Reflection: Working with a Shadowgram in Photoshop

I found a new shadow pattern to work with in a domestic space, the main difference with this one is that the movement is vertical compared horizontal. I don’t have access to my printer at the moment to make a repeat of my earlier experiment, so for now I have utilised Photoshop to amalgamate a similar overlay of images.

I compiled the selection above and adjusted the blending options in two different set ups; difference and soft light.

The difference setup creates a new image negative that corroborates the intervals of the captures. As a result a new pattern emerges.

The soft light setup is more like the first image, with a gradation of burning across the light pattern. The brightest part is the area that the most exposures retained the light projection.

Fig. 1.  Camera Recording its Own Condition (7 Apertures, 10 Speeds, 2 Mirrors)  (1971)

Fig. 1. Camera Recording its Own Condition (7 Apertures, 10 Speeds, 2 Mirrors) (1971)

While I like the potential effect, the causality is that the post-production technique overpowers the idea. I prefer the analogue approach to printing one abstraction and returning it to the capture point if I was to work with overlays of sequencing. If I was to collage the different captures into a single image, perhaps a collage such as in John Hilliard’s work (see fig. 1.). But that would still result in having a displaced image.

Until I can work in my space with my printer, perhaps I focus more on my smartphone notations where I can continue to compile conceptual psychogeography ideas in the field. I am out a fair bit at the moment so a variety of locations and patterns will be interesting to share.

List of illustrations

Figure 1. Hilliard, J (1971) Camera Recording its Own Condition (7 Apertures, 10 Speeds, 2 Mirrors) [Photograph] At: (Accessed on 13.09.18)