Music | Clubbed to Death (Kurayamino Variation) by Rob Dougan
So in this age of images, where everyone is a photographer, it is really sad how photographs are not as important as they once were. Picture taking, as opposed to image making has become so prevalent, there is no room for content and meaning. Without those elements, we have turned our backs on what is important to take pictures for pictures sake.
I've thought about the last week I had where I made some interesting photographs, unusual in that not everyone could just go out and shoot what I did. My collaboration made the process all the better and it showed skill, effort and most of all, some passion. But in this day and age, they are pretty pictures and most of all, accessible for anyone to take them. My love / hate relationship with technology, particularly the internet and how it has changed the way we view things is both a god send and a nightmare.
Unknowingly to myself, people will be making money off my photographs. I will not see a dime... I understand that, don't like it, but realize it is the cost of being able to have some hope that I will be able to do this in the coming future... Bottom line is, the more people who see my photographs, the better... Hopefully they will enlighten, inspire and maybe circle back to me with a commission, job or exhibition...
July 26, 2013
July 23, 2013
Françoise Weeks
Music | Don't Leave Home by Dido
Almost 2.5 years have gone by since the last time Françoise and I worked together. It was the biggest project collaboration I had for Wet Plates at the time, but I knew that some great things would come of it. Indeed it has as many of those photos have been published in Europe and seen around the world.
A little more than a month ago, Françoise and I had coffee to talk of another project. We knew we wanted to create more botanical couture images, and the themes we came up with was Italian Renaissance and Gothic. Maybe 5 or 6 emails passed thru our mailboxes since then and June 20th rolled around where we created more fantastic images...
Sarah Pardini
Amanda Hathaway
These images were taken with the newly acquired Valantin Petzval lens on the Century 8x10 camera. It was a hallmark occasion for me as it was only the second 8x10 plate I have ever shot and the first plate I shot with my lens / camera combination.
Floral bouquets would be nothing without colour. We also shot with the digital camera and captured just as stunning images...
More of the colour images can be seen here...
I'm pretty sure we won't wait another 2+ years before we collaborate again...
Almost 2.5 years have gone by since the last time Françoise and I worked together. It was the biggest project collaboration I had for Wet Plates at the time, but I knew that some great things would come of it. Indeed it has as many of those photos have been published in Europe and seen around the world.
A little more than a month ago, Françoise and I had coffee to talk of another project. We knew we wanted to create more botanical couture images, and the themes we came up with was Italian Renaissance and Gothic. Maybe 5 or 6 emails passed thru our mailboxes since then and June 20th rolled around where we created more fantastic images...
Sarah Pardini
Amanda Hathaway
These images were taken with the newly acquired Valantin Petzval lens on the Century 8x10 camera. It was a hallmark occasion for me as it was only the second 8x10 plate I have ever shot and the first plate I shot with my lens / camera combination.
Floral bouquets would be nothing without colour. We also shot with the digital camera and captured just as stunning images...
More of the colour images can be seen here...
I'm pretty sure we won't wait another 2+ years before we collaborate again...
July 12, 2013
Vallantin
Music | Spiritual by John Coltrane
Back in my early assisting days in the mid 1980's, I worked for a photographer that was sharing a space with an older photographer. He was one of the few photographers that was shooting professionally as early as the late 1940's. He was slowly moving into retirement and was getting rid of some of the equipment he wasn't using and taking up space. I saw this beautiful old camera sitting alone in the corner and if anything for me at the time, it would be a great conversation piece. He sold it to me for an amazingly generous price. The Camera, a Century, probably made in the late 1920's, early 1930's also had a very fast portrait lens made with the Kodak name on it. 405 mm f:4.5. I used it several times, shooting some film, but also paper negatives and contact printing them. I loved the size and the look, but for whatever reason, the combo sat on a shelf, being an art piece rather than equipment to take photographs...
I think I've had the camera/lens for over 25 years. With the desire of shooting wet plates, the camera came out of the basement and sat in my room being displayed again. I shot one wet plate with it and the results were fine. The lens however excelled more so with film than wet plates. Difficult as it was, I decided to put it out to the universe and see type of interest there would be for it. I had a few offers ranging a large gamut. I decided to keep it. As I became more involved with Wet Plate Collodion, and a growing desire to shoot larger plates, I set a price for the lens and put it out for sale. Lots of interest, but no follow up and I thought maybe this just wasn't going to happen.
