ROBERT CHARLES MANN

PHOTO ARTIST [and other things]


ORBITS

ORBITS INFO      AVAILABILITY & PRICING


HEADS

HEADS INFO      AVAILABILITY & PRICING


REFLECTIONS

REFLECTIONS INFO      AVAILABILITY & PRICING


WINDOWS

WINDOWS INFO      AVAILABILITY & PRICING


FLOWERS

FLOWERS INFO      AVAILABILITY & PRICING


LANDSCAPES

LANDSCAPES INFO      AVAILABILITY & PRICING

 

Robert Charles Mann at Waialohe Point, Maui

Robert Charles Mann at Waialohe Point, Maui

I hope you find my photographs an experience rich in dreams and that they induce an exploration of the psyche. Several different lensless cameras are used to accomplish this. The pinhole camera has a way of suggesting objects rather than representing them because of the particular quality the pinhole image produces. This suggestive character carries with it a more profound mystery, which is not found on the surface of the image but rather in the possibilities of interpretation. The pinhole camera provides the aesthetic means needed for a subjective experience by the viewer. When this technique is combined with my themes and choice of subjects, the photographs begin to breath and become metaphoric environments.
A singular characteristic of pinhole photography is the fact that exposures are quite long, varying from seconds to several hours. This cumulative exposure produces effects that cannot be seen by the eye. Moving objects become translucent, having a vibrating quality, and some objects may become completely transparent in the process due to displacement during exposure.
My work is entirely an analog process, no Photoshop is used in any of these photographs. The prints for each image are made on either silver chlorobromide baryta fiber based paper or photo sensitized linen using a lithographic developer which yields its unique color and granularity due to the fibers of the paper being revealed in the surface image itself. Once I’ve edited a group of negatives, I print them in a highly variable process. An image’s significance may change with every choice I make concerning its qualities of contrast, density, and tone. A photographic image can be printed in thousands of ways. The tactile quality of the print is as important as the choice of materials. These prints are developed in a caustic soda solution that is very sensitive to temperature, dilution, rate of oxidation, and duration of the print’s immersion. After the print is developed, the final stages of the process ensure the archival stability of the silver chlorobromide paper stock I work with. The print constitutes half the aesthetic of the photograph. The thematic process that began before the exposure was made and a more spontaneous chemical experimentation both take place while printing the negative. The darkroom is truly a place of alchemy where conscious decisions are made to evoke an unconscious allure.
These photographs carry the possibility of many messages. They are enigmas born to be deciphered by the viewer.

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Robert Charles Mann by Jan Welters

Robert Charles Mann by Jan Welters

When Robert was eight years old he made his first photographic print with a negative from his father’s archive. This, mind you, is before he had even taken a photograph. Robert’s father, who was also a photographer amongst many other renaissance man qualities, had a darkroom in their home. As a result Robert discovered the magic of photography in reverse so to speak. His mother, a concert pianist, influenced his particular photographic bent toward a more expressionist vision with her repertoire of 19th century impressionist composers.

During the 1980’s Robert was involved with many experimental music and performance art projects incorporating electronic and prepared instruments with visual installations. He started photographing for Exposure Magazine and concurrently took on the role of studio manager and exclusive printer for Herb Ritts producing all of his early books and editorial work. He soon became one of the most sought after photographic specialists in Los Angeles printing the work of Helmut Newton, Mary Ellen Mark, Michel Comte, Dennis Hopper, Peter Lindbergh and Sheila Metzner among many others. His work also includes producing prints for Twelve Tree and Twin Palms photographic books as well as the Hollywood Archives. Robert has published several photographic processes and his darkroom is on the cover of the renowned book “The New Darkroom Handbook” and featured inside. A count made several years ago by looking at past work documents proved that Robert has made over one million prints.

Robert Charles Mann + Brad Pitt - Chateau Miraval 2011

Robert Charles Mann + Brad Pitt – Chateau Miraval 2011

In 1989, with an international reputation in photography and photographic printing, Robert moved to Paris France. Today his work is made primarily with pinhole cameras and traditional nobel metal based printing techniques that achieve his particular photographic vision. He also composes music for films, television and multimedia. More here …

Recently Robert has been working with Brad Pitt, first producing his story of Angelina Jolie for W Magazine and continues printing Pitt’s massive archive of negatives. Pitt has become a collector of Robert’s work from the “Orbit Series” and “Flower Series”.

