Faruk Keskin…

Faruk Keskin’in çağdaş sanat yaklaşımıyla 4×5 ve 120 mm film kullanarak ürettiği fotoğrafları ve deneysel baskı çalışmalarını keşfedin.

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İşler

Film İşler

Faruk Keskin’in 4×5 ve 120 mm film serilerinden seçili fotoğraflar ve deneysel baskılar.

A solitary framed large-format print, created from a 4×5 negative, hangs on a raw concrete gallery wall. The image within the frame is a stark, minimalist architectural scene rendered in rich tonal gradients, with exquisite sharpness and subtle film grain. The frame is thin, matte black metal with museum glass that catches only the faintest reflection. Soft, controlled gallery spotlights create a precise pool of light on the print, leaving the surrounding space in gentle shadow. Shot from a slight side angle at eye level, with careful perspective lines emphasizing the objecthood of the framed work. The mood is refined, contemplative, and contemporary, highlighting film photography as serious fine art in a clean, photographic, sophisticated style.
A large-format 4×5 field camera made of dark polished wood and brass, bellows fully extended, stands on a sturdy tripod in an uncluttered studio. Around it lie open 4×5 and 120 mm film backs, contact sheets, and neatly stacked negative sleeves. Soft, diffused north-facing window light grazes the camera’s textured leather bellows, casting precise shadows on a matte concrete floor. The atmosphere is quiet and contemplative, evoking meticulous craftsmanship. Photographed at eye level with a slightly off-center composition, shallow depth of field isolates the camera while the background falls into gentle blur. The style is clean photographic realism, sophisticated and minimal, emphasizing analog precision and contemporary art practice rather than nostalgia.
An experimental multi-layered print lies on a large rinsing tray, its overlapping monochrome geometric shapes and fragments of landscapes revealing double exposures and alternative darkroom techniques. The print’s emulsion surface shows subtle imperfections, drips, and edge marks that hint at process-driven work. Water gently ripples around the paper, catching reflections from a narrow strip of cool fluorescent light overhead. The surrounding area shows only hints of other trays and tongs, kept deliberately out of focus. Captured at a low oblique angle with shallow depth of field, the print edges fall softly into blur, drawing attention to the central experimental textures. The atmosphere is quiet and exploratory, sophisticated photographic realism with a focus on materiality and process.
A close-up of a contact print sheet made from 4×5 and 120 mm negatives, laid on a cool grey archival table. The frames show conceptual, minimal urban scenes and abstract textures, their black borders crisp against the white paper. A cotton inspection glove, a precision loupe, and a graphite pencil rest alongside carefully annotated margins. Soft overcast daylight enters from an unseen window, creating delicate, even illumination and faint shadows that emphasize the paper’s fibers. Photographed from directly above with sharp focus across the frame, the composition feels methodical and analytical. The mood is calm, intellectual, and sophisticated, highlighting the artist’s editing process and contemporary fine art approach in a photographic, documentary style.
A meticulously arranged darkroom workbench with a wet experimental print pinned to a drying board, its abstract silver gelatin patterns shimmering subtly. Nearby, trays of developer and fixer, a classic enlarger column, and strips of 120 mm negatives hang from stainless steel clips. A single red safelight casts a deep, moody glow, creating specular highlights on the wet paper and gentle reflections on the metal tools. The room recedes into darkness, emphasizing the illuminated workspace. Shot from a slightly elevated angle with moderate depth of field, the composition leads the eye along the line of negatives to the drying print. The mood is introspective and experimental, with refined photographic realism and a contemporary, sophisticated aesthetic.

4×5 ve 120 mm ile çağdaş film serileri

Her seri, gündelik mekânların ve nesnelerin algısına odaklanan özgün bir kavramsal çerçeve etrafında şekillenir. 4×5 format ve 120 mm film, sürecin merkezinde yer alarak hem ayrıntı zenginliği hem de fiziksel bir yavaşlık dayatır; bu yavaşlık, kompozisyonun ve ışığın her karede yeniden müzakere edilmesini sağlar. Deneysel baskı çalışmalarında geleneksel karanlık oda teknikleri; çoklu pozlama, kimyasal müdahaleler, uzun süreli pozlandırmalar ve farklı kâğıt yüzeyleriyle bir araya getirilir. Böylece negatif, yalnızca görüntünün taşıyıcısı değil, malzemenin sınırlarının sorgulandığı bir başlangıç noktası hâline gelir. Her iş, kullanılan film formatı, poz süresi ve baskı yöntemiyle birlikte okunmaya davet edilerek fotoğrafın hem belge hem de nesne olarak varlığını vurgular.

Fotoğrafları incele