Wednesday, April 9, 2014

hats in relative motion

I have noticed that when sitting down to eat with friends that conversation drops off relative to the flavor of the food. If the food is prepared with love and eaten by individuals with a strong appetite, exchanged words tend to be rare. 

Maybe that makes sense. 

I use this as an analogy to explain the lack of reports from the studio. I have been busy with a few exhibitions and my second collaboration with Bridgette Bogle. This one involves zoetropes. Four of them. Below is a raw series that will include the use of color over the silhouetted figure.

Saturday, March 29, 2014

the return of the return of Dr. Frangst

My projects typically have a run of about four years before transitioning to the next body of work. From the summer of 2001 until about 2006 I worked under the rules of staged cyanotype self-portraiture creating a fictional character name Dr. Frangst. The project came to a stand-still in late 2005 when I replaced the character's usual white lab coat with a cyanotype photogram coat with gingko leaf patters covering it. I made a few more images after that but nothing really "took". Gingko Photogram Lab Coat is currently on view at Kenyon College in an exhibition titled Material Message curated by Molly Bondy and Marcella Hackbardt. The exhibition can be found Kahler Gallery which is in the Studio Art Building and will be on view now through April 12th. Kenyon College is located in Gambier, Ohio.

Other artists in the exhibit include: Brian Andrews, Cheyenne Cardell, Ashley Cummings, Dennis DeHart, Kelsey Dillon, Kate Fraiman, Meredith Friel, Jon Funder, Rory Hamovit, Clare Hodgdon, Sarah Kaufman, James Luckett, Jack McKenzie, Ashley Moore, Elizabeth Myers, Patricia Lois Nuss, Selina Roman, Jacinda Russell, Ally Schmaling, Morgan Ford Willingham, Emily Witosky, Zeslie Zablan, and Maria Zarka.

Thursday, March 27, 2014

A sensitive man

Yes. I am a sensitive man. Last month I ran into a lot of trouble trying to ship Iris Peignoir with Hidden Shorts to Arizona in a frame. I packed it so that it would be within UPS's height and girth restrictions but my avoidance of dealing with the UPS store resulted in a lot of driving around and a lot of packing and unpacking of a large box with a smaller box in the parking lot outside the UPS customer center.

Severely defeated, I called up Gina at Art Intersection who gave me the go-ahead to send the unframed piece in a tube. When considering fourteen dollars vs. 200 plus dollars and all the heartache, my artistic vision is compelled to be OK with hanging a fugitive work on paper on the wall unframed.

Which is how it is being shown at Light Sensitive on view at Art Intersection now until April 19th. The exhibition juried by Tom Persinger of f295 is billed as a celebration of images from the darkroom. There is nothing dark about the grassy area I exposed this piece in during three weeks of Vermont sun. But it is light sensitive.

Wednesday, March 26, 2014

respond in kind

I had an interesting twenty minute session with Mary Virginia Swanson during session two of Fotofest's 2014 Meeting Place. MVS is one of the most down to earth and knowledgeable consultants regarding the business of marketing photography. She didn't have the opportunity to go over my website but did discuss photo books as a better "leave behind". One thing stuck in mind from the session. The concept of linking back. This can be considered a twenty-first  century version of "respond in kind".

In February I had the good fortune to discuss my photographic projects with Lauren Pearlman Sugita aka Paperwoman who is the heart of Paper Connection International. This is where I purchase the Kozo Unryu for the Vandyke brown prints. She ended up selecting me to be her artist of the month which resulted with an entry for my photography on her blog.

It is now March and Lauren is featuring Joan Son as her March artist. After meeting with Mary Virginia Swanson I felt compelled to do a belated link back.

February Artist of the Month

and the blog front page can be reached here.

Tuesday, February 18, 2014

Old Habits

In one portfolio review last October I was cautioned against using the scanner as a photographic instrument because there are a lot of artists now using it. The reviewer was hinting at push back. While I took that criticism to heart, I ended up creating my favorite version of the buckeye, shell and all, with the scanner. Old habits.

I did print it on the Tosahakkinshi (the tosa washi) made for the exhibition in Ino Town, Japan at the Paper Museum. 

Here is a scan of it. I've decided to submit this for the Dayton Visual Arts Center's annual auction. It will be the first time this paper will be seen in the mid-west.

Monday, January 20, 2014

slower than molasses in january

Yes, I do camera work. The view camera has been described as a slower way of working than smaller, hand held cameras. In the hands of a slower worker, it's like pouring molasses on a winter's day. 

Saturday I loaded film holders.

Sunday I took up all afternoon working with buckeyes and using the 8x10 view camera with the extension rails. 

To compound it all, I used a Rodenstock Imagon 360mm lens. Mine has no shutter and the unusual aperture set up is initially a bit confusing.

Today I developed in camera paper positives. 

I am still uncertain as to the final arrangement. I like to challenge myself with negative space but find myself drawn to the initial arrangement which was lost due to camera set up, difficulty of working with the Imagon and the rickety nature of the buckeyes (they are in pieces and barely want to stay put). 

original arrangement
view camera set up for final image

front view of the imagon
uncropped in camera paper positive
detail from the above image

I do like the look of the eye in the original set-up. I think I will revisit this image once I get a few of the sheets of film developed. In hindsight, I don't think the soft focus lens was the best choice so I may go back and expose it with a sharper lens and with more depth of field. 

Some notes to keep on hand:

I photographed from about 3 pm until 4:45 pm yesterday. The paper positive exposures were made with window light around 4:30 pm and I rated the film at about ISO 3. I'm thinking that it should be rated about ISO 1.5. The first exposure was about 8 minutes. I calculated a bellows extension factor of about 4 stops and ignored any reciprocity failure for both film and paper exposures. I did a second paper negative exposure of 25 minutes. It was going to be 16 minutes. Then it was twenty which I stretched out to 25. 

I was doing dishes and couldn't be stopped. 

Both paper positives were developed in Sprint paper developer diluted 1:18. 

Film exposures (not yet developed) were 32 seconds and 16 seconds for ISO 100 film (Shanghai?) and 16 seconds and 8 seconds for some older, fogged TMax 400. 

Monday, January 6, 2014

greetings from the frozen midwest

Staying in today to avoid the wind, the wind-chill and the subzero temperatures. I even emptied my work area in the garage to make a spot for the car. That's what garages are typically designed for...the sheltering of cars, not the coating of anthotypes or UV exposure dependent printing. 

It's a good day for late, late portfolio review follow-ups. I think I sent one about four weeks after getting back from Chicago. That would have been early November. I guess now they are New Year's greetings. 

Next week, the Eight Annual OOVAR (Ohio Online Visual Artist Registry) Exhibition will have a closing reception on Saturday, January 11, 2014 from 2-3:30 p.m. in the Carnegie Gallery which is on the second floor of the Columbus Metropolitan Library's main branch. Included is a digital print of the (Basic) Red Tulip Sleeping Dress

The original was just sold by Loretta Puncer's Gallery 510. It is my favorite of the anthotypes and am glad to see it go to a good home. The framed anthotypes do take up a bit of room in my studio / slash office. I really do take after my father. His office was unusable except for a small area of a table in a room full of stacks of medical journals and old mail. 

No nightmarish pictures of cluttered office spaces today. Instead just a few snaps of the start of the (Basic) Red Tulip Sleeping Dress and it's final framed version.