Garry Fabian Miller chose to capture images without using a camera. For this, he cut the tops of the seed heads of the Honesty plant, placed them under a photographic enlarger, and transmitted light through it onto coloured paper. The images — in shades of light onion pink and faded yellow framed within a white background — stand out for their sheer ingenuity.
Neeta Madahar was captivated by the sight of birds feeding in her garden. She caught snapshots of it, used artificial lighting and magnification, and with the selective use of focus to enhance the image, she conveyed the spiritual connection she felt with this routine, yet beautiful natural happening.
Chris McCaw wanted to experiment with his camera, so he left it under the direct gaze of the sun for a few days. The camera's long exposure to the sun produced a startling effect — the rays of the sun burned through the negative, creating a scorched gash. This image, curiously, shows the effect of light on sensitised paper.
Eva Stenram downloaded spliced NASA-generated images from the internet. She then converted them to 35 mm negatives and left them scattered around her house over a period of time, during which they gathered dust and hair. The hazy brown and orange images of Mars were given an ethereal touch by the hair and dust impressions: they appear as white, thread-like imprints on the photographs.
These are some of the pictures currently on display at the National Gallery of Modern Art (NGMA). The Victoria and Albert Museum, UK (V&A) selected 14 key works from its permanent collection of photography to showcase in the city, for the first time in a venue outside the UK.
Titled Something I'll never see really see , (inspired by well-known contemporary photographer Gavin Turk's work by the same name), the exhibition represents a coming of age of contemporary photography.
“These are works of some of the world's best photographers. These practitioners have used varied techniques and styles to express a most fascinating way of looking at life around us, making the exhibition very international in its focus,” says Ms. Louise Shannon, Curator at the V&A for eight years.
Some may argue that technological interventions alter a spontaneous image; at this contention, Ms. Shannon responds: “It's a pity to limit photography to one particular style. There is much to be appreciated in contemporary photography practices.” Ms. Shannon adds that the viewers will feel an immediate connection with these images that speak a thousand words.
