Going Through My Hard Drive
13 years ago
Thursday, April 30, 2009
The thesis is.... the problem of what this is.
"Why" is the most subversive question. Don’t answer it.
Is the 'construction' of a print, something I want to document/include in the thesis?
Do I include contact sheets in the work? Are they my ‘sketches’ or diagrams?
Do I include copies of historical photographs or just my own?
What is the story I am trying to tell?
What does it have to do with architecture?
Where can I show my work? and can I do it in mid-July?
- Talk to Jeff L. about using one of the empty shops along Main Street.
Write about your obsessions....
What about the town fascinates me?
STARE at my photographs and find inspiration/stories within them
What does pattern recognition have to do with my photos/groups of photos?
- Rhetorical structure of photos
- Tarkovsky
- The group is an immediate lesson in how to see one image “This is the quintessential photograph of this one”
What happens with the individual photos?
What am I getting out of this?
Wednesday, April 22, 2009
hmm...
I am still concerned about the connection to architecture.
Very concerned.
I know it's there - I'm just worried that I may not find it in time,
or that I won't be able to verbalize it.
a.
Very concerned.
I know it's there - I'm just worried that I may not find it in time,
or that I won't be able to verbalize it.
a.
...from my daybook...
April 21st 2009
I am a bit anxious about reprinting photographs I already did just b/c they're not on glossy. But I want everything to look cohesive and professional so I guess it has to be done.
First up - 3 mailboxes & open/closed. I remember these being somewhat of a pain to print, so I am not too excited about it.
The first issue seems to be the difference in paper - not just pearl vs glossy. Apparently, every batch of paper can be slightly different because of the chemistry used to produce it.
So no the image, which I thought wold take just 15mins or to reproduce is going to take quite a bit longer - I need to iron all the kinks out.
April 22nd 2009
Yesterday did not go well. I printed two images, neither of which I am satisfied 100% with. The open/closed is a train wreck - not less than 3 issues: I messed up on masking, should have exposed the frame longer and this SPOT appeared out of nowhere. It's on the emulsion side of the negative and I can't get rid of it. Bob has a solution I can use to manually touch up the actual print, so we'll see.
I decided to stay away from 're-printing' anything today and I am printing two brand new images - great train bridge pictures taken from underneath the structure.
I have to admit - the only reason I stuck it out yesterday as long as I did is because of this schedule I've made - I can't fall behind, even a bit, if I want to defend on July 16th.
[part way through printing]
Today is going drastically better - the images in the T1 train bridge series were all taken one after another and have the same subject matter so the exposures are very similar. There will need to be adjustments, no doubt, but I may even accomplish 3 prints today.
Because they were taken in foggy conditions, the atmosphere of these images is every different than others I've printed. I am debating on sacrificing increased contrast (and true blacks and whites) to focus on a wide range of greys.
OR, do I sacrifice detail for a feeling of immensity and power??
[after printing]
The images are great. I am not sure what order I will be presenting the triptych, but I managed to print all three components today, which is excellent. I decided to forget about true blacks and focused, instead, on depth. There is a lot of detail within the structure of the bridge, and I thought it was more important to capture that.
I am a bit anxious about reprinting photographs I already did just b/c they're not on glossy. But I want everything to look cohesive and professional so I guess it has to be done.
First up - 3 mailboxes & open/closed. I remember these being somewhat of a pain to print, so I am not too excited about it.
The first issue seems to be the difference in paper - not just pearl vs glossy. Apparently, every batch of paper can be slightly different because of the chemistry used to produce it.
So no the image, which I thought wold take just 15mins or to reproduce is going to take quite a bit longer - I need to iron all the kinks out.
April 22nd 2009
Yesterday did not go well. I printed two images, neither of which I am satisfied 100% with. The open/closed is a train wreck - not less than 3 issues: I messed up on masking, should have exposed the frame longer and this SPOT appeared out of nowhere. It's on the emulsion side of the negative and I can't get rid of it. Bob has a solution I can use to manually touch up the actual print, so we'll see.
I decided to stay away from 're-printing' anything today and I am printing two brand new images - great train bridge pictures taken from underneath the structure.
I have to admit - the only reason I stuck it out yesterday as long as I did is because of this schedule I've made - I can't fall behind, even a bit, if I want to defend on July 16th.
[part way through printing]
Today is going drastically better - the images in the T1 train bridge series were all taken one after another and have the same subject matter so the exposures are very similar. There will need to be adjustments, no doubt, but I may even accomplish 3 prints today.
Because they were taken in foggy conditions, the atmosphere of these images is every different than others I've printed. I am debating on sacrificing increased contrast (and true blacks and whites) to focus on a wide range of greys.
OR, do I sacrifice detail for a feeling of immensity and power??
[after printing]
The images are great. I am not sure what order I will be presenting the triptych, but I managed to print all three components today, which is excellent. I decided to forget about true blacks and focused, instead, on depth. There is a lot of detail within the structure of the bridge, and I thought it was more important to capture that.