I put an ad out stating my desired price, but also that I was interested in a Petzval design barrel lens, a period lense made in the 1800's. It wasn't til the last few years that these lenses started growing in price. Gems with a nice price became very difficult to find. I did get one email from a gent on the East that had a Petzval who was very interested in my Kodak. I had the feeling that the Vallantin Petzval was going to be significantly more in price than my Kodak. We initially couldn't come up with a deal we both would feel good about, and for me, merely afford.
My view on humanity changed a few days after our initial conversation. The gent, L.P. wrote back to me and said he went to my website and loved what I was doing. He thought that having this lens would enable me to produce more great work. He dropped his asking price significantly, gave me all the time I needed to come up with the difference in price and made a deal. Over a period of roughly one month, I sold a few things, worked on some unexpected gigs and sent out my lens.
3 days later, I got this beast of a lens. I'm looking forward to seeing what it can do.
Century No.4A Studio Camera w/ Kodak Lens 405mm f:4.5
Vallantin Petzval Lens
Back in my early assisting days in the mid 1980's, I worked for a photographer that was sharing a space with an older photographer. He was one of the few photographers that was shooting professionally as early as the late 1940's. He was slowly moving into retirement and was getting rid of some of the equipment he wasn't using and taking up space. I saw this beautiful old camera sitting alone in the corner and if anything for me at the time, it would be a great conversation piece. He sold it to me for an amazingly generous price. The Camera, a Century, probably made in the late 1920's, early 1930's also had a very fast portrait lens made with the Kodak name on it. 405 mm f:4.5. I used it several times, shooting some film, but also paper negatives and contact printing them. I loved the size and the look, but for whatever reason, the combo sat on a shelf, being an art piece rather than equipment to take photographs...
I think I've had the camera/lens for over 25 years. With the desire of shooting wet plates, the camera came out of the basement and sat in my room being displayed again. I shot one wet plate with it and the results were fine. The lens however excelled more so with film than wet plates. Difficult as it was, I decided to put it out to the universe and see type of interest there would be for it. I had a few offers ranging a large gamut. I decided to keep it. As I became more involved with Wet Plate Collodion, and a growing desire to shoot larger plates, I set a price for the lens and put it out for sale. Lots of interest, but no follow up and I thought maybe this just wasn't going to happen.
I put an ad out stating my desired price, but also that I was interested in a Petzval design barrel lens, a period lense made in the 1800's. It wasn't til the last few years that these lenses started growing in price. Gems with a nice price became very difficult to find. I did get one email from a gent on the East that had a Petzval who was very interested in my Kodak. I had the feeling that the Vallantin Petzval was going to be significantly more in price than my Kodak. We initially couldn't come up with a deal we both would feel good about, and for me, merely afford.
My view on humanity changed a few days after our initial conversation. The gent, L.P. wrote back to me and said he went to my website and loved what I was doing. He thought that having this lens would enable me to produce more great work. He dropped his asking price significantly, gave me all the time I needed to come up with the difference in price and made a deal. Over a period of roughly one month, I sold a few things, worked on some unexpected gigs and sent out my lens.
3 days later, I got this beast of a lens. I'm looking forward to seeing what it can do.
Century No.4A Studio Camera w/ Kodak Lens 405mm f:4.5
Vallantin Petzval Lens
July 09, 2013
Light...
Music | When it Falls by Zero 7
Mitsu, a woman who I've been wanting to shoot for quite a long time was spending an extra day in Portland, so we could do a last minute photo shoot. I was honored and had to make time to make it work.
I decided I wanted to do an outdoor shoot as the weather was going to be nice. I also wanted the open feeling of daylight as I did when I first started shooting Wet Plates. The lighting was directional, but much more subtle than I could create using my strobes. The only issue I had was gauging the exposure. It seems I was a stop off all but 1 of the plates as the sun rose rapidly overhead.
I realized after this shoot I still have a lot to learn. Changing a variable certainly changes things down the chain. You always have to be ready to adjust...
Mitsu, a woman who I've been wanting to shoot for quite a long time was spending an extra day in Portland, so we could do a last minute photo shoot. I was honored and had to make time to make it work.
I decided I wanted to do an outdoor shoot as the weather was going to be nice. I also wanted the open feeling of daylight as I did when I first started shooting Wet Plates. The lighting was directional, but much more subtle than I could create using my strobes. The only issue I had was gauging the exposure. It seems I was a stop off all but 1 of the plates as the sun rose rapidly overhead.
