With hand coated emulsions and Bromoil techniques, the hand of the artist is very evident in every part of the image, from the brush strokes to the applying of ink. I am drawn to this one-of-a-kind printing, where there is an element of unpredictability and evidence of human touch.-Candace
I have always been interested in the “alternative” or historical photographic processes since the beginning of my art studies. Today I work with Cyanotype, Bromoil, Silver Gelatin, Gum Bichromate, and hand tinting. The processes I work with are just a few of the many invented through the history of photography and it would be amazing to have the time to learn more! The majority of these historical photographic processes render one-of-a-kind images which are impossible to predictably reproduce by hand. It is this unpredictability which fascinates me. You have only so much control over the final print; the rest is due to chemistry, the hand coating, and your support/backing (paper, fabric, etc). The many steps involved all react to your individual style of work – and sometimes mistakes or accidents produce wonderful results! Many of these processes strongly display the evidence of a human touch. This appeals to me as I become a part of it, it is physical. From the movements of processing film, to the movements of coating my supports, to the movement of processing my print, I am immersed in the physical component of producing an image. Also, I relish being in the dark room with low safe lights and the sound of water where time literally disappears. This is all very different from sitting in front of a computer to produce a final photograph. Through workshops and residencies in historical photographic processes I am pleased to contribute to the renewed interest in analogue photography – film and other non-digital processes. My work is represented in public collections within Alberta, private collections within Canada and exhibitions throughout the province.