In One Session...

Music | Avalon by Roxy Music

A new Muse... I hope so.

Juliana and I have recently collaborated in informal settings before, but this session was our first formal sitting. We came up with a general game plan in advance. My goal was to have an 8x10 ambrotype for the upcoming exhibition, which is counting down way too quickly. Interspersed between the plates, I used a digital slr and my ipad with the tintype app to "grab" what I could. I thought it was cute, even before we started that Juliana felt nervous. However, I knew I would get what I needed. The filler photos that I don't count on to get meaningful images worked out amazingly well...


Tin Type App

Tin Type App

Tin Type App

Tin Type App

Digital

Digital

Digital

Digital

Digital

8x10 Ambrotype

8x10 Ambrotype

2 Minutes of Fame...

Music | Alone in Kyoto by Air

I've ridden the coattails of Françoise Weeks before and I've done it again. This time, Françoise was featured on a local PBS arts program called Oregon Art Beat. The piece was centered around our photo shoot together and I managed to garner a few of my 15 minutes of fame. I'm so happy for this lady as the program truly captures the essence of who Françoise is... understated, brilliant and just a fantastic person!

Questions and Answers...

Music | Car Wash by Rose Royce

What is it most we want out of life? I think ultimately, it isn't money, power and most of all, not stuff... At least not for me. Frankly, I never really thought about that question... Today, I was out with some photographers looking at some art. We got into the discussion about why we do what we do. It was pointed out to me that I have life interests that I am exploring photographically. I thought that was rather poetic, but in truth, he was correct. Again, there was a question I never really asked myself, or at least took some time to actually think about. Why do I shoot what I shoot? In my own way, a lot of my subject matter recently has been about finding answers and experience what life has to offer. In all the years of wanting to find my rhythm, my path, little did I know I was actually all ready on it, experiencing it and in the process, getting answers to some questions.

I plan to think more about this topic and hope to generate some sort of artist's statement for an upcoming solo show I am having. I'm realizing that some of these basic questions need to have answers. Communication between me and my viewers is important. I was once in the mindset that my work should speak for itself, but to get to a more profound space, understanding where my work comes from will only be more food for discussion for more concise discussions and hopefully, answers...


... a totally random image out of the archive that has nothing to do with my recent work. At least from what I gather now. :-)>

The Connection to Being Passionate about Your Art.

Music | On the Low by Hope Sandoval & The Warm Inventions

Upon recently shooting film, then processing it to make my negs, the very thing I used to do on a regular basis back in the day, I've come to realize that I not only love that process because of nostalgia, but the fact that senses are involved. Everything about processing film is about technique, some set skills, hand eye coordination. I hate to compare brush and paint to canvas, but there are skills involved that the dilettante will just not pick up. I guess this is why I am also passionate about Wet Plate Collodion.

It is important to me to be physical with my art. Not only the creation of the actual piece, but the tools to make those pieces. Often, I have built them with my own hands, with much time and sweat used up in the process. The connection between creation and final piece is all the more profound. Aroma, touch become the subtle nuances that are just as important to the visuals. I am in constant motion, agitating the film as it develops and fixes, pouring the collodion onto my plate with somewhat precision, best of all the placing the plate into the fix to watch negative abstract turn into a positive of my intentions... Motion and creation become hand and hand...

Ultimately, what makes me passionate about what I do is that if I don't do it, my sense of being centered moves to an extreme, more so in a negative and volatile direction. The beauty of what I do is that I pretty much know that if I become lost in my world, the sense of zen returns. I do what I do, because I love what I do and have no choice...

I am a lucky man...

Mitsu | 8x10 Ambrotype

Music | Summer Haze by Shapeshifter


Mitsu in Rope | 8x10 Ambrotype
No matter how many times I tell you what this image is, how you see it on the screen, you will never know how amazing it is unless you see the real thing. This was the image I was holding in my hand in the rinse water and knowing I didn't need to shoot anymore. It was the 1st plate of our session and I could have just ended it...