I realized after this shoot I still have a lot to learn. Changing a variable certainly changes things down the chain. You always have to be ready to adjust...
July 05, 2013
Karma...
Music | #1 Crush by Garbage
The idea of Karma is both intriguing and quite frightening. I must have done some good things recently because in the last few days, I found I would be working with some internationally known folks for what they do and incorporating them with my own photography. The frightening thing is, I know I will fuck up somewhere and I'll get my ass handed to me. But now she has granted me good news, uplifting my spirit and allowing me to move further forward.
In a few weeks, I will be working with the great Françoise Weeks, premiere florist based right here in Portland, OR. This will be our second go around on a theme that came out amazingly, garnering her some very nice press in Europe. I will merely be happy holding on to her coat tails! Look for our collaboration no later than the end of this month.
I found out just today that I will be having my 2nd solo exhibition sometime mid 2014. As the deal gets more set in concrete, I will be passing along more details. For now, I will be working with an amazing leather mask maker from New York. We will have roughly 10 to 14 months to get ready, where as my last solo show, I had 3 weeks... Will be yet another great collaboration for me!
2011 Cain | Floral Arrangement by Françoise Weeks
-•-•-
Work and Courtesy of Le Cordonnier
-•-•-
I love you, Karma...
The idea of Karma is both intriguing and quite frightening. I must have done some good things recently because in the last few days, I found I would be working with some internationally known folks for what they do and incorporating them with my own photography. The frightening thing is, I know I will fuck up somewhere and I'll get my ass handed to me. But now she has granted me good news, uplifting my spirit and allowing me to move further forward.
In a few weeks, I will be working with the great Françoise Weeks, premiere florist based right here in Portland, OR. This will be our second go around on a theme that came out amazingly, garnering her some very nice press in Europe. I will merely be happy holding on to her coat tails! Look for our collaboration no later than the end of this month.
I found out just today that I will be having my 2nd solo exhibition sometime mid 2014. As the deal gets more set in concrete, I will be passing along more details. For now, I will be working with an amazing leather mask maker from New York. We will have roughly 10 to 14 months to get ready, where as my last solo show, I had 3 weeks... Will be yet another great collaboration for me!
2011 Cain | Floral Arrangement by Françoise Weeks
-•-•-
Work and Courtesy of Le Cordonnier
-•-•-
I love you, Karma...
June 25, 2013
Anotomy of a Shoot w/ The Wee Pixie
Music | Heaven by Lamb
Since moving to Wet Plates as my main passage to photography, my shoot count has plummeted. Even back in the film days, shooting with the Hasselblad, I'd shoot at least 3 rolls, or at least 36 exposures. 35 mm would up that ante to at least 72 exposures for a portrait session. With digital, that count multiplies.
On a recent session I had, which took a little over an hour, we shot 4 exposures - 4 plates... My mind set in the past would have been, We are on a roll, lets keep shooting! But having settled in on my way, I've shot as little as 3 plates for a portrait session, to 6. Granted, the mind set for me on a shoot like this is that I'd like to get at least one killer shot. However, often I find that my collaborators and I bat a 1000 avg.
The Wee Pixie - A woman with many interests and who is a very intersting person.
The Wee Pixie is a woman who I've wanted to photograph recently. I thought she would be a great subject and would have a lot to say. We didn't nearly touch the limit of who she is as a person, but tended to keep things simple, but different for each plate. I love getting to know my subjects during a shoot, because out of context of 2 people getting to know each other, the idea of creating art diffuses some of that tension, at least for me... Under the guise of a photographer, I can be... not me. The funny thing about that is that I tend to communicate much better in that realm than if I were myself, which often, doesn't have a lot to say.
The beauty of seeing what we created shortly after shooting certainly helps in keeping the number of exposures down. With Wee Pixie, we just didn't miss a beat. Four was all it took, and we both knew it...
Since moving to Wet Plates as my main passage to photography, my shoot count has plummeted. Even back in the film days, shooting with the Hasselblad, I'd shoot at least 3 rolls, or at least 36 exposures. 35 mm would up that ante to at least 72 exposures for a portrait session. With digital, that count multiplies.
On a recent session I had, which took a little over an hour, we shot 4 exposures - 4 plates... My mind set in the past would have been, We are on a roll, lets keep shooting! But having settled in on my way, I've shot as little as 3 plates for a portrait session, to 6. Granted, the mind set for me on a shoot like this is that I'd like to get at least one killer shot. However, often I find that my collaborators and I bat a 1000 avg.
