits

Be sure to check out Fred Fraser’s website, blog and tumblr for more top drawer photography.