Tuesday, April 21, 2009
Schedule
Since I found out I can defend as a part-time student, I started a pretty rigorous printing schedule in order to meet my (self-imposed) thesis deadline.
Main Structure
Thursdays to Mondays - printing days (I worked it out so that every day I print one photo, and about two days a week, I print two - I'm hoping as the weeks go on, this will take me less time each day)
Tuesdays - High resolution scanning/writing days
Wednesdays - Meetings with Don & Photography elective
Everyday - researching/reading/taking photos/developing film
Milestones
May 1
30 photos chosen for printing (I have about 25 chosen already)
13 photos printed
May 25
60 photos chosen for printing
34 photos printed
June 4
Rough draft submitted
June 18
Sign-off
Schedule defense
June 20
Last photo printed (#60)
Last set of high-res scanning
June 21-24
Finish formatting thesis
June 25
Hand in 3 copies to Andri
June 26-28
Officially out of commission
June 29- July 10
Begin work full-time
Mount all 60 photographs
July 11-15
Prepare for defense
July 16
Defend
July 17-19
Officially out of commission
July 20-26
Make suggested corrections to thesis
July 27
Submit to GSO
I think this sounds pretty doable, though I'm not sure if I'm not kidding myself.... what do you guys think? I would also like to have an exhibition somewhere around the defense time, though I am not sure how feasible that is now that I am defending much earlier than September.
a.
Main Structure
Thursdays to Mondays - printing days (I worked it out so that every day I print one photo, and about two days a week, I print two - I'm hoping as the weeks go on, this will take me less time each day)
Tuesdays - High resolution scanning/writing days
Wednesdays - Meetings with Don & Photography elective
Everyday - researching/reading/taking photos/developing film
Milestones
May 1
30 photos chosen for printing (I have about 25 chosen already)
13 photos printed
May 25
60 photos chosen for printing
34 photos printed
June 4
Rough draft submitted
June 18
Sign-off
Schedule defense
June 20
Last photo printed (#60)
Last set of high-res scanning
June 21-24
Finish formatting thesis
June 25
Hand in 3 copies to Andri
June 26-28
Officially out of commission
June 29- July 10
Begin work full-time
Mount all 60 photographs
July 11-15
Prepare for defense
July 16
Defend
July 17-19
Officially out of commission
July 20-26
Make suggested corrections to thesis
July 27
Submit to GSO
I think this sounds pretty doable, though I'm not sure if I'm not kidding myself.... what do you guys think? I would also like to have an exhibition somewhere around the defense time, though I am not sure how feasible that is now that I am defending much earlier than September.
a.
Friday, April 17, 2009
Storytelling
When I was interviewed for the program at the University of Waterloo School of Architecture, I was asked the obvious question: Why do I want to study architecture? I barely had to think about it, and I'm not quite sure where the answer came from, but it was what I felt at the time, and believe I would still answer that question similarly if asked today, seven years later.
I said, I wanted to study architecture because I believed "buildings tell stories". Architecture is the result and response of a culture, a history, and a specific time-frame within that history. It tells the story of the architect and all those involved who help shape and design it.
Little did I know, the man asking that question was the school's Iconography professor and the first book he would assign to our incoming first year class would be "the Storyteller".
I have this same reaction to photography, though, now, I would change the wording of my answer. Buildings don't tell us anything, they show us, just like photos. Without captions, a photograph gives you no information - you can't even tell what year or what country it was taken, let alone under what circumstances and what it meant to take that photo or be in the photo itself.
Both architecture and photography are utilitarian practices - architecture provides us with buildings, cities, homes, entire environments to live and work in, while photography documents that life for us, whether to remember, experience or share it. But, at the same time, these two practices enhance our lives and allow us to share with others, what we as a society consider important or worth documenting.
Let's look at architecture for the time being, in the context of my site, Galt, Ontario. The steeples of the town rise higher than anything along the river, creating a beautiful cityscape punctuated with spires. The importance of this was immense at the time of the building of the churches - they were the most important buildings within their Christian community and therefore, nothing could rise above them in hierarchy or in physical form. Recently, it was passed that two new condo towers slated to be built along the river's edge, had permission to, indeed, rise above the church steeples.
Another change within the structure of the town, is the use of existing buildings and the overall use of the town. Dubbed the "Manchester of Canada" in the latter part of the nineteenth century, Galt produced textiles, machine parts and ammunition at a calibre matched by no other town in the country, even her quickly expanding sister-city to the north, Berlin (Kitchener). Her product was shipped to Europe, assisting the British troops during the Crimean War, and even as far as Asia and India. After the industrial revolution & the cessation of passenger train service between Galt and the surrounding areas, the town's buildings slowly began falling into decay.
All is not lost, however, since many of these buildings are now being reinforced and renovated, their old names repainted in crisp, black and white paint on the side, "Tiger Mills" or "The Galt Knife Factory". They have been given new life as condominiums, with 'historical presence and meaning'.