The Wee Pixie - A woman with many interests and who is a very intersting person.
The Wee Pixie is a woman who I've wanted to photograph recently. I thought she would be a great subject and would have a lot to say. We didn't nearly touch the limit of who she is as a person, but tended to keep things simple, but different for each plate. I love getting to know my subjects during a shoot, because out of context of 2 people getting to know each other, the idea of creating art diffuses some of that tension, at least for me... Under the guise of a photographer, I can be... not me. The funny thing about that is that I tend to communicate much better in that realm than if I were myself, which often, doesn't have a lot to say.
The beauty of seeing what we created shortly after shooting certainly helps in keeping the number of exposures down. With Wee Pixie, we just didn't miss a beat. Four was all it took, and we both knew it...
June 24, 2013
Spreading Out, Spreading Thin?
Music | Kiss the Sky by Shawn Lee's Ping Pong Orchestra
I've been pretty focused on working on Wet Plate Collodion, exclusively. I've strayed a bit, recently with getting into Cyanotypes and shooting film for content. My eventual goal is to learn how to print with Platinum Palladium as well. To make things even more diluted, I have been working with the Polaroid Land Camera I just got and Fuji 3000B instant film. I think I can handle being spread out, knowing that the Wet Plates will be the priority.
I had a nice run of having 5 shoots in 4 days last week and was able to shoot exposures thru the Polaroid camera. Besides the nostalgia of using instant film, I do really love how the Fuji film renders a negative. Unlike the contrasty print, the negative brings about nice round edges, excellent contrast range (though I'm finding I like it a tad flat), and a nice natural border.
Ovata, scanned negative with some tone added in PS
Ovata, untouched print rendered by Fuji 3000B
So yes, it is good to explore this new direction, right?
I've been pretty focused on working on Wet Plate Collodion, exclusively. I've strayed a bit, recently with getting into Cyanotypes and shooting film for content. My eventual goal is to learn how to print with Platinum Palladium as well. To make things even more diluted, I have been working with the Polaroid Land Camera I just got and Fuji 3000B instant film. I think I can handle being spread out, knowing that the Wet Plates will be the priority.
I had a nice run of having 5 shoots in 4 days last week and was able to shoot exposures thru the Polaroid camera. Besides the nostalgia of using instant film, I do really love how the Fuji film renders a negative. Unlike the contrasty print, the negative brings about nice round edges, excellent contrast range (though I'm finding I like it a tad flat), and a nice natural border.
Ovata, scanned negative with some tone added in PS
Ovata, untouched print rendered by Fuji 3000B
So yes, it is good to explore this new direction, right?
June 23, 2013
Nine
Music | She Cries Your Name by Beth Orton
I've been curious about diptych and triptych works and how each of the images relates to the others. Sometimes trying to communicate a message, it takes more than a single image. I didn't have any deep seated meaning in wanting to create a piece with 9 or 16 and maybe eventually a 25 piece structured collage, other than I thought it would be interesting to view the individual images and as a collective whole.
I love Aimée as a muse. I've not had a session with her where I felt we didn't get anything meaningful. I got a last minute opportunity to work with her and made sure she had enough time to work out multiple plates. We actually ended up shooting 12 in all. Even though small, 2.5 inch square final plates, it still a slow process. I didn't realize how draining for me it would be. I will know next time to prepare a bit better to keep my energy level up.
I thought I would try and work a bit faster by prepping one plate after another and shoot 2 plates within a short time period. I'm realizing that when working with Wet Plate Collodion, work with the rules the Photo Gods intended. Turns out 2 of these images are vastly out of focus, something I didn't initially notice as the plates are so small. As soon as I scanned them however, it was apparent.
This was a good exercise and sometime later, I will come up with another idea, maybe another nine or a 16...
I've been curious about diptych and triptych works and how each of the images relates to the others. Sometimes trying to communicate a message, it takes more than a single image. I didn't have any deep seated meaning in wanting to create a piece with 9 or 16 and maybe eventually a 25 piece structured collage, other than I thought it would be interesting to view the individual images and as a collective whole.
I love Aimée as a muse. I've not had a session with her where I felt we didn't get anything meaningful. I got a last minute opportunity to work with her and made sure she had enough time to work out multiple plates. We actually ended up shooting 12 in all. Even though small, 2.5 inch square final plates, it still a slow process. I didn't realize how draining for me it would be. I will know next time to prepare a bit better to keep my energy level up.
