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" ... Both Man Ray and Richard Avedon solarized photographs for purposes of artistic expression. This photochemical effect, in which tones are partially reversed by exposing a print to light while it’s being developed, was one of Man Ray’s favorites. He appreciated its unpredictability – an old Dada standby – and was thrilled by how it disembodied his models, transforming women into Surrealist compositions. For Avedon, the aesthetic aims were different. His brightly-colored solarizations transformed straightforward portraits of the Beatles into over-the-top Pop icons. ... "
" ... It was the magic of the darkroom that truly enthralled Pearson with the medium. The rush of dipping a piece of film into water and exposing it to light and creating a photograph. As a result, Pearson continuously tried to condense photography down to its most minimal aspects. First he shot portraits, then landscapes with people, then landscapes alone, and then finally boiled down photographs to pure abstractions. Those photographs, or solarized silver gelatin prints, were derived from complex darkroom experiments and processes and slightly echo the photograms of Man Ray or Laszlo Moholoy Nagy or, more recently, the “abstract pictures” of Wolfgang Tillmans. Pearson successfully freed himself from the shackles of the image and illuminated the beauty of experimental chemical techniques. Educated by the iconic fine art photographer James Welling who has always tried to expand understanding of what photography can be, Pearson embraced darkroom production as artistic process. “I felt like the intensity of the real world was never accurately rendered in my photographs,” says Pearson. “If the real world is so interesting, how do I create a photograph that does it justice? I need to use the photograph as a material thing.” ... "