The Shadow Catchers exhibition at the V&A showed work from five artists who share similar mediums. In terms of variety of technique, this is similar to me saying "they are all painters" or "they make sculpture", each of the artists approached the medium in very different ways. Processes included in this exhibition were: Photogram, Chemigram, Digital C-Print, Dye Construction print, Gelatin Silver Print, and Luminogram. My interest was mainly in the photograms, which are made by placing an object next to light sensitive paper in the dark, and then briefly exposing both the paper and the object to the light. Where the object and the paper touch, either a full or partial shadow is recorded. I found the photograms especially interesting because they involved physical contact with the object; the shadow left behind is like a memory of what was there.
Garry Fabian Miller, 'Breathing in the Beech Wood, Homeland, Dartmoor, Twenty-four Days of Sunlight, May 2004', 2004
Dye destruction print
A print made using direct positive colour paper. This paper was originally introduced in 1963 for printing colour transparencies or negatives. It is coated with at least three layers of emulsion, each of which is sensitised to one of the three primary colours. Each layer also contains a dye related to that colour. During development of the image, any unexposed dyes are bleached out (hence 'dye destruction'). The remaining dyes form a full-colour image.