I thought I would try and work a bit faster by prepping one plate after another and shoot 2 plates within a short time period. I'm realizing that when working with Wet Plate Collodion, work with the rules the Photo Gods intended. Turns out 2 of these images are vastly out of focus, something I didn't initially notice as the plates are so small. As soon as I scanned them however, it was apparent.
This was a good exercise and sometime later, I will come up with another idea, maybe another nine or a 16...
June 21, 2013
Therapy...
Music | Galexy of Emptiness by Beth Orton
I was talking with Sarah about how it has been quite sometime since I have done any shooting. I know it is therapy for me because when I go for long periods of time of not creating, it starts to affect my psyche, and not in a good way. It is no wonder why doing this keeps my mind at bay, allowing me some peace.
With the help of my model, we just created something amazingly beautiful. For a period of not more than an hour and a 1/2 together, introductions, selection of wardrobe, some giving some taking, conversation... We shot 4 plates and in between, some instant images and a few digital to get our minds going. One thing leads to another, ideas created out of action.
We didn't shoot a bad plate. This was the last...
Sarah
I'm feeling much better now...
I was talking with Sarah about how it has been quite sometime since I have done any shooting. I know it is therapy for me because when I go for long periods of time of not creating, it starts to affect my psyche, and not in a good way. It is no wonder why doing this keeps my mind at bay, allowing me some peace.
With the help of my model, we just created something amazingly beautiful. For a period of not more than an hour and a 1/2 together, introductions, selection of wardrobe, some giving some taking, conversation... We shot 4 plates and in between, some instant images and a few digital to get our minds going. One thing leads to another, ideas created out of action.
We didn't shoot a bad plate. This was the last...
Sarah
I'm feeling much better now...
June 20, 2013
Fuji and Sarah...
Music | Breathe Me by Sia
In between plates, I got to shoot more with the Polaroid and Fuji 3000B Instant film. The camera does tend towards shooting a little dark, but on camera adjustments make it easy to fix. The Fuji film developes a very sharp, contrasty image. I do get taken back to the 70's seeing the beautiful black and white print with the big white border. As nice as the print is, I'm seeing the real beauty in the negative. The scanned results, inverted to a positive renders round edges, subtle tonal range and just something uniquely beautiful.
In my excitement to scan an image, I jumped the gun and accidentally layed a partial wet negative on the scan bed. I didn't realize it until the scan was complete. Too late to totally salvage the original, I worked on the digital file to have the image reproducible.
Sarah
Needless to say, I'm heading out tomorrow to pick up another pack of film...
In between plates, I got to shoot more with the Polaroid and Fuji 3000B Instant film. The camera does tend towards shooting a little dark, but on camera adjustments make it easy to fix. The Fuji film developes a very sharp, contrasty image. I do get taken back to the 70's seeing the beautiful black and white print with the big white border. As nice as the print is, I'm seeing the real beauty in the negative. The scanned results, inverted to a positive renders round edges, subtle tonal range and just something uniquely beautiful.
In my excitement to scan an image, I jumped the gun and accidentally layed a partial wet negative on the scan bed. I didn't realize it until the scan was complete. Too late to totally salvage the original, I worked on the digital file to have the image reproducible.
Sarah
Needless to say, I'm heading out tomorrow to pick up another pack of film...
June 17, 2013
Under the Bridge...
Music | What I Wouldn't Do by Serena Ryder
So over the weekend, I picked up a late 1960's Polaroid Land Camera 230 for $15!
Polaroid 230 Land Camera
Today, I got some Fuji 3000B instant film and was able to test the camera under the St. Johns Bridge. Lighting conditions were a bit harsh, but I just couldn't wait to try it out. The prints come out with very nice blacks and a bit contrasty, but as I mentioned, the light at midday was severe...
I was talking to another photographer about why I was planning to shoot this way. Why I just didn't shoot digital and make the shot into what I want it to be. I listed off several one word answers and the one that seem to resonate with him was, serendipity. Even without seeing what I was talking about, and as 95% digital shooter himself, all of the sudden, he understood why I wanted to shoot with the polaroids.
I like the idea of relinquishing control to the photo gods and let them do what they do... I love happy accidents. I love the idea that there is a force beyond my control that will do whatever the hell it feels like it to alter what the image might look like. I love the word collaboration. Sometimes it is with people, with nature, object or whatever I happened to be photographing. My love for shooting the analogue process opens that door and gives me something a little different each time I go out.
