The following text is taken from a blog post by Ken Jackson at The Other Eye. Copyright to this text belongs to Ken Jackson.
“We are blessed to be living in one of the best periods of history to practice expressive photography, at least in terms of the tools and processes available to us. Consider that nearly every analog process ever invented (if not every material-so many lovely papers and films are long gone) is available to us to use, as well as a large variety of ubertechdigital tools. I can choose to work in a purely analog process, go purely digital, or use any of a number of hybrids of the two. For example, I might make a pinhole exposure on 120 b&w film, soup the film, scan the negative, massage the image in Photoshop, output an enlarged negative with my Epson 3800, hand-coat a piece of fine art paper and contact-print a platinum-palladium ziatype. Crazy, man. I’ve exposed film, scanned it and outputted beautiful digital prints, I’ve used digital capture and made negatives for contact printing, and I’ve done pure digital workflow.
The point is that I can choose from a variety of processes and workflows – whatever is most appropriate to express my vision. It doesn’t have to be an either-or. There is a long history of photographic processes and imagery to learn from, to use, and to draw on for inspiration.
Commercial photographers tend to be very technology-driven in order to stay competitive, and that has been the pattern for the last 180 years. As a result they’ve pretty much all gone digital by now.
That doesn’t have to be the case for people who practice expressive personal photography. It is liberating to realize that the way I work doesn’t have to be dictated by the manufacturers and promoters of digitalia, or by false popular notions of technological “progress.” And that is a wonderful thing.”
Ken Jackson is a fine art photographer who creates much of his work using alternative processes. Ken lives in Carrboro, North Carolina with his wife Rochelle Moser.
You can read more at http://othereye.wordpress.com/
By Jim McKinniss