Though I do strive for perfection, my perfection is not yours. I didn't intend the flaws, and yet I love them here. I know I have issues with my developer pour, but I see nothing that bothers me here regarding the pour. What gets me is how this image just falls into the place where I just feel it could not get better, at least within the time frame and situation we were in. I don't get this feeling often, but when I do, I want it to last forever...

Fuji 3000B Black and White Instant Film...

Music | Silent Spring by Massive Attack

This is the 3rd time shooting with the converted Polaroid Camera with the Fuji 3000B film. I love working with this combination as my results are so malleable. The rendered print itself is quite nice as is, but with the negative available, so long as it doesn't solarize, gives even more options during and after the scan process.

I am so disappointed that this film is being discontinued by Fuji. It seems I know of so many people using it, it is hard to believe that sales are not able to keep the production going...

As it is, I will be using it until I can no longer afford the film or until it is totally gone...

Sadness...


Mitsu in Kimono and Rope

Mitsu

Music | Everybody Here Wants You by Matthew Herbert & Dani Siciliano

One of the best of the best... Mitsu is a stellar model with a unique look and I am only too lucky to be able to work with her for a 2nd time. Today, without much forethought, we took a total of maybe 25 exposures. That includes 2 ambrotypes, 2 Fuji 3000B exposures (one shot did not expose) and maybe 20 digital images of which I picked 10 to process.

I honestly knew after the first photo, the first plate, I could have called it a day. I'll be posting that image later. I never had that feeling before... one exposure and be able to say, "we're done...", "That's a rap..."

I wanted to give Mitsu more to select from, even though I got what I needed. The Fuji Film, for the second pic was wonderful. I even got the negative to come out nice without solarization. I pulled the digital out because I wanted to shoot the shot below. We continued with Mitsu doing a 180. Any of those frames would look great here or anywhere else!


Mitsu's Back with Rope

Samantha and Aimeelisa

Music | Message in a Bottle by The Police

So time is running and I have two solo shows to prepare for. One opens at the beginning of June and the other in September. I'm no where near what my expectations where when I received noticed that I had procured the exhibitions. However, yesterday was a good one in that, not only did I figure out my newly created Polaroid camera was going to work out, in fine fashion, I also was able to add to the archive, 2 more ambrotypes for the show in June.

Samantha and Aimee came to the studio to sit for me. The 8x10 glass plates are still a huge challenge, but I'm slowly figuring out some of my problems. I just have to make sure to stay busy to make sure I can learn from my mistakes, instead of making them over and over again. Seems to me that I need to have repetition work for me, to keep my skills honed and to adapt from the problems I have.


Sam


Aimeelisa

Polaroid 250 Land Camera with Converted Lens

Music | Distractions by Zero 7

Great things can come out of shitty situations. I found what I thought was a very nice Polaroid 250 Land Camera, the one with a Zeiss view finder. I was pretty much guaranteed that the camera only needed a battery and I'd be good to go. Well, after getting it powered up, the shutter wasn't working properly. The issue was on the circuit board and well out of my reach to fix it. I did a little research and found I could convert the automatic camera into a fully manual one. I didn't have a lot of money for the project, but being patient on ebay, I found the combination lens and shutter I needed.

It was nice to see how another person was able to convert his 250 and go thru some trial and tribulations for me to follow. It certainly made the project go much quicker. Dremel tool, some grinders and sand paper, screw drivers and some patience was all that I needed. I probably spent a total of maybe 3 hours from start to finish.

I love this camera! The lens I got only had a max 125th shutter, but I can work with that. It opens up to f:4.7, much faster than the f:8.8 of the original lens. Seeing fall off on the Fuji 3000B prints is wonderful!!!


