Techniques
Parallel to the development of his personal work, he specialized in the laboratory of his own works. He always considered that processes beyond the artisanal, can be part of the final result of the concept if the author defines it. This made in the 90's considered What printer of Positives bromide silver of works by some artists such as , and in exhibition projects and photobook editions for offset printing and unusual techniques of engraving copper plates on photographic paper, Barcelona.
In 1995 he was invited to the School of Plastic Arts and Design in Oviedo, Spain as an expert in the upper cycle of artistic photography, to give a Theoretical / Practical workshop on author chemistry.
His dedication and innovation in the chemical processes of analog photography, led him to develop new formulas for the development of films that surpassed the results and practices of the Black and White laboratory, of the avant-garde of the time such as Tetenal, Ilfor and Kodak. He presented his inventions in the Spanish Patent and Trademark Office and commercialized them in Casanova Profesional (specialized store in Barcelona) in partnership with Luis Casademunt (photographer) in 1997 and later in 1998, with Isaac Donoso (businessman in Madrid) to guarantee production industrial by commercial contract signed with the international company JOBO, well known for its laboratory instruments (Labortechnik, GmbH & Co. KG. Gmbh) of Cologne, Germany.
His new formulas were published in the catalog of the year of JOBO products as “New fine art line” “The new generation fine art B / N chemistry” Page 70 and Contra portada, presented during the International Festival "FOTOKINA 2000" Kolonia , Germany, with the technical support of various specialists on the subject, such as the English John Tisley and the North American, John Sexton among others. In addition, various tests were published in various specialized magazines of the time, such as SCHWARZWEISS 27 (Das magazin für fotografie) "Auf anderer Wellenlänge", November, Germany. 2000; FV Nº 149. “Jobo: new Classic Line products”, Spain. 2001; Super Photo. No. 67. "Diary of a personalized development" Spain. 2001 and Super Photo. No. 70. "Diary of a personalized development (II)", Spain. 2001.
Previously, in 1997, some Spanish magazines also published different teas of their developers, but at that time under their own ASE Brand, “FV” nº 106 (novelties) Madrid; “Casanova Profesional” (Barcelona) nº 35 (news) and nº 38 (laboratory) respectively “ASE Developers for B / W films” and “Increased effective sensitivity, ASE”
In 2008 his laboratory adapted to the new technologies for printing pigment inks on acid-free papers and worked on the printing of some editions of Tristán Barbará (Tb) Barcelona, among other artists and photographers up to the present.
José Ney began to work with photoshop and scan his negatives since 1997 for publications in the daily press in Spain, but it was not until 2005 that he began his first photographic series entirely with digital technologies, regarding the gift of a 1998 digital camera from 2.5 MP.
José Antonio Navarrete. Independent Historian / Museologist / Researcher / Curator.
Exploring the abstract ... Texts for the exhibition catalog ¨Adjacent abstractions¨
.... of digital manipulation
What has been said does not imply neglecting the importance that digital processing has in the final configuration of the images of casual interventions. Let us say, even more, that it emphasizes the visual ambiguity that is inherent to the original referent that they carry and takes it to the limits in which reality (of the record) and unreality (resulting from digital procedures) negotiate the final status of the images. Ney achieves this through three basic strategies applied in his operations in this regard: underlining the graphic qualities, emphasizing the textures and manipulating the colors of the register. All three function, consequently, as rhetorical strategies that reinforce the abstract connotation of the referents.
Probably in the very organization of the series as a conglomerate of physical conformations that go from the isolated image to the polyptych of numerous components, passing through the diptychs and triptychs -more abundant in the total number of works- another of the discursive strategies can be found. that Ney has used to reinforce the artistic and abstract orientation of his exploration. It is true that in the face of these works we never fail to perceive the link of their referents with "the real", but neither does the author's interest in transfiguring them ...
Sus nuevas fórmulas fueron publicadas en el catálogo del año de los productos de JOBO como “New fine art line” “The new generation fine art B/N chemistry” Pág. 70 y Contra portada, presentado durante el Festival Internacional "FOTOKINA 2000" Kolonia, Alemania, con el respaldo técnico de varios especialistas en el tema, como el inglés John Tisley y el norteamericano, John Sexton entre otros. Se publicaron además, diversos test en varias revistas especializadas de la época, como SCHWARZWEISS 27 (Das magazin für fotografie) “Auf anderer Wellenlänge”, noviembre, Alemania. 2000; F.V. Nº 149. “Jobo: nuevos productos Classic Line”, España. 2001; Super Foto. nº 67. “Diario de un revelado personalizado” España. 2001 y Super Foto. nº 70.“Diario de un revelado personalizado (II)”, España. 2001.
Anteriormente en 1997 también algunas revistas de España publicaron diferentes tes de sus reveladores pero en ese momento bajo su propia Marca ASE, “F.V.” nº 106 (novedades) Madrid; “Casanova Profesional” (Barcelona) nº 35 (novedades) y nº 38 (laboratorio) respectivamente “Reveladores A.S.E. para películas en B/N" y “Aumento de la sensibilidad efectiva, A.S.E.”
En 2008 adapta su laboratorio a las nuevas tecnologías de impresión de tintas de pigmentos sobre papeles libres de ácidos y trabajó en la impresión de algunas ediciones de Tristán Barbará (Tb) Barcelona, entre otros artistas y fotógrafos hasta el presente.
José Ney comenzó a trabajar con el photoshop y a escanear sus negativos desde 1997 para publicaciones en la prensa diaria de España pero no es hasta el 2005 que comienza su primera serie Anatomías, totalmente con tecnologías digitales a propósito del regalo de un amigo de una cámara digital del 1998 y de 2,5 MP .
.jpg)
.jpg)
De la serie Anatomías nº.
José Antonio Navarrete. Historiador / Museólogo / Investigador / Curador independiente.
Explorando lo abstracto... Textos para catálogo de exposición ¨Adjacent abstractions¨
.... De la manipulación digital
Lo dicho no implica desatender la importancia que el procesamiento digital tiene en la configuración final de las imágenes de Intervenciones casuales. Digamos, todavía más, que éste enfatiza la ambigüedad visual que es consustancial al referente originario que ellas portan y la lleva hasta los límites en que la realidad (del registro) y la irrealidad (que resulta de los procedimientos digitales) negocian el estatuto final de las imágenes. Eso lo consigue Ney a través de tres estrategias básicas aplicadas en su operatoria al respecto: subrayar las cualidades gráficas, recalcar las texturas y manipular los colores del registro. Las tres funcionan, consecuentemente, como estrategias retóricas que refuerzan la connotación abstracta de los referentes.
Probablemente en la propia organización de la serie como un conglomerado de conformaciones físicas que van desde la imagen aislada hasta el políptico de numerosos componentes, pasando por los dípticos y trípticos ―más abundantes en el número total de obras― pueda encontrarse otra de las estrategias discursivas que Ney ha utilizado para reforzar la orientación artística y abstracta de su exploración. Es cierto que frente a estas obras nunca dejamos de percibir el vínculo de sus referentes con “lo real”, pero tampoco el interés del autor por transfigurarlos....
De la serie Intervenciones Casuales.
