Photo Bomb

Music | Slip Into Your Skin by Patrick Wilson

Not sure this is the correct term, but whatever it was, it sure was a lot of fun! After being ill over the weekend, I had planned on just doing nothing for the rest of my Monday. Late into the afternoon, plans started to develop and suddenly, I had a photo shoot for early evening. Photography, not for the show, not for a client, but simply for the fun of it.

Cadence was the instigator for the evening, but I had the plans. We would go out to an industrial part of town, shoot some "daring" photos out in the public world where location, timing, a little pre planning and luck would determine our fate. Photo Bombing is new to me and with my little experience, but some forethought, turned out to be an adventure for both of us.


A simple start inside the car. Cadence heated up quickly after this series...


Confidence quickly grew as we shot, moved, shot, moved...


... and attitude too!


Though all of the locations were desolate, there were folks moving about thru the area...


Upon finishing up our last shot, Cadence had always wanted to do this on train tracks. Who am I to quell a girls long time dream...


The digital plates worked out immensely well. I love this simple portrait.


The narrow wall cuts out many from view.


One of our boldest shots of the evening.
This is just what the doctor ordered. I needed to have some fun as the stress of getting the exhibition photos are heavy upon me. It is also a project I would love to work on. Being out on location is just so different from being in the studio. I love the change of pace and it makes me massage my brain to make each photo work in different situations. Look for more Photo Bomb photos soon!

An Artist Statement...

Music | April in Paris by Billie Holliday

In the last few minutes of the month of April, I thought it would be appropriate to have Billie Holliday sing off the month along with my spiritual city of Paris...

I was asked to write an artist statement for my exhibition coming up at the begining of June. When the month of May begins, I'll have to have the goal of 20 finished and framed ambrotypes ready to deliver.

To keep my mojo in the positive, I am meeting the deadline of my artist statement, due May 1, which can also be read here. Not so much about me in the general sense, but more precisely, the relation of the process of my photography and the interests of the subject matter...

My path to learn and explore Wet Plate Collodion and my curiosity in Kink started at about the same time. Though a few years passed when I combined my two new interests, I went along my merry way without much thought.

Recently, the question of why I do what I do was asked of me and for some time, I wasn’t sure I had an answer. The one thing I did know was that my passion to learn Wet Plate Collodion had taken hold of me and demanded much of my time. I had fallen in love with photography again much in the same way it did when I first learned to process film, develop prints in the darkroom… Photography was not only visual back then. The sense of touch and smell, timing and hand to eye coordination were abilities one had to hone… Wet Plate Collodion brought all the back and upped the ante, almost if not specifically, spiritual.

As I wandered thru all the world that is Kink, I felt an affinity to rope, and bondage from my Japanese heritage. Shibari and more specifically, Kinbaku, the art of erotic bondage held me much in the same way as my desire to learn Wet Plate Collodion. It was at this point where by natural serendipity that my 2 worlds intertwined.

Through the past 3 years, it wasn’t until recently where I have decided to take on a more active role in learning more about Shibari. Like learning the art of the Wet Plate, I have my moments where the feeling of helplessness rages on in my brain. However, with time and the willingness to move foreword, I’m often rewarded with the feeling of creating and the embracing of souls.

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