Polaroid 250 Land Camera with Tominon 127 mm f:4.7 lens conversion


Very first image captured by the converted Polaroid. Detail of Cain


Aimée
Having manual controls for this camera is fantastic. Since Fuji 3000B is the film of choice at this point (Fuji will stop making this film all together in the near future...), I can pretty much shoot in almost any lighting condition with the faster lens and various shutter speeds. I got a 39 - 49 step up ring for the lens and a polarizer which cuts light down -2 stops for sunny days.

Françoise Weeks from her blog on the Botanical Couture Photo Shoot...

Music | All Blues by Miles Davis



More photos from Françoise Weeks' blog...

_AmmaLynn_

Music | The Man with the Movie Camera by The Cinematic Orchestra

On the heels of yesterdays shoot with Françoise Weeks, I got Amanda to come back to the studio to shoot a few Ambrotypes. As I know, be prepared before the shoot, or the process that is Wet Plate Collodion will bite you in the ass. I was thinking I was running a bit low on developer just before Amanda got here. Instead of making more, I decided I had enough, if used sparingly... Well, the first plate was a wash because I didn't pour enough. It happened again when I decided to stop the shooting until I made more. Why didn't I listen to myself and just spend the time to make more before the shoot even started...

In any case, working with Amanda always yields great images. We completed 3 plates even with the distractions...


My Favorite of the afternoon...

Françoise Weeks

Music | Know Your Chicken by Cibo Matto

On the coat tails again with Françoise Weeks. Our latest shoot of her latest Master Piece was documented by OPB, Art Beat. Françoise is being featured on one of the upcoming shows to aire sometime in May.

Surprisingly, the distractions of having a film crew on set wasn't at all bad. We were told to be ourselves as if they weren't there... It actually got pretty simple to do as time went on. I'm sure I made an ass of myself on several occasions, but you only live once, right?

But I'm writing here to talk about the greatness that is Françoise. She put together an entire ensemble, which included a head piece, scarf, bracelets, rings, a necklace and a pair of shoes, all floral appointed.


Entire Ensemble


Profile


Scarf


Purse


Rings and Bracelet


Shoes

The Black and White Portrait...

Music | Take a Chance with Me by Roxy Music

Before the hair and make up, before wardrobe, before planning our shoot for Françoise Weeks, Amanda and I stepped on the set of the stage and we took a few grab shots. No pre-planned ideas, just collaboration on the spur of the moment... Hand gestures, nods, no words...

The simplicity of everything about this image is what brought me to love black and white portrait photography. This is perfection to me...


Amanda in Black
Diffused light coming thru the gigantic southern exposure windows with a touch of hard light coming the the drapes.

Taking Everything Seriously...

Music | What You Won't do for Love by Jessie Ware

It had been at least a 3 week hiatus since my last shoot. I would be working with a new model, one who I had a little trouble with scheduling the last time we tried working together. In the back of my mind, there was the thought I was going to be blown off... The anticipation to shoot again became very strong. So the let down of a cancellation would have been equally disappointing. In the end, everything worked out.

Wet Plate Collodion demands time. It expects of you to put in far more effort than other types of photography. Early in my experience with Wet Plates, I would often shoot some digital, or at least be ready to as back up. I wanted to make sure that I was able to bring something to the proverbial table after each session. Time moved on and I became more confident that I was ok, just shooting Wet Plates and nothing else.

Late last year, I started shooting both digital and Wet Plates on some of my shoots again. I'm not sure why this time, but I would grab a few images, maybe post a few, then file them away. Yesterday, my main and only concern was to shoot ambrotypes. I knew going in that I didn't have a lot of time. I went in thinking to be being efficient and purposeful. Right off the bat, the first plate was a winner. I often try and make the first shot look easy and effortless. I just want to get the ball rolling in the right direction and have some momentum going into the rest of the session. Plate 2 perfectly set up the last plate and I knew I was going to be quite happy. Without getting too far ahead of myself, I really wanted a back shot of the last pose. However, I knew there was not going to be enough time to shoot another plate, so I pulled out Mr. Digital. Haphazardly, I rang off 30 exposures, front and back, wide and tight.

