Digital Darkroom features the work of 17 artists from around the world that explore the intersection of art and technology. The exhibit features the work of: Josef Astor, Pierre Beteille, Joel Grimes, Ted Grudowski, Claudia Kunin, Chris Levine, Bonny Pierce Lhotka, Khuong Nguyen, Mike Pucher, Jean-François Rauzier, Martine Roch, Christopher Schneberger, Brooke Shaden, Stanley Smith, Maggie Taylor, Jerry Uelsmann and Jean-Marie Vives.
Each artist is a master of different types of digital techniques: compositing highly layered imagery, working in 3D and lenticular imaging, meticulously stitching together images, using lighting in highly inventive ways, and so on.
The show will present an interesting juxtaposition of young artists immersed in digital work against Uelsmann, a master of darkroom compositing techniques. The artists come from a range of backgrounds, each specializing in fine art, commercial art, portraiture, still life, fashion, architectural, or other types of photographic and illustrative expression. However, many of the artists cross genres and combine multiple techniques to create their unique work.
Digital Darkroom is comprised of an 80-image print show with 2-6 images contributed by each of the featured photographers. Hundreds of additional images from Digital Darkroom's photographers will also be showcased in vivid detail on the two 14' by 7' high-resolution screens in the Photography Space's Digital Gallery.
Serving as curatorial advisor is Russell Brown, a Senior Creative Director at Adobe Systems Incorporated and an Emmy Award-winning instructor. Brown was instrumental in the introduction of Adobe Photoshop, which transformed the techniques used to manipulate images. Renowned for his entertaining style as a Photoshop teacher, he has helped the world's leading photographers, publishers, art directors and artists to master techniques that enable their digital creations.
The exhibition includes a 3D film shot in 5K resolution using RED EPIC cameras, presented in a specially created screening room. This film includes interviews with 3D experts and historians Ray Zone and David Kuntz, 3D artists Ted Grudowski and Christopher Schneberger, and explores how 3D artists Claudia Kunin and Mike Pucher photograph their subjects and alter them digitally to create 3D results. Key elements of the history of stereoscopic photography are also in the film.
Digital Darkroom was shown from December 17, 2011 through May 28, 2012.
Martine Roch has pursued an artistic style that reflects her love of animals. Her digital creations have become an Internet sensation on the photo-sharing site Flickr, and now, have become available commercially throughout the world
on notebooks and postcards.
Christopher Schneberger is a traditionalist and an iconoclast. He has created photographic series of both infrared and mural-sized photographs. His work often weaves a narrative tale incorporating supernatural elements.
Brooke Shaden’s photographs seem like little films, complete with character, tension and a lush visual sense that might easily be called cinematography. One of her exhibited photographs was recently selected by director Ron Howard as one of eight photos used to inspire a short film.
Stanley Smith’s distinctive style revolves around arrangements: Instead of waiting for a “decisive moment” to take a masterful photo, Smith prefers to arrange items in a way he feels is aesthetically pleasing. The digital revolution has allowed him to build immense detail and complexity into his work.
Maggie Taylor became a towering figure in photography in the 1990s when she learned Photoshop and began creating her unmistakable artistic fingerprint. Utilizing scanned images, tintypes of 19th-century subjects and pure imagination, she creates a world that is simultaneously of the past and of the future, and a photographic grammar that is both provocative and embracing.
Jerry Uelsmann was experimenting with the manipulation of images through darkroom techniques as early as the 1950s, while the mainstream remained skeptical. When Photoshop appeared in 1990, the creative process involved in making photographs changed. Today, the photography world has finally caught up with Uelsmann, making him the undisputed father of photographic manipulation.
Jean-Marie Vives was one of the first matte painters for films in France, working on acclaimed movies by Alain Resnais and Jean-Pierre Jeunet. His photographs are so masterfully created that they often look like paintings, and likewise, his paintings are often as detailed and convincing as photographs.