Evans’s landscapes were from the start quite formal, generally favouring square-format film and places that carried traces or evidence of human intervention. This photograph of Uluru, taken in 1992, clearly demonstrate Evans’s interest in photographic formalism – that is, her concern with the visual and aesthetic properties that are particular to photography, such as its capacity to frame and fragment the world, and the way that the camera tends to flatten out its three-dimensional subject. The photograph eschews the conventional, grand view of the Uluru landscape with which we are familiar. Instead, it is concerned with the vastness and essence of the landscape that surrounds the monolith.
(2014)
Chromogenic prints are printed on paper that has at least three emulsion layers containing invisible dyes and silver salts. Each emulsion layer is sensitive to a different primary colour of light (red, green or blue). The development process converts the hidden dyes to visible colour depending on the amount of light it was exposed to. This type of paper is commonly used to print from colour negatives or digital files to produce a full-colour image. It can also be used to print black-and-white images, giving softer grain and less contrast than gelatin silver prints. Commonly known as c-type prints, chromogenic processing was developed in the 1940s and widely used for colour printing, including for domestic snapshots. While recent years have seen this process accompanied by ink-jet and digital printing technologies, chromogenic printing still remains in use to this day.