Upon reviewing the files, I realized I had gotten some really beautiful digital images. It made me think how much better the digital would be if I had taken it more seriously. Instead, I just got what I could, what was left for me, as opposed to push and refine what was given to me... I know in the end, it is the Wet Plate images that really matter to me. I need to either let go of the "Digital Backup" or make the time to push and move forward...


Betty's Back. The reason to pull out the digital camera...


Betty Bound


Betty Plate 1 8x10 Ambrotype


Betty Bound. 8x10 Ambrotype

Birth of a Memory...

Music Dawn by The Cinematic Orchestra

The tedium of having to frame 21 images has turned into a pleasant drone of zen. As I pull out a wonderfully printed portrait and fit it into the opening of the mat board, tack it, sign the back (which has become a rather serious repeating gesture), I started to sense a nice feeling of accomplishment, of not only framing another image, but the working on the completion of the start of another circle of image life. Soon to be hung for an exhibition, then presented to each of the people I photographed, it leaves my hands I can only hope, be appreciated and hung somewhere prominent for it to be seen by the subject of him or herself, family, friends and maybe some strangers. As a photograph should, bring back history, feelings, memories...

Valentine's Group Show

Music | Potato Vamp by World Saxaphone Quartet


Looking forward to the reception. Come on by if you can!

2013...

Music | The Space Between by Zero 7

I've got a journal I try and write in, on and off for my entire adult life. Some started, but never finished. My last one had one entry for 2013, so again, I decided I will try. What is written there may or may not be as detailed, but probably much more personal. However, I always find it important to keep up this blog, as it started, not just about photography, but whatever I feel like writing.

2013...

Quite a year it was. I think for the most part, very positive, insightful, and more emotional than I am dealing with, even now. As artist, I'm moving thru some stages of my development, more technical I think, but important still. If I can measure movement, I'm pretty sure I will be happy about it. My work moved to a larger format, 8x10 and a new media, glass. The ambrotypes has me at some sort of crossroads. I'm not sure exactly what choices I've made, other than delving into it, but I think it will mark something in my career as an artist.

Structure, which I didn't realize I have missed was re introduced to me via becoming a a part time worker at a friends café. 20 hours a week has opened up my eyes in many more ways than I would have ever thought. Besides really enjoying what I do, I've realized my reality of how I've been living was way out of the ordinary. Enlightenment is a great thing and I hope to be moving in a direction of not only being productive as an artist, but a person as well...

Because there was a lot of movement in my life this year, I haven't faced head on the fact that 2013 was the first complete year that Dara has moved out of the city, being away from me. Our visit for the month of August was absolutely fantastic, but reminded me even more so how much I miss here when she had to return. The holidays sucked, but I was busy with work, which makes me feel someone is looking out for me...

No resolutions for 2014... Just merely moving with what 2013 gave me. I hope to continue the work as an artist and gain more insite to being a person...

Framing an Ambrotype

Music | Watership Song by User's Atmosphere

So my flow with the Ambrotype is getting better. I had made the commitment on a few sessions to only shoot 8x10 ambrotypes and it appears to be paying off.

I was asked to be a part of a Valentines show a few months ago and I knew I wanted it to be on glass. I also knew I wanted to work with Eye Sea Blood. Her amazing ability to put things together for a shoot is as good as some of the best stylists I have ever worked with. For some reason, Knife to the Heart came into my head and it became the theme to the shoot.

I could write on and on about the shoot, but I meant to write about framing this new media. Oh so delicate, I had thought since I started shooting on glass how I would frame them. Lots of discussions with other Ambrotype shooters, I decided upon going simple, but elegant. Besides that, economically, I wanted to figure out how I was going to frame my solo show in June and September. This would be a good test.

Black velvet, where I have found there are many grades range in price from single digit dollars up to $54 per yard, is used for the backing of the plates.


The plate is held down with black wire at the corners to hold in place.


