Statement & Process
I work hard at translation. I see all my work as a form of translation in some form. And alongside translation I work on relationships - relationships between forms and textures and colours. Everything that I make in the darkroom is based on my decisions regarding translation and relationships. The subject that I am responding to often takes second place to the more important factor of how it makes me feel and how I can translate that experience into a mark on the paper in the darkroom. It’s how the subject affects me that is the important part - not necessarily the subject itself. If I can respond to a subject then I can make marks that mirror that response. It is a deeply felt way of working.
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Compiled notes on Michael G Jackson’s work used for editorial and educational departments -
Michael (Mike) Jackson is a British photographer specializing in experimental cameraless photography known as luminograms. His work treats light as both subject and medium, manipulating it directly on photosensitive paper rather than capturing reflected light through a camera lens. Below is a detailed breakdown of his luminogram techniques and philosophy, derived from his interviews, exhibitions, and published discussions.
1. Conceptual Foundation
A luminogram is an image generated by directing light onto photographic paper in a darkroom.
Jackson often equates the process with sculpture or pottery:
Light is the malleable material, and the darkroom is the studio.
The artist molds and shapes light intensity, direction, and duration as a sculptor molds clay.
2. Materials and Setup
Photo Paper: He primarily uses silver gelatin RC (resin-coated) paper, which he discovered to have unique chemical responses allowing expressive control.
Light Sources: Multiple controllable light sources enable modulation of intensity and direction.
Chemicals: Standard darkroom developers, fixers, and potentially other chemical modifiers.
Environment: The process requires a completely darkened space to prevent unintended exposure.
3. Technical Process
Preparation:
Paper is prepared in complete darkness.
Jackson often makes small preliminary marks or visual cues to guide light placement.
Directed Light Exposure:
Light is applied with deliberate intensity and motion.
He uses tools, devices, or hands to modulate the light’s effect on the paper.
Layering and gestural manipulation create smooth gradients, abstract forms, and sculptural effects.
Temporal Control and Memory:
As results are invisible until development, Jackson relies on an internal mental map of every light application.
This approach forces a previsualization skill, akin to drawing in the mind before applying physical marks.
Chemical Development:
Exposure is followed by standard darkroom processing.
The paper retains the gestural imprint of light, forming a rich array of textures, tones, and luminosity.
Iterative Experimentation:
Jackson’s workflow involves continual experimentation:
Changing angles, intensity, and durations.
Observing results and integrating effective techniques into subsequent pieces.
He has emphasized the importance of play, often with large quantities of expired paper to refine his process.
4. Artistic Philosophy
Control vs. Chance:
While he simplifies exposure to light and paper, Jackson embraces serendipity and organic discovery.
Each luminogram is unique, a direct record of decisions and reactions.
Abstraction and Reality:
His work moves from observational studies (e.g., Poppit Sands beach) to abstract compositions, representing his visual and emotional interaction rather than literal landscapes.
Sculptural and Painterly Approach:
Light is shaped like a three-dimensional sculpture.
Pressure, layering, and movement equate to painterly brushwork or clay modeling.
5. Examples of Practice
Poppit Sands Project:
Eight years capturing ebb and flow of a single beach, translating spatial observations into luminograms.
Portraits and Color Response Series:
Creating portraits with directed light.
Exploring reactions to specific colors (e.g., yellow).
Custom Darkroom Techniques:
Manipulating paper temperature and age.
Using expired or chemically primed papers to influence tonal response.
6. Key Points of Innovation
Jackson treats photo paper as an expressive medium, not just a recording surface.
His luminograms are completely cameraless, relying solely on the artful application of light.
He emphasizes the interdependence of mind and medium: visual memory guides exposure, combining intuition, precision, and experimentation.
No traditional photographic constraints apply: abstraction, sculptural depth, and painterly gestures are all achievable.
7. Resources
Official work and further insight: MG Jackson Studio
Interviews and technical discussion: Ilford Photo Luminogram Process, Lomography Magazine, Monovisions.
Summary
Mike Jackson’s luminogram techniques are a melding of darkroom chemistry, controlled light manipulation, and artistic intuition. A luminogram is not just an image but a three-dimensional representation of light itself, produced by:
Selecting suitable photo paper.
Controlling light intensity, duration, and movement.
