Range: of Masters of Photography presents a dialogue between distance and proximity, limited and unlimited, the singular and the multiple, the fixed and the itinerant, the master and the copy.īelow are a few projects and iterations that have developed from Range: of Masters of Photography. These “leaks” are the result of an algorithm loaded into the vacuum of a chip, capable of producing nearly endless variations within the space of a few seconds. If light is the first and foremost element of all photography, the role of light in this context is inverted. Light leaks and chemical burn filters are especially absurd in the context of both analog photography and smart-phone camera technology: ‘master’ photographers would never accept such mistakes in their work, and the impossibility of holes, gaps, spatial volume, or liquid chemical necessary to produce these effects, stands in complete opposition to the very apparatus simulating them. In this work the mountain, the oldest landmark, site of orientation, and spiritual contemplation, becomes unstable, mobile, has no gravity, and changes with each iteration.Ĭentral to this work is the overwhelming number of camera app filters that simulate the mistakes of analogue film photography. The hallucinogenic colors of the camera app filters blend with the disorienting effects of the iPhone’s gravity sensor to dislodge any perception of stability in the mountain, the master (most often gendered as male), or the photographic medium. Photo grain, dot-screen, pixel, and screen resolution collide performing undulating moirés. I downloaded hundreds camera apps for my iPhone to re-photograph the masters’ mountains and process them through the multiple filters of the camera apps. For this project I focus on iconic images of mountains in various online and print media such as Aperture’s Masters of Photography book series.

Range: of Masters of Photography considers an analog history of photography within the digital torrent that is its current technological manifestation.

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