I put a spacer of foam core in between the plate and the cut mat.


Close up of wire



The gap between plate and mat doesn't quite translate, but you get the idea...
I have to say, I really like this presentation. The darker neutral mat works really well with the glass plates. The floating mat also works well to show the depth of the glass as well.

Onto delivering the piece for the show...

Beauty in Flaws

Music | New Soul by Yael Naim


wabi sabi

Putting Zen into the Work Flow

Music | Lean on Me by Bill Withers

The first shoot of the year had some parameters put upon it because I was getting lazy and cowardly. The last few times I have attempted to shoot on glass, I quickly made the decision to switch back to aluminum because I had issues with the glass. Instead of working it out, I went back to what was comfortable... Of course comfort is easy, comfort is nice, but what comfort is not is challenging.

I've had my battles with my photography in 2013. I think I was set back 2 months from producing any meaningful work. I'd still be in that abyss which was pretty easy to rationalize to stay, but time is ticking for my exhibition in June. Working thru fear, all self manifested, is challenging.

Though I don't put much seriousness of starting a new year a new way, I did decide to make the first shoot only glass and the worse thing was failure to get a decent image. I decided that was not such a bad thing as I know I was going to learn something from the shoot.

I prepared with focus and more tenacity for this shoot, particularly after watching the movie, Jiro Dreams of Sushi. All I can say is, if this movie doesn't make you look at yourself and how you create and move forward, nothing will. I prepped for the shoot days in advance, with both aged and fresh collodion and developer. I bought black trays to better judge the glass plates as the image appeared in the fixer. During the session, after every exposure, with alcohol, I wiped down the plate holder and made my darkroom working conditions a bit more simple.

My pours need more attending to, both for the collodion and developer. The 4x larger plate size I am not accustomed to will take time to get used to. The first plate of the year yielded a nice image however, a bit over exposed. I was happy with the direction I was headed. 4 plates for the session and I can say I was quite happy with what I got out of it - 2 especially wonderful plates...


Victorian Polly


Damoiselle hardly Distressed

Hollywood Camera

Music | Into You by The Cinematic Orchestra

Between running errands today, I knew I'd be driving by Hollywood Camera, my most favorite camera shop in the city. Ed, the proprietor has been there for decades and knows his cameras. He only deals with analogue photography equipment and has photographic history in and all around the counters of the shop. He sells and processes film, all kinds of film cameras, darkroom equipment and items you might not find anywhere else.

I've been visiting his shop starting about a year after I moved to Portland. Since then, I stop in at least once a month to see what he has. Often, he pulls out something special to show me. I was asking him about a Rollei 35 that I had recently seen. Ed says for me to wait a second... He goes to his back room and pulls out a pristine Rollei 35S. The creme de-la creme of that model. He goes on to tell me about the superior optics of the Sonnar lens that is on that body, pulls out some prints that he had recently shot with that camera and suggests that I have not seen anything sharper or with that superior colour rendition. I agree...

As I initially walked in, 2 younger gents where in talking with Ed about a very nice looking Rolleiflex. He know immediately that even though the camera looked pristine, and was described as hardly used, he knew to be extra careful with it. His knowledge of cameras is amazingly vast and he also knew a hardly used camera might not work hardly used. He goes on and tells the kids that the lubricants of the camera, maybe over 40 years may have dried up and instead of doing its job, would create brittlenss and possibly break some internal parts. Ed's mannerism and hand gestures shows how serious he is about this matter and the kids listen with sincerity.

Later, a gorgeous young woman comes in, looking for a Polaroid Land Camera. As if he knew she was going to come, he has one waiting on the counter. We both learn she is an avid film shooter, of Polaroid, 35mm and 120 film. When she left, I say to Ed, "You get the best customers working in this shop!" He goes onto say that he loves how the younger generation has taken to film and the analogue ways.

