28.02.2011 in18:15 in Nude art,erotica -->
Eshbaugh’s primary media are photography and painting and sculpting.[vague]
Eshbaugh’s photography was among the first to split images over multiple rolls of film in a single exposure in 1995 while studying with Arno Rafael Minkkinen.Eshbaugh has been working with several custom-made multi-roll cameras since 1995. All of his pictures are taken as a single simultaneous exposure. He tends to work with long shutter speeds. The use of multiple negatives creates unusual and interesting shifts in focus. The graphic elements of tape and sprocket holes are a reminder of the optical/mechanical manipulation inherent in every photographic image. He began photography in 1993. He uses several handmade cameras including a panoramic 120 mm camera which he made in 1997 which creates negatives fourteen inches long contact printed and split toned selenium. Aside from traditional treatments like selenium toning, Eshbaugh has also developed meticulous processing procedures in the darkroom to further explore and enhance the unique qualities of his prints.
Eshbaugh’s work has been open to several critical interpretations. In the Reus, Spain biennial Josep Casanovs Dolcet said “Photographers (such as Mark Eshbaugh) began to discover that photography could be much more than a documentary tool, explored new expressive forms and new concepts.”Eshbaugh work was exhibited in two Reus Biennials in 2001 and his work was purchased in 2003 His image awarded the XLIII Gaudi Medal.
Richard Pitnick of Black and White Magazine said:
In looking at Mark Eshbaugh’s beautifully fractured landscapes, one is reminded how truly magical and mysterious a photographic image can be. Using a variety of specially modified cameras that simultaneously hold an expose multiple rolls of film, Eshbaugh conjures surprising, dreamlike worlds where reality becomes what the ‘third’ eye of the camera and the mind of the photographer choose to make it.
Eshbaugh himself says:
The fractured imagery reminds us of the limitations of the medium and the limitations of our own memories. We cannot capture a complete moment of time with a photograph, just as we can never remember a complete moment of time accurately. Humans can only remember bits and pieces of a moment, and as time moves on biases and changed perspectives cloud that vision. Each fractured pane exists in a paradox of harmony and conflict. One moment the pieces are working together to create a whole image. The next moment the pieces are fighting another, trying to capture your full attention.
Faris-Belt goes on to say, the split framing is utilized by Eshbaugh to “take single slices out of time and space”.And, by doing so:
several images are combined to be interpreted as a unified whole. Images such as these force the photographer (and the viewer) to consider the frame edges – their relationship and proximity to one another- and their relationship to the subject and content of the image…the interrelationship of frames has a direct bearing on the meaning and interpretation of the image…some of these images are seamlessly ‘stiched together