Director's Choice: "Enchanted Forest" by  Lisa BrussellDirector's Choice: "Enchanted Forest" by Lisa BrussellDirector's Choice:

Enchanted Forest
Lisa Brussell

Media: Tri-color gum bichromate printed over gold toned salt print on Bergger Cot paper
Size: 11" x 14"
Price: $500

Artist Statement:
Printing my photographs using historic processes brings a deeply emotive expression to my images. My intent is to pique the imagination and reveal a sense of being rather than duplicate precisely what the camera captures. These slow and often painstaking techniques lead me to become enveloped in my images, totally immersed, allowing me to build a more nuanced interpretation of my subject as each print evolves. At times, I print each as a unique process, but most often I combine multiple processes together. Currently, I am most drawn to working with gum bichromate in combination with other processes.

Artist Bio:
After graduating from the University of California, Santa Cruz with a BA in philosophy, Lisa worked in the fields of calligraphy, book arts and design. Inspired to hone those skills, she then earned a BFA from Art Center College of Design with a focus on graphic design and packaging. Lisa spent her career creating branding for consumer product goods. During this time, her role behind the camera was an art director -- not a photographer. She missed clicking the camera shutter herself, watching the magic as a print develops, and having full control over the images.
In recent years Lisa started exploring the\ haunting beauty of contemporary images printed using historic photographic techniques. She began teaching herself many of the processes. As she experimented with varying printing methods, her appreciation for each of the different processes grew more profound. Handmade printing processes have become her voice for lending depth and intrigue to her botanical, landscape and street portrait photographs. Lisa’s work has been selected in juried shows and publications including The Image Flow, A. Smith Gallery, SF Women’s Artist Gallery, Southeast Center for Photography, Light Art Space, Analog Forever, The Hand Magazine, Your Daily Photograph, The Photographer’s Eye, and Yosemite Renaissance.
Lisa works out of her northern California home studio where she prints her images using alternative processes and continues to create branding and package design for clients.

Photo Process:
Salt printing was developed in the 1830’s by Henry Fox Talbot. These prints are created by first coating the paper with a salt solution (sodium chloride) and once that has dried coating with a silver nitrate solution. It is a printing-out process meaning the image can be visually inspected and evaluated during exposure as opposed to revealing the image after exposure and during the development. After exposure the print is washed in a weak salt solution and then and be toned using gold or selenium and then the print is fixed using sodium thiosulfate. Gum bichromate is an early photographic process which allows color to reveal the image. Pigment (typically watercolor) is combined with gum arabic and either ammonium or potassium bichromate to create a light sensitive emulsion. Once exposed to UV light with a negative, water development washes away the unexposed areas. Multiple layers using different pigment hues allow for a wide range of color and tonality -- and a painterly effect. For this image I created a grayscale version of my digital color image to use for printing the gold toned salt print. I then separated the RGB image and printed each channel to separately for the red, yellow and blue gum bichromate layers.
Juried Alternative Process Exhibition: (S)LIGHT OF HAND 2024

Show Dates: September 14th – October 19th, 2024
Opening Reception: September 14th, 2024 4:00pm-7:00pm
Escondido’s Arts Event 2nd Saturday: September 14th, 2024 4:00pm-7:00pm & October 12th, 2024 4:00pm-7:00pm


Juror Statement:

I was more than happy to juror this year’s (S)Light of Hand exhibition at The Photographer’s Eye. The process of selecting work for an exhibition is always a multifaceted one. Pulling back the curtain a bit, I can say that there are a few criteria that I always look for. One is that the work has to fit the theme. This sounds like a given, but it’s not always the case with submissions. Secondly, the work has to exemplify the highest quality possible. This can be tough when looking at analog work on the screen, but thankfully, I’ve had plenty of opportunities in my life to experience myriad processes and prints of this nature. In fact, it’s one of those things that I always mention to image makers of any kind. Get yourself out there and look at photographs and art in person, up close, and look at the details. There’s so much happening in these photographs – it’s simply fascinating. One last thing I look to do is find work that works together. I attempt to make as many processes as possible fill the walls. Thinking in terms of hanging a show and sequencing work comes to mind while making selections. An excellent attribute of an all-analog show like this is that this can often be the easiest part. Every step is crucial, though.

This all said, what I noticed when going through the submissions is the high caliber of images I found. Each submission was unique and special in its own way, and I discovered new photographers making excellent work. I’m happy to say that I’ll be looking into them more as the weeks and months go by. Long after this exhibition is over, I will have beautiful reminders of what I had an opportunity to look through. Thank you all for sending in something both special and intriguing.

A final note here is that I can only assume that the reason the submissions were so good is that talented visual artists are paying attention to The Photographers Eye. The local community clearly thrives because of their place in the community, but it is thoroughly evident to me that those living far and wide are also playing an integral part in the success of this fine establishment. I know for a fact that Donna leads this charge with a heart full of love for both this medium and the community we hold so dear. Please do not take your eyes off what is happening here; do what you can to be a part of it, no matter how small. It’s people like you that keep this analog resurgence going!

Michael Kirchoff
"Tyrannosaurus-domesticus" by Amanda Colón"Sameness of the Screen No. 6967"  by Andy Mattern"Caged" by Angela Franks Wells"Icelandic Pony" by Anna Pietrowski"Cultivation of Silence" by Annalise Neil"Fly Away" by  Annie Claflin"Torn Apart (Dangling Shell)" by Annie Claflin"Plant Form Study" by Annie Lemoux"Eve's Apple" by Barbara Wilson"August Violas No. 2" by Brenda Roger"Not the Recipe I Was Taught!" by Chip Standifer"The Dogwood I Wanted to Cut Down" by Chip Standifer"Dancer" by Dan Nougier"Oracle Anima" by Iggy Bug"Plants" by Daniel RothenbergJuror's Choice: "Manzanita in the Round" by David Marsh"Rose" by Deb Hellman"Great Blue Heron" by Debbie Danna"North Shore" by Dennis Segers"Entanglement Number 1983-7" by Douglas Stockdale