If you are ever in town and are looking for some film gear, I highly recommend seeing Ed at Hollywood Camera. If not to buy, just to stop in and see all of the various cameras he has on display. It is quite a journey!

The Nude

Music | Red Dust by Zero 7

What is it about the nude human body that people find so disturbing . There's a big gap between a nude body and pornography. But for whatever reason there are people out there that can't make that differentiation. The other day, I knowingly posted a photograoh of a women with her breasts exposed. Yes,I know the rules of facebook, no nudity... I'm not surprised that my image got pulled, but the one thing I said I would never do is complain in facebook about it. I did post a message however, to try and start a dialogue to the person who felt it was necessary to report my image. I'd love to know why they felt so compelled to take the time to do so.

Beyond that, I later found that I was prohibited to post anything for 24 hours... A little slap on the wrist for my dirty deed. I know it makes no difference, but I decided to deactivate my account.

I guess I have a lot of frustration about not only facebook and the many, including myself who have become so dependent on it, but how the annonymity allows people to speak out without having to be responsible for what they say and mean. It is lame and cowardice.


Blasphemy

Taking Commissions

Music | Solitaire by Uri Caine

From now to the end of the year, I'm discounting portrait sessions in Wet Plate Collodion. Select from 3 different sizes and give the gift that is unusual, one of a kind and everlasting...

Discounted pricing til the end of the year...

My sessions run about an hour to 1.5 hours. I will shoot at least 3 plates and you chose the one that you want to keep. I can shoot a range of sizes from 2.5 inch square plates, 4x5 inch and 8x10 inch plates.

Price of a session includes one framed and matted plate. Additional plates are extra... Prints of plates are also available.
- - -

Price per session by size...

2.5 inch square plate - $85. Additional plate is $60 (Regular price is $125/$75)

4x5 inch plate - $175. Additional plate is $100 ($250 / $175)

8x10 inch plate - $400. Additional plate is $200 ($500 / $250)



If you are interested in booking a date, I will need a payment of the session in advance to hold that particular time frame. There are no refunds.

email for bookings or questions to xmishx@gmail.com
subject titled - Facebook Portrait Session


top lf - Anna, top rt - Will, bottom lf - Yuta, bottom rt - Amanda

That's a Rap...

Music |

Thru my transition from shooting digital to film, then to wet plate collodion, I always felt the need to to back up the shoot with my digital slr. Maybe it was the comfort level that digital gives all of us, seeing what we have shot in real time. But as I became reacquainted with the large format film and wet plates, I didn't feel the need to have that digital back up. If my intention was to create a great film shot or wet plate, having digital on stand by was a crutch that I could always beckon. How was that making me a better film or plate photographer.

I have to admit it took a good amount of time where I left the digital camera behind. It has gotten to a point now that I have to remember to bring the digital because my client wanted some colour images to go along with the monochromatic wet plates.

There is a sense of arrival being able to tell my subject that we are done with the session after just 4 exposures. I'm reminded of a story from a fellow assistant, way back in the day when he assisted a photographer who shot the Marlboro Cigarette billboards. The jobs would end up taking weeks and weeks, from location scouting, creating the scenes, gathering local cowboys and horses and all of the other elements to making sure the shoot would go according to plan and with everyone as happy and comfortable as possible. On one occasion, one of the photographic images that needed to be captured was having a dozen horses running over a hill, creating a fog of dust in the background, then into a shallow lake. The perfect locations couldn't be found, so they created a lake at the very base of the hill somewhere in Wyoming where the horses were going to run over. Thousands of sheets of plastic had to be brought in, truck loads of water hauled and poured...

Finally, the perfect moment of twilight arrived, the photographer radioed to the cowboys to get the horses to gallantly run over the hill and thru the water. As the reflections of the water started to break up upon the first set of horses creating splashes and waves, the golden light of the sun being trapped in the dust over the hill, manes of the horses dancing upon their necks, the photographer snapped one exposure and said, "Thats a rap..."


