KS4 guide to a unit in photogram and film based photography

2. Definition:
A photogram is a photographic image made without a camera
by placing objects directly onto the surface of a photo-
sensitive material such as photographic paper and then
exposing it to light. The result is a negative shadow
image varying in tone, depending on the transparency of
the objects used. Areas of the paper that have received no
light appear white; those exposed through transparent or
semi-transparent objects appear grey.
Photograms have come through three phases in history:
•Phase 1: To record the shapes sizes of natural objects
•Phase 2: As an artistic expression
•Phase 3: Contemporary art

3. Phase 1: To Record The first period of “photogram” exploration was to produce a
scientific record of natural objects . Anna Atkins was one of the first involved in this scientific
photographic development. Her work can be seen in these two images
British Algae:
Cyanotype
Impression, 1843
Poppies:
Cyanotype
Impression,
1850
Look closely at the two images; choose one to write about and then discuss it in pairs.
Stick the image in your book and make notes on the following
•AESTHETICS, TECHNIQUE & FUNCTION
•COMPOSITION, DEPTH OF FIELD, TEXTURE & CONTRAST
•OPACITY & TRANSPARENCY.

4. Practical activity: Creating a scientific photogram
Step one
Choose your objects wisely - remember to use a combination of opaque and transparent, vary
the details and texture. Arrange them well to create maximum interest and show scientific
detail.
Step two
arrange th objects in a transparent walllet and balance it on a sheet of card, carry it to the
darkroom; collect a sheet of light sensitive paper – at this point you must alllow NO RANDOM
WHITE LIGHT NEAR THE PAPER
Lay the wallet on top of the paper and under the enlarger – WITH THE RED SAFETY SCREEN
ON
Step three
Expose the paper for up to 5 seconds – how long depends on the density of the objects. I will
give you a smaller piece of paper to do a test run with, before you get the final LARGE paper.
Remember it costs 40p a sheet so do not waste it.
Step four.
Slide the photopaper out from under the wallet a carefully develop it in the trays in the wet-
room. When it is fully washed take it outside and have a look.

5. Phase 2: Artistic Expression
Christian Schad, Man Ray and Lazlo Moholy-Nagy in the Dada, Surrealist and Constructivist
periods of art were very experimental. Artists of these movements and eras enjoyed using new
technologies. They took the scientific technique and used it to create original works of art –
expressions of their own artistic vision. They took a combination of objects and created a
narrative (story) or emotion, images of mystery and passion
Christian Schad, “Schadograph” 1918 Laszlo Moholy-Nagy, “Self
Portrait”, 1926

6. In the examples Lazlo Maholy-Nagy
used his own face, Man Ray used
objects belonging to him and Schad
was trying to be expressive in the style
of the cubists.
Look closely at the three images;
choose one to write about and then
discuss it in pairs.
Stick the image in your book and make
notes on the following
•AESTHETICS, TECHNIQUE &
FUNCTION
•COMPOSITION, DEPTH OF FIELD,
TEXTURE & CONTRAST
•OPACITY & TRANSPARENCY
Now complete the practical task on the
next page.
Man Ray, “No Title (comb,
knife and needle)” 1922

7. Photograms stage two; artistic expression
1. generation of ideas;
Make a table with two columns. In column A write words that describe your
character, personality and habits or hobbies. In column B note ideas for objects or
compostions that you could use to make an abstract self-portrait
2. Planning & experimentation;
Make a collection of materials and objects that you could use – keep them in a
bag or box and bring them to the lesson. Experiment with composition and sketch
or photograph the different ideas – choose three to use in the darkroom
3. Realisation and final production A;
Take the objects into the darkroom, collecting one piece of photopaper at a time
carry out each of your ideas. Be careful and clean with your work, don’t waste
time or materials. Avoid white light at all costs.
4. evaluation;
When they are dry look at your images – did you achieve the image and effect
that you had planned - if yes why/how, if no – why not/how did it fail?
5. Extension work
When everyone has had a go you can go back into the darkroom and try to
improve your final result.

8. Summary:
You have seen a lot of examples of how photograms have been and are still
being used. It is a simple way of recording objects textures and shapes. Just
because it is simple, doesn’t mean it has to be Dull! Consider the following:
• Transparency: Solid objects create a different effect to glass for example
• Shape: How about creating your own shapes out of materials to enhance the
image...?
• Compositionn: A key factor of any art work. Try to make it visually
interesting. Thin about where to lay the objects. Practice this before your
Exposure.
Suggested materials:
Cut card (shapes), tissue paper, newspaper, bubble wrap, glass, flowers,
liquid in jars, things in jars, yourself, soil, gravel, transparency sheets with
writing or sketches....the limits are endless!

9. Phase 3: Contemporary re-discovery
More recently, photogramists have utilized the photogram
as a means of artistic expression to produce a wide
variety of designs and surreal imagery.
Artist such as Adam Fuss and Susan Derges use the very
basic science to create some complex artist works:
Susan Derges takes
camera less
photography to the
limit. She uses
nature to create her
images. Working with
rivers, coasts and
sound waves.
To the right:
“Shoreline 5”, 1998
“River Bovey May 07”
2007
Adam Fuss, “Untitled”, 1994.
Fuss deals with themes such
as Life, death, motion and
experiment.
experiment.