 

EXHIBITIONS

• PUIS VINT MAINTENANT

2012 – Musée de Vendôme, Aline Manoukian curator, Vendôme France

• SAINTS AND SINNERS

2011 – Antebellum Gallery, Rick Castro curator, Los Angeles, California

ROBERT CHARLES MANN

2011 – Les Curieuses, David Gaillard curator, Paris France

ROBERT MANN

2009 – Galerie Basia Embiricos, Ku Khahn curator, Paris, France

ROBERT MANN

2006 – Ritual Gallery, Arno Ferrié curator, Paris, France

PINGYAO INTERNATIONAL

2005 – Pingyao Museum, Pingyao, China

PHOTO REVIEW BEST OF SHOW

2004 – University of the Arts, Philadelphia, Pennsylvania

SUMMER GROUP EXHIBITION

2004 – Drabinsky Gallery, Toronto, Canada

• MARUBI 2003

2003 – National Gallery of Arts, Tirana, Albania

• ORBITS

2003 – Lonsdale Gallery, Linda Book curator, Toronto, Canada

• LANDSCAPES, HANDS, FLOWERS

2003 – Charles Nes Gallery, New York, New York

• PINHOLE AND PHOTOGRAMS

2003 – Lonsdale Gallery, Toronto, Canada

• NEW WORKS

2002 – Charles Nes, New York, New York

• REFLECTIONS

2002 – Lonsdale Gallery, Linda Book curator, Toronto, Canada

• FLOWERS

2002 – Michael Dunsford Gallery, Seattle, Washington

• ONE OFF

2001 – Special Photographers Gallery, London, England

• AMERICAN PHOTOGRAPHERS

2001 – French Institute, New York, New York

• WHY PINHOLE?

2001 – Visual Studies Workshop Gallery, Rochester, New York

• VUES DE TOURAINE

2001 – Maison du Loir et Cher, Blois, France

• OUT THERE HERE

2000 – Provincetown Museum of Art, Provincetown, Massachusetts

• TRACING SHADOWS

2000 – Lonsdale Gallery, Toronto, Canada

• PHOTO L.A. 2000

2000 – Charles Nes, Santa Monica Civic, Santa Monica, California

• MILLENNIUM

1999 – Special Photographers Gallery, London, England

• MAGIAE NATURALIS

1999 – Lonsdale Gallery, Toronto, Canada

• PINHOLE ART

1999 – Ohio Art League, Columbus, Ohio

• WINDOW SERIES

1999 – Pinhole Visions Gallery, Chapel Hill, North Carolina

• SANS OBJECTIF

1998 – Carré Davidson Galerie, Tours, France

• PAYSAGES TOURAINE

1998 – Carré Davidson Galerie, Tours, France

• CAMERA READY

1998 – York Quay Gallery, Toronto, Canada

• PINHOLE INTERNATIONAL

1998 – Lonsdale Gallery, Toronto, Canada

• AVANT PREMIER

1997 – Claude Samuel Galerie, Paris, France

• ESPRIT DES LIEUX

1997 – Château de Tours, Tours, France

• PETIT FORMAT

1997 – Carré Davidson Galerie, Tours, France
Paradigm – 19930800-12
Triumph of the Egg – 20020428-02
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19900200-03F07 ©Robert Charles Mann

The Orbit Series was created with a hand-made pinhole camera using 4×5 inch black and white film. Working in an entirely blackened room, I place several candles on a turntable, sometimes inside cut-glass vases, and expose these turning candles on a single sheet of film from one to four hours. Different exposures are made on the same piece of film after either changing the pattern of candles on the turntable or changing the position of the camera. The final image is not a montage of several different images, but rather a unique performance resulting in the accumulation of all positions recorded on one piece of film. The negative is thus solarized during development. This is entirely an analog process, no Photoshop was used in any of these photographs. I consider the exposure itself to be a performance using a single sheet of film.

The prints for each image are made on either silver chlorobromide baryta fiber based paper or photo sensitized linen using a lithographic developer which yields its unique color and granularity due to the fibers of the paper being revealed in the image itself.

Available sizes are 30x40cm (12×16″ ) in editions of 20, 50x60cm (20×24″) in editions of 20, 80x100cm (30×40″) in editions of 6, and 160x200cm (63×79″) in editions of 3.

AVAILABILITY + PRICING

The Head Series was created with a hand-made pinhole camera using 4×5 inch black and white film and an orange Wratten filter. I direct and choreograph each subject through a single exposure of about two minutes in length, that is to say the final image is not a montage of several different images, but rather a unique performance by the subject changing positions during the exposure resulting in the accumulation of all positions recorded on one piece of film. This is entirely an analog process, no Photoshop was used in any of these photographs. I consider the exposure itself to be a performance using a single sheet of film. The inspiration for this series is the work of Francis Bacon. The way he can twist, mangle and distort his subject’s personas and still maintain their essence has always profoundly intrigued me.

The prints for each image are made on either silver chlorobromide baryta fiber based paper or photo sensitized linen using a lithographic developer which yields its unique color and granularity due to the fibers of the paper being revealed in the image itself.