So today, I shot 4 exposures just to get a feel of what the camera, film combination would serve me. The print is tack sharp, contrasty in a nice way. However, the neg seems to carry a lot more detail and reproduces a bit softer. These are the conclusions that I came up with today, but we'll see what I think on the second go around. Fun, fun stuff!!!
Under the St. Johns Bridge
So over the weekend, I picked up a late 1960's Polaroid Land Camera 230 for $15!
Polaroid 230 Land Camera
Today, I got some Fuji 3000B instant film and was able to test the camera under the St. Johns Bridge. Lighting conditions were a bit harsh, but I just couldn't wait to try it out. The prints come out with very nice blacks and a bit contrasty, but as I mentioned, the light at midday was severe...
I was talking to another photographer about why I was planning to shoot this way. Why I just didn't shoot digital and make the shot into what I want it to be. I listed off several one word answers and the one that seem to resonate with him was, serendipity. Even without seeing what I was talking about, and as 95% digital shooter himself, all of the sudden, he understood why I wanted to shoot with the polaroids.
I like the idea of relinquishing control to the photo gods and let them do what they do... I love happy accidents. I love the idea that there is a force beyond my control that will do whatever the hell it feels like it to alter what the image might look like. I love the word collaboration. Sometimes it is with people, with nature, object or whatever I happened to be photographing. My love for shooting the analogue process opens that door and gives me something a little different each time I go out.
So today, I shot 4 exposures just to get a feel of what the camera, film combination would serve me. The print is tack sharp, contrasty in a nice way. However, the neg seems to carry a lot more detail and reproduces a bit softer. These are the conclusions that I came up with today, but we'll see what I think on the second go around. Fun, fun stuff!!!
Under the St. Johns Bridge
June 02, 2013
Conflicts... Traditions...
Music | Don't Look Back by Bliss
During the short time I have been trying out Cyanotypes and the eventual desire to start Platinum Palladium printing, I've come to realize the negatives I have to learn and practice the process, they simply do not have the contrast range needed to create a print with proper tonal range and density. What works well for silver gelatin prints don't quite make it...
My obvious action to take is to start to shoot and process my negatives accordingly so that I can create a negative with the necessary contrast and tonal values. The alternative and the issue that this post is about is to use digital means to create my proper negatives. I can simply scan my old negs or plates, throw a profile to it, make some quick and easy adjustments, print out a negative that could render the perfect contact print.
I live thru principles and hold fast to traditions. I like the idea of taking no prisoners and not taking the easy way out. I also want to learn and improve my photography by technique and aesthetics.
Am I over thinking the idea of using modern technology to recreate my negative by a digital means? Going this route enables me to work effeciently and inexpensively. I could start learning now. But in the back of my head, I hate the idea of losing the purity of what I am trying to accomplish.
more as time moves forward...
During the short time I have been trying out Cyanotypes and the eventual desire to start Platinum Palladium printing, I've come to realize the negatives I have to learn and practice the process, they simply do not have the contrast range needed to create a print with proper tonal range and density. What works well for silver gelatin prints don't quite make it...
My obvious action to take is to start to shoot and process my negatives accordingly so that I can create a negative with the necessary contrast and tonal values. The alternative and the issue that this post is about is to use digital means to create my proper negatives. I can simply scan my old negs or plates, throw a profile to it, make some quick and easy adjustments, print out a negative that could render the perfect contact print.
I live thru principles and hold fast to traditions. I like the idea of taking no prisoners and not taking the easy way out. I also want to learn and improve my photography by technique and aesthetics.
Am I over thinking the idea of using modern technology to recreate my negative by a digital means? Going this route enables me to work effeciently and inexpensively. I could start learning now. But in the back of my head, I hate the idea of losing the purity of what I am trying to accomplish.
more as time moves forward...
May 31, 2013
Men
Music | Real Life )Evolution II) by The Cinematic Orchestra
As I've said in my previous post, I've been meeting some very interesting people lately. I don't often go thru a run of shooting men, but at this time, at least within the last 2 months, this will be the third gentleman I've photographed. There are similarities and differences as to why I might want to select a person to photograph, between men and women. I haven't thought about it profoundly, but initially, I found with men, I see characters. Whether from my own past, books or movies, I usually picture a man not only as he really is, but a character from my mind. Sometimes there are who I imagine, sometimes not at all. However, with all of my sittings, I do allow for a collaboration to take place. At least I think so in my head. I guess you would have to ask my subjects how much they feel they have inputted into one of my portraits.
