It’s true; a lens was never intended to distort the image so it becomes unrecognizable. In fact, for the majority of art/optics history, the primary purpose of the camera system was to deliver highly realistic imagery. But it’s also true that the distorted image has intrinsic beauty which would have been missed if the lens wasn’t dysfunctional. Like impressionist artisans of old who challenged the realism status quo, here the unstated ‘rules’ of photography are broken. Image sharpness is completely foregone to showcase the overall visual effect of a, by-modern-understanding, defective camera system, and white-light interferometry is employed to produce an intense and unshaded color vibration. From the distinctly formal optical science techniques to the time-honored, fine art photography compositions (medium format film), this blended work encapsulates the essence of impressionist thought but in the contemporary era– a new way of seeing, a fresh and original vision.
On the Bright Side is not purely science or purely art as they are currently defined – it’s both. It’s a shockingly vivid and distortion-filled invitation to all, regardless of background in science or art, to step beyond convention and into an avant-garde era of interdisciplinary innovation.