ABSTRACT
Imagemakers who followed this path of investigation wanted to make visible the hand of the creator. Some found machine-made, store-bought goods too homogeneous and derived great satisfaction from making unique materials themselves. The alternative processes discussed in this chapter allow imagemakers to explore and extend the relationship between the photographer, the event being photographed, the interpretation of subject, and the process of photography. In these distinct fl exible processes, the camera image becomes a point of departure for transforming the entire relationship of making, viewing, and interpreting images. The resulting photographs challenge traditional “factory made ” ideas about the camera image, and as facts become less important, beauty and imagination can step forward in importance. The nature and scope of photography have been redefi ned by a more fl exible aesthetic that says a good photograph is not necessarily based on objectivity and scientifi c rationale. It dramatically demonstrates that there are multiple intelligences – ways of seeing – that can come into play when making photo-based images.