Kiley 1 of 4

Françoise Weeks

Music | Cult of Personality by Living Colour

It is great enough to have a muse or 2 to have available when inspiration hits. It is also great when a fellow artist spurs on inspiration and you create art together. I think I have worked with Françoise Weeks 4 times now. Each and every time, I know I have something to add to the special box of work that will speak over and over, loudly to an audience over a long period of time.

This last shoot we did was short notice. We usually have weeks and weeks in advance to think, decide and go over what the plan is going to be. Funny thing is, we usually keep to ourselves and allow the thought process to put it all together. At most, we come up with a theme, maybe mention a colour and go with that... Maybe a few pictures to pass on between us, then go! It is what I love most about working with Françoise. We allow each other the freedom because we know in the end, the result will be what it will be... It isn't to say we have no expectations, but we know the effort put into the arrangement will be interesting and sometimes beautiful.

Hence...






and from Françoise's blog...

A Reprise | Of Beauty and a Rant...

Music | Thighs High by Tom Browne

A thought provoking reply was sent to me which tried to console some of my conflicts of my previous blog entry. Her biggest and obvious point was that there are no answers to some questions... My response...

You've managed to state the obvious, that there are no answers to some questions. Sometimes it is true, you can't see the forest for the trees... I've managed to relieve a lot of stress by not lingering on the things that bother me that I have no control over or merely try to guide. It is amazing how light my shoulders became when I came to that conclusion.

The problem with art, however is that it is so entangled with me that my questions arise everytime I get on the computer, go thru a magazine, look at the side of a bus... or watch tv and even listen to the radio...

Was life as an artist more simple when the world wasn't driven by constant visual media? I always thought how wonderful it would be to live in Paris in the 20's. I think now how great it would be to be in Europe during the Impressionism era, which wasn't too far off when Wet Plate Collodion was discovered!

In the end... we only have the present. I know... "Deal with it, and shut the fuck up!" :-)

Of Beauty and a Rant...

Music | Butterflies by Floetry

I'm all about wanting to capture Beauty. The idea of being able to seize in an image, something that pleasures the mind, to steer an emotion is quite powerful to me. I'm hoping to create not the romantic notion of where fads and pop music comes from. What comes easy certainly moves on easy. And with the vast number of photographic images being created on a daily basis, being able to create a lasting image seems to be more, less and less a priority. Our world is so into the now and not at all about history, which in fact is what photography is all about... Capturing a moment in time and keeping it there - holding on to history... In comparison to drawing and painting, photography is still nothing more than a fetus. I wonder what photography will be like 100 years from now?

With all of the photos we are taking now, making the mundane substantial, grabbing a created facial expression to convey... something, making reality more unrealistic, what direction does one go to photograph something of meaning? I know I get lost in snapping away with my camera phone. Taking a photo is now so accessible.

We all have a right to call what we do photography. Are the lines now blurred so much that snapshots and art no longer exist? I know I have my reasons to do what I do, some blurred and some more focused. I guess if I think too hard about it, I'll stop shooting all together. But like everyone else who shoots, I do so because I want to and in many ways, have to. My search for beauty continues on...


Cain with Floral Head Piece, courtesy of Françoise Weeks">

Ambrotype

Music | Natale's Song by Sia

In a rather bold move, since having gone thru my mistrials with the ever evolving process called Wet Plate Collodion, I decided to shoot on glass, instead of the trophy aluminum that I have been using from the very start. I found it to be more difficult because of the surface tension of the two materials are so different. The glass of course is a much faster. It is also much heavier and more difficult to maneuver. As I was making my pours, I know my focus was more intense, not just because this was all new to me, but also, I could make a big mess by dropping the glass. With all of the detriment involved, I can see the allure of working with this medium over the aluminum.

As I said, I am much more in tune with the process. Fragility is a big influence of becoming more connected with every move you make while the glass is in the hands. As slow as this process is - I shoot maybe 3 plates per hour, the glass makes me feel I need to move even slower. In these days where everything we deal with and expect in daily life is instant, I love going against the grain.

