Noah Wilson Our Land

Noah_WIlson_01_Crater Lake #404

Crater Lake #404

Noah_WIlson_02_Half Dome #143

Half Dome #143

Noah_WIlson_03_Morrow Rock #385

Morrow Rock #385

Noah_WIlson_04_Mt Baldy #280

Mt Baldy #280

Noah_WIlson_05_Mt. Lassen #423

Mt. Lassen #423

Noah_WIlson_06_Mt. Lyell #1120

Mt. Lyell #1120

Noah_WIlson_07_Mt.Shasta #438

Mt. Shasta #438

Noah_WIlson_08_Pismo Beach #389

Pismo Beach #389

Noah_WIlson_09_Union Point #1129

Union Point #1129

Noah_WIlson_10_Unknown Location #189

Unknown Location #189

Noah_WIlson_11_Unknown Location #237

Unknown Location #237

Noah_WIlson_12_Yosemite Falls #1140

Yosemite Falls #1140

Noah_WIlson_13_Unknown Location #433

Unknown Location #433

Noah_WIlson_14_Unknown Location#260

Unknown Location #260

Noah_WIlson_15_unknown.location#238

Unknown Location #238

Noah_WIlson_16_unknown.location#990

Unknown Location #990

 

The photographs in this series use landscape imagery appropriated from an archive of early 20th century negatives that I acquired while working as artist in residence at the San Francisco dump. Many of the negatives depict scenes from our National and State Parks, as well as numerous other locations throughout the American West. These negatives have a nitrocellulose base (a medium used between 1889-1930s, but replaced in the 1920s by Kodak “Safety Film” because of its proclivity to decay and self-combust). Due to the unstable nature of this film, the negatives exist in various stages of deterioration and distress.

I’ve used a flatbed scanner and sunlight as a backlighting source to record both the surface of the negatives and the photographic image held within. Depending on the quality of the sunlight (diffused or direct), I capture a different interpretation of the negative with each scan, and I build the images out of multiple scans to create a composite that portrays the place that was photographed as well as the degradation of the medium.

 

All images © courtesy of Noah Wilson

www.noahmwilson.com