James
This was the first plate of our session. I honestly knew after seeing it appear thru the fixer that I could stop right then and there. In all, we did 3 plates, one I felt was a bit too contrived, then another I felt was honest and true. But this first image is for me, most certainly the one.
As I've said in my previous post, I've been meeting some very interesting people lately. I don't often go thru a run of shooting men, but at this time, at least within the last 2 months, this will be the third gentleman I've photographed. There are similarities and differences as to why I might want to select a person to photograph, between men and women. I haven't thought about it profoundly, but initially, I found with men, I see characters. Whether from my own past, books or movies, I usually picture a man not only as he really is, but a character from my mind. Sometimes there are who I imagine, sometimes not at all. However, with all of my sittings, I do allow for a collaboration to take place. At least I think so in my head. I guess you would have to ask my subjects how much they feel they have inputted into one of my portraits.
James
This was the first plate of our session. I honestly knew after seeing it appear thru the fixer that I could stop right then and there. In all, we did 3 plates, one I felt was a bit too contrived, then another I felt was honest and true. But this first image is for me, most certainly the one.
May 28, 2013
Murakumo
Music | The Garden by Zero 7
I've gotten lucky in that I've found a few people who create characters outside of themselves. I love Irish and the things she brings to a shoot. I just met Murakumo a few weeks ago and we managed to get our first session in. She loves all things anime, sci fi and such. She is also a costume designer and seamstress. I've seen some of her creations and hope to be able to photograph her in them.
I thought if I could find 5 different people who could come up with 5 different characters, I could do a series called 5 of 5. Long standing project maybe in the works...
Murakumo in Kimono, in bondage
I've gotten lucky in that I've found a few people who create characters outside of themselves. I love Irish and the things she brings to a shoot. I just met Murakumo a few weeks ago and we managed to get our first session in. She loves all things anime, sci fi and such. She is also a costume designer and seamstress. I've seen some of her creations and hope to be able to photograph her in them.
I thought if I could find 5 different people who could come up with 5 different characters, I could do a series called 5 of 5. Long standing project maybe in the works...
Murakumo in Kimono, in bondage
May 14, 2013
May 12, 2013
Three...
Music | Things Behind the Sun by Nick Drake
Though Kate had been elusive, we finally got together yesterday after years of talk... As I had known from the beginning, I knew we would work well together. After 3 plates, there was no reason to shoot more...
one
two
three
Though Kate had been elusive, we finally got together yesterday after years of talk... As I had known from the beginning, I knew we would work well together. After 3 plates, there was no reason to shoot more...
one
two
three
May 06, 2013
Expanding the Base...
Music | So:Lo by Kate Havenevik
I bought a Cyanotype Kit from Photographers Formulary to learn the process of contact printing in hopes of eventually getting to Platinum Palladium. Years ago, Connie Wellnitz gave me a contact printing frame along with a UV rich light source. I'm finally making use of the printing frame and may eventually get to use the light. For now, I've been using the sun from all the bright days we've been having.
I decided to do this right from the start, so I also get a mortar and pestle, which is required to mix up some of the chemicals. I also purchased a few pipets and a smaller 250 ml glass beaker to mix everything up. I also bought a sheet of Fabriano Artistico paper. Lastly, a hake brush to put the emulsion to paper.
My first go around wasn't a total disaster. I used a type 55 negative of my Dad from way back. I thought it might be a little thin, but I got image. I wasn't sure I liked the texture of the Artistico paper. My friend Brandon Fernandez gave me a sheet of Bergger hot press, which is a much more smooth paper. Having gotten to try an few sheets, various types of neg densities, I think I'm realizing at this point, with the knowledge I have, what is most important is the negative. I'm sure I will figure out how to boost contrast, which seems to be my biggest issue right now.
Today, I had what I felt was a good negative to try again. Though the vibrance on the screen is more than what the matte, textured paper gives, this isn't too far off. I'm feeling progress!
Cain with Flower Hat by Francoise Weeks
I bought a Cyanotype Kit from Photographers Formulary to learn the process of contact printing in hopes of eventually getting to Platinum Palladium. Years ago, Connie Wellnitz gave me a contact printing frame along with a UV rich light source. I'm finally making use of the printing frame and may eventually get to use the light. For now, I've been using the sun from all the bright days we've been having.
I decided to do this right from the start, so I also get a mortar and pestle, which is required to mix up some of the chemicals. I also purchased a few pipets and a smaller 250 ml glass beaker to mix everything up. I also bought a sheet of Fabriano Artistico paper. Lastly, a hake brush to put the emulsion to paper.