More importantly than any of that, the final image on a glass plate has even more voodoo going on. Being able to see both a negative and positive image in a fraction of a second is magical. The smooth surface of the glass invites us to see the image, but because of the thickness of the glass, the appearance of depth subliminally messes with the mind.

You can't see what I'm talking about viewing these images here on screen, but I invite you to see a real Ambrotype, Wet Plate for yourself and see the magic. A great reason to turn off your screens and view real pieces with your own eyes...



Eyerish | 8x10 ambrotype

Moon | 8x10 ambrotype

For the Moment

Music | Many Names by Fred Anderson

I'm alone like I am most nights, but with the TV off and jazz coming thru the speakers, which is a nice change from the many many months past. It has been awhile where distraction is actually in tune with the way I am presently feeling. I felt a convergence between the music and the present me. I end up not feeling so alone in my solitary evening routine.

Relief Continues, Confidence Re-emerges...

Music | Angel by Weekend Players

It isn't that I needed inspiration for getting back to my groove. I've been longing to shoot for more than several weeks. After a very good start, my second subject, one of my favorite muses for the past several years has been Cain. I think I called upon her to keep my confidence up. There has not been a session where I have come out not feeling like I've accomplished something of substance.

My plates are looking as vibrant as ever and the tonal range has been fantastic. Being away for so long, with my tail between my legs for such a long time, I just can't express how wonderful it feels to pull the plate from the rinse and into the fixer to watch the emergence of beautiful plate.


2013-10-18 | Cain

ahhhh...

Music | Goodbye Pork Pie Hat by Charles Mingus

I can't convey the feeling I had when the image came up. There was no build up... As soon as the developed plate hit the fixer, I saw my blacks the way blacks are supposed to be. My over 6 week issue of extreme flat plates is over and again, at least until I have to mix up another batch of collodion, I can shoot plates with a tonal range that I feel comfortable with.

I just met Aster at the beginning of our shoot. She unfortunately did some damage to her ankle and couldn't move around too much, but was a great trooper. After 3 plates and a few digital images in between, we were done.

A huge weight has finally been lifted off my back. I can't believe how satisfying the sigh of relief was for me. It is time to move ahead... again.


2013-10-16 Aster

Group Show Entries

Music | Look Down from the Bridge by Mazzy Star

It is good to have curators as friends. Because of possible difficulties of an upcoming and quickly arriving opening this Thursday, I was asked to be a part of a group show of Erotic Arts. This really was last minute as I had to deliver ready to mount artwork yesterday. I had roughly 2 days to select, print and frame 2 pieces. Once I had the confirmation to go ahead with production, everything fell nicely into place. No problems with the digital files, printing or even the framing. I can only hope that all my future endeavors of such nature will be as smooth.

I had an open invitation to show whatever I wanted. Because this is the same venue where my solo show will be in June of next year, I opted not to show any plates. I had a nice run of shooting some great digital images so I picked my favorite 2 and ran with it.

It has been a very long time since I printed 11x14 image size prints and then framing them in a 16x20 inch frame. I was pleasantly pleased with the results. I might have liked to go a bit bigger for the frame, but I have no regrets with the final piece as it will hang...


Framed prints ready for delivery

I Dig This...

Music | Missing by Beck

http://www.rebellesociety.com/2013/07/25/a-self-made-12-step-program-for-living-an-authentic-life/

Flying Time...

Music | Bloodstream by Stateless

40 minutes away from the 4th day of September. Where did August go? As we move forward, it is now that I want the days to move quickly towards me getting back to shooting plates. I have since found I have another solo show for June of 2014. I'm starting to shoot content beginning Thursday and am scheduling more thru the 16th. With the 8x10 up and running with that beautiful Petzval lens, I'm really ready to go. I've got fresh collodion, sunned silver and not enough plates, but should be fine getting thru this first batch of shooting.