Andrew Kreps Gallery is pleased to present Blue Screen Process, a photographic project by Liz Deschenes. Liz curated Photography About Photography last year at the gallery. This is her second solo show at Andrew Kreps Gallery.
"Blue Screen Process" uses as its subject matter a process used by film and video for compositing. The subject matter is shot against an evenly lit, bright pure blue, green or red background. The compositing process, whether analog or digital, removes the "blue" and replaces it with another image, known as the background plate. Red screens are used in filming objects. Blue and green screens are used in filming people because these colors are complementary to flesh tones.
The compositing process known as ìblue screenî had its beginnings in the late 1920s. It has since catapulted over the years to become one of the most important processes utilized by the motion-picture industry. It is also widely used in video, and is referred to as chroma key.
The exhibition contains several photographs of green screens and a photograph that appears to be a photographic backdrop in the shape of a cyclorama. The photographic backdrop is itself a photograph; hung in direct relationship to an image of a computer screen using the proportions of 35mm film (the academy aperture). This relationship reflects on the process directly -shooting, compositing and projecting. Many of the images in "Blue Screen Process" have mimicked contemporary film processes; shot on film, digitally scanned and output back to photographic paper/film. "Blue Screen Process" represents enormous possibilities, virtually any combination of people and places is within the realm of possibility and believability. Blue Screen Process is a vital tool of the moving image maker, made more accessible by digital technologies; but it is just a tool, how it is utilized in reality is determined by the user. This project photographically examines a process that reflects a society abundant in screen and screen technology. The concerns of this show are very much photographic, spatial, and decidedly not narrative.