Experimental Photography

When last you read this blog, I was waxing about my brilliant “signage and wayfinding for the apocalypse” and how it was met with limited enthusiasm by my peers and instructor. I even tried to froth it up a little by positing my system as part of a movie about the apocalypse rather than an aspect of the real end-of-times. That helped, but the committee was of the opinion that another of the ideas I presented, my peppy fruit juice and special photography plan, held greater potential.

I had worked out ways to cause fruits and vegetables to glow with a mysterious, healthful energy and proposed to build a thesis around using these photographic techniques to sell an organic, caffeine-bearing juice drink of my invention. While the committee was only luke-warm on the peppy fruit juice, they were (to my surprise) kinda gob-smacked by the techniques. This glowing raspberry seemed to particularly blow their minds.

This is what happens when you build a tiny LED into a nice ripe raspberry and then take nine carefully measured exposures of it and combine them in Photoshop's HDR plugin. Cool, huh?
This is what happens when you build a tiny LED into a nice ripe raspberry and then take nine carefully measured exposures of it and combine them in Photoshop’s HDR plugin. Cool, huh?

“You know what?” they asked rhetorically, “Screw the peppy fruit juice. You should just write us a book about your experimental photographic techniques. You’re making–what is it? Vegetable angioplasty?”

“Vegetative Angiography using bio-luminescent reactants,” I corrected.

“Whatever. That is strange and unique and you should just have fun with that.”

And so a group of my respected peers folded their respective arms and nodded their approval for my whack-ass picture taking. I suppose it might have been possible to moor me from the ankles, but I floated about the place for the rest of the day. I love experimental photography! I mean, there’s photography that pretends to freeze that which is already perceivable in the manner in which it is perceivable, and then there is a kind of photography that squeezes and / or stretches time and / or space to make visible that which normally ain’t, and I’m a fan of the latter. The sort of photography that pleases me best is the sort that makes a familiar thing strange and new.

Tune in next week when I’ll tell you more about the experimental photography book I’m writing / designing / illustrating / photographing and holy oh my god that sounds like a lot of work.

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