Mentally mapping applied light.
Developing chemical reactions to fix the abstract form.
Iteratively refining the interaction between hand, mind, and light.
The result is a unique, abstract, and sculptural image, where light is both the tool and the subject, establishing luminography as a pioneering form of alternative photography.
——————-
Compiled notes on Michael G Jackson’s work used for editorial and educational departments -
Michael (Mike) Jackson is a British photographer specializing in experimental cameraless photography known as luminograms. His work treats light as both subject and medium, manipulating it directly on photosensitive paper rather than capturing reflected light through a camera lens. Below is a detailed breakdown of his luminogram techniques and philosophy, derived from his interviews, exhibitions, and published discussions.
1. Conceptual Foundation
A luminogram is an image generated by directing light onto photographic paper in a darkroom.
Jackson often equates the process with sculpture or pottery:
Light is the malleable material, and the darkroom is the studio.
The artist molds and shapes light intensity, direction, and duration as a sculptor molds clay.
2. Materials and Setup
Photo Paper: He primarily uses silver gelatin RC (resin-coated) paper, which he discovered to have unique chemical responses allowing expressive control.
Light Sources: Multiple controllable light sources enable modulation of intensity and direction.
Chemicals: Standard darkroom developers, fixers, and potentially other chemical modifiers.
Environment: The process requires a completely darkened space to prevent unintended exposure.
3. Technical Process
Preparation:
Paper is prepared in complete darkness.
Jackson often makes small preliminary marks or visual cues to guide light placement.
Directed Light Exposure:
Light is applied with deliberate intensity and motion.
He uses tools, devices, or hands to modulate the light’s effect on the paper.
Layering and gestural manipulation create smooth gradients, abstract forms, and sculptural effects.
Temporal Control and Memory:
As results are invisible until development, Jackson relies on an internal mental map of every light application.
This approach forces a previsualization skill, akin to drawing in the mind before applying physical marks.
Chemical Development:
Exposure is followed by standard darkroom processing.
The paper retains the gestural imprint of light, forming a rich array of textures, tones, and luminosity.
Iterative Experimentation:
Jackson’s workflow involves continual experimentation:
Changing angles, intensity, and durations.
Observing results and integrating effective techniques into subsequent pieces.
He has emphasized the importance of play, often with large quantities of expired paper to refine his process.
4. Artistic Philosophy
Control vs. Chance:
While he simplifies exposure to light and paper, Jackson embraces serendipity and organic discovery.
Each luminogram is unique, a direct record of decisions and reactions.
Abstraction and Reality:
His work moves from observational studies (e.g., Poppit Sands beach) to abstract compositions, representing his visual and emotional interaction rather than literal landscapes.
Sculptural and Painterly Approach:
Light is shaped like a three-dimensional sculpture.
Pressure, layering, and movement equate to painterly brushwork or clay modeling.
5. Examples of Practice
Poppit Sands Project:
Eight years capturing ebb and flow of a single beach, translating spatial observations into luminograms.
Portraits and Color Response Series:
Creating portraits with directed light.
Exploring reactions to specific colors (e.g., yellow).
Custom Darkroom Techniques:
Manipulating paper temperature and age.
Using expired or chemically primed papers to influence tonal response.
6. Key Points of Innovation
Jackson treats photo paper as an expressive medium, not just a recording surface.
His luminograms are completely cameraless, relying solely on the artful application of light.
He emphasizes the interdependence of mind and medium: visual memory guides exposure, combining intuition, precision, and experimentation.
No traditional photographic constraints apply: abstraction, sculptural depth, and painterly gestures are all achievable.
7. Resources
Official work and further insight: MG Jackson Studio
Interviews and technical discussion: Ilford Photo Luminogram Process, Lomography Magazine, Monovisions.
Summary
Mike Jackson’s luminogram techniques are a melding of darkroom chemistry, controlled light manipulation, and artistic intuition. A luminogram is not just an image but a three-dimensional representation of light itself, produced by:
Selecting suitable photo paper.
Controlling light intensity, duration, and movement.
Mentally mapping applied light.
Developing chemical reactions to fix the abstract form.
Iteratively refining the interaction between hand, mind, and light.
The result is a unique, abstract, and sculptural image, where light is both the tool and the subject, establishing luminography as a pioneering form of alternative photography.