The Reflection Series is an experiment in both method and concept. Using the idea that moving water and a long exposure yield a cumulative image, I point the pinhole camera at a water surface in direct opposition to the sun. While standing in the water, I discover patterns of reflected sunlight, which are disturbed by currents and underlying objects. Exposure times vary from minutes to hours and by using a red filter over the pinhole, the reflection is distinguished from the water as an abstract shape on an opaque background. These photographs, however, are not mere abstractions because their origins are entirely organic. After the exposure, the negative is solarized during development. This is entirely an analog process, no Photoshop was used in any of these photographs. I consider the exposure itself to be an unique performance using a single sheet of film.

The prints for each image are made on either silver chlorobromide baryta fiber based paper or photo sensitized linen using a lithographic developer which yields its unique color and granularity due to the fibers of the paper being revealed in the image itself.

The Window Series was created with a hand-made pinhole camera using 4×5 inch black and white film and inspired by an 18th century window found in the attic of my house in France. The window became the catalyst and my muse for this work. Voyeurism is at the heart of photography. My intent here is for the viewer to be conscience of the voyeur in each of us as we examine the depths of our own thoughts. A work in progress…

The prints for each image are made on either silver chlorobromide baryta fiber based paper or photo sensitized linen using a lithographic developer which yields its unique color and granularity due to the fibers of the paper being revealed in the image itself.

The Flower Series was created with a hand-made pinhole camera using 4×5 inch black and white film using several different Wratten filters over the pinhole during exposure and is simply a discovery of the asthetic beauty and golden ratios in each flower. This is entirely an analog process, no Photoshop was used in any of these photographs. After the exposure, the negative is solarized during development revealing Mackie lines around the flowers.

The prints for each image are made on either silver chlorobromide baryta fiber based paper or photo sensitized linen using a lithographic developer which yields its unique color and granularity due to the fibers of the paper being revealed in the image itself.

Available sizes are 30x40cm (12×16″ ) in editions of 20, 50x60cm (20×24″) in editions of 20, 80x100cm (30×40″) in editions of 6, and 160x200cm (63×79″) in editions of 3.

The Landscape Series was created with a hand-made pinhole camera using 4×5 inch black and white film with several different Wratten filters over the pinhole during exposure and is inspired by French landscapes mostly near my home as well as other regions in France and California. And I must say that my friend, Jeffrey Blondes, had a huge impact on my love of the landscape. I use no Photoshop in any of these photographs, this is entirely an analog process from beginning to end.

The prints for each image are made on either silver chlorobromide baryta fiber based paper or photo sensitized linen using a lithographic developer which yields its unique color and granularity due to the fibers of the paper being revealed in the image itself.

Robert has printed for these photographers;

Brad PITT
William CLAXTON
Dennis HOPPER
Peter LINDBERGH
Mary Ellen MARK
Sheila METZNER
Helmut NEWTON
Herb RITTS
Rocky SCHENCK
Ferdinando SCIANNA
Stephan SEDNAOUI
Mario TESTINO
Ellen VON UNWERTH
Jan WELTERS
Inez von LAMSWEERDE
Vinoodh MATADIN
Phillip DIXON
Anthony FRIEDKIN
Greg GORMAN
Michel COMTE
Serge BARBEAU
Kate BARRY
BOOGIE
Igor BORISOV
Mark BORTHWICK
Alex CAYLEY
Philippe COMETTI
Jonty DAVIES
Louis DECAMPS
Yves DECONTADES
Horst DIEKGERDES
Charles DOLFI-MICHELS
Robert ERDMANN
John EXLEY
David FERRUA
Gerald FORSTER
Stephanie FRAISSE
Christopher GRIFFITH
Hervé HADDAD
François HALLARD
Pamela HANSON
Steve HIETT
Marc HISPARD
Dominique ISSERMANN
Peter JACOB
Paul JASMIN
KUTLU
Christophe KUTNER
William LAXTON
Pierluigi MACOR
Titziano MAGNI
Jeff MANZETTI
Kurt MARKUS
Carl MATSUKADO
Dimitri MAVRIKIS
Robert MAXWELL
Ralph MECKE
Anne MENKE
Chris MILITSCHER
Adrian NAKIC
Skye PARROT
Vincent PETERS
Shanta RAO
Blaise REUTERSWARD
Matthew ROLSTON
Huma ROSENTALSKI
Paolo ROVERSI
Erez SABAG
Satoshi SAIKUSA
Warwick SAINT
Thiemo SANDER
Yoichiro SATO
Lothar SCHMID
Patrick SHAW
Isabel SNYDER
Peter STRUBE
Anthony SUAU
Patrick TRAUTWEIN
Michael WIRTH
Michael WOOLLEY
Tobias ZARIUS
Grey ZISSER