My first go around wasn't a total disaster. I used a type 55 negative of my Dad from way back. I thought it might be a little thin, but I got image. I wasn't sure I liked the texture of the Artistico paper. My friend Brandon Fernandez gave me a sheet of Bergger hot press, which is a much more smooth paper. Having gotten to try an few sheets, various types of neg densities, I think I'm realizing at this point, with the knowledge I have, what is most important is the negative. I'm sure I will figure out how to boost contrast, which seems to be my biggest issue right now.
Today, I had what I felt was a good negative to try again. Though the vibrance on the screen is more than what the matte, textured paper gives, this isn't too far off. I'm feeling progress!
Cain with Flower Hat by Francoise Weeks
May 05, 2013
Sharing with the Past...
Music | Naima by John Coltrane
The other day, I got to spend some time with my past... I'd say close to 25 years ago was when I may have last hung out with Tamara Staples in her old loft space in Bucktown. I remember doing a portrait of her while she was making these extraordinary hats. As she is now, she has a spirit that is free and carries on much in the same way from what I remember. More responsibilities, a different life, sadness for me of the lost southern drawl, she is a woman of Brooklyn, NY. It was refreshing to me that I was able to hang out with her for a few hours, take her portrait again and talk of the past, talk of now and of art.
circa maybe 1987. The Hat Maker
2013. Tamara Staples
The other day, I got to spend some time with my past... I'd say close to 25 years ago was when I may have last hung out with Tamara Staples in her old loft space in Bucktown. I remember doing a portrait of her while she was making these extraordinary hats. As she is now, she has a spirit that is free and carries on much in the same way from what I remember. More responsibilities, a different life, sadness for me of the lost southern drawl, she is a woman of Brooklyn, NY. It was refreshing to me that I was able to hang out with her for a few hours, take her portrait again and talk of the past, talk of now and of art.
circa maybe 1987. The Hat Maker
2013. Tamara Staples
April 22, 2013
Alignment...
Music | Little Bird by Imogen Heap
It happens on occasion... Not often enough... It's when stars align and everything just falls into place. Of course, it is not without effort that this can occur. You want all your shoots to turn out this way, but for whatever reason, only once in awhile does it happen. So you imagine in your minds eye what the photo will look like and when the plate is prepared, the exposure ends, the plate is developed and then fixed, as the image appears, the reality of the image is better than your imagined perfect plate...
I officially met Erik a few weeks ago. I had put together an event where a few photographers got together to shoot analogue. A few of us met face to face to show our prints of what we had shot. We knew of each other via a community forum we both are members of. His exterior facade is very intense and I knew I wanted to capture that.
I've said before that most of my sessions are collaborative. I set up a frame and let my subjects work within it. I may suggest a turn here or there, but I don't lean on an idea and try to force an issue. Erik just fell into place.
2012-04-22 Erik
So not only was the perfection carried out with my subject, but technically, I adore the light. The symmetry of highlights and shadows here are perfect to me. I've got detail everywhere! And the Petzval lens I am loving more and more! The fall off from the eyes to everywhere else is as creamy as the light.
This is why I love what I do... It is this particular feeling I get where I have conquered my own world...
It happens on occasion... Not often enough... It's when stars align and everything just falls into place. Of course, it is not without effort that this can occur. You want all your shoots to turn out this way, but for whatever reason, only once in awhile does it happen. So you imagine in your minds eye what the photo will look like and when the plate is prepared, the exposure ends, the plate is developed and then fixed, as the image appears, the reality of the image is better than your imagined perfect plate...
I officially met Erik a few weeks ago. I had put together an event where a few photographers got together to shoot analogue. A few of us met face to face to show our prints of what we had shot. We knew of each other via a community forum we both are members of. His exterior facade is very intense and I knew I wanted to capture that.
I've said before that most of my sessions are collaborative. I set up a frame and let my subjects work within it. I may suggest a turn here or there, but I don't lean on an idea and try to force an issue. Erik just fell into place.
2012-04-22 Erik
So not only was the perfection carried out with my subject, but technically, I adore the light. The symmetry of highlights and shadows here are perfect to me. I've got detail everywhere! And the Petzval lens I am loving more and more! The fall off from the eyes to everywhere else is as creamy as the light.
This is why I love what I do... It is this particular feeling I get where I have conquered my own world...
April 14, 2013
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