I began photographing this town for different reasons. It made sense practically - I live here and have easy and quick access to my site, and being constantly immersed in the town gives me an insider’s view and perspective. The other reason I began photographing Galt was for the sheer fascination I had with it. The old buildings, the people, the river – it all made for an incredible history, which I read, learned and became very proud of.
I wanted to tell the story of Galt, though for the longest time, was very confused as to what that story was (something I have yet to pin point, though I feel I am getting closer). Was I telling the story of its past and so photographing only the decaying buildings and those which have managed to last all these years? Or was I photographing the story of its future? With the help of the School of Architecture, the Business Improvement Program initiated by the mayor and the whisper of the Venice Biennale making its way across the Atlantic to the small town, Galt was slowly being revived. For the first time in decades, there was a very hopeful future for the town that, in the 70s, disappeared into the large and anonymous collection of other lost towns, known as Cambridge, which in turn was swallowed up by “The Waterloo Region”. The identity, which Galt had worked so hard to achieve and maintain for almost 200 years, disappeared.
I finally settled on simply photographing. I would stop looking for a justification for picture taking, besides my desire to do so, as well, I would stop trying to take an analytical and structured approach to the task of documenting the town. I began to wander streets, not caring particularly where I ended up or how long I was out, as long as I had enough film.
My decision to use 35mm and 120mm film cameras and not digital equipment was automatic. My love of the craft itself drove me to make the decision, though considering the subject is Galt, once a prospering industrial town, it seems very appropriate. It is a manner of production that is based on a meticulous method, utilizing equipment & materials that have not been the primary choice of individuals & industry in decades. This system only succeeds with many man hours, the use of one’s hands (and eyes) and ultimately on skill (which comes only with hours and hours of practice – in the beginning it’s mainly guesswork).
Recently, as the deadline for my thesis approaches, I was directed to begin ‘grouping’ my images. I had attempted such an exercise in a blog entry and it was considered very successful and a good route to take to really identify the patterns in my work. I was pleasantly surprised that photographs, which I had taken months previously, fit in very nicely with those taken just days before – there seems to be a system I am employing, even though I am note aware, yet, of what that system is. As I continued to group the photos, a cohesiveness began to evolve – photos, which I thought were interesting but not anything special, took on a brand new life when placed beside another such, non-descript photo. The power of the pair or group could not be ignored and it is this route that I am taking, attempting to find themes and motifs within my photographs to better understand what story I am trying to tell.
a.
I said, I wanted to study architecture because I believed "buildings tell stories". Architecture is the result and response of a culture, a history, and a specific time-frame within that history. It tells the story of the architect and all those involved who help shape and design it.
Little did I know, the man asking that question was the school's Iconography professor and the first book he would assign to our incoming first year class would be "the Storyteller".
I have this same reaction to photography, though, now, I would change the wording of my answer. Buildings don't tell us anything, they show us, just like photos. Without captions, a photograph gives you no information - you can't even tell what year or what country it was taken, let alone under what circumstances and what it meant to take that photo or be in the photo itself.
Both architecture and photography are utilitarian practices - architecture provides us with buildings, cities, homes, entire environments to live and work in, while photography documents that life for us, whether to remember, experience or share it. But, at the same time, these two practices enhance our lives and allow us to share with others, what we as a society consider important or worth documenting.
Let's look at architecture for the time being, in the context of my site, Galt, Ontario. The steeples of the town rise higher than anything along the river, creating a beautiful cityscape punctuated with spires. The importance of this was immense at the time of the building of the churches - they were the most important buildings within their Christian community and therefore, nothing could rise above them in hierarchy or in physical form. Recently, it was passed that two new condo towers slated to be built along the river's edge, had permission to, indeed, rise above the church steeples.
Another change within the structure of the town, is the use of existing buildings and the overall use of the town. Dubbed the "Manchester of Canada" in the latter part of the nineteenth century, Galt produced textiles, machine parts and ammunition at a calibre matched by no other town in the country, even her quickly expanding sister-city to the north, Berlin (Kitchener). Her product was shipped to Europe, assisting the British troops during the Crimean War, and even as far as Asia and India. After the industrial revolution & the cessation of passenger train service between Galt and the surrounding areas, the town's buildings slowly began falling into decay.
All is not lost, however, since many of these buildings are now being reinforced and renovated, their old names repainted in crisp, black and white paint on the side, "Tiger Mills" or "The Galt Knife Factory". They have been given new life as condominiums, with 'historical presence and meaning'.
I began photographing this town for different reasons. It made sense practically - I live here and have easy and quick access to my site, and being constantly immersed in the town gives me an insider’s view and perspective. The other reason I began photographing Galt was for the sheer fascination I had with it. The old buildings, the people, the river – it all made for an incredible history, which I read, learned and became very proud of.
I wanted to tell the story of Galt, though for the longest time, was very confused as to what that story was (something I have yet to pin point, though I feel I am getting closer). Was I telling the story of its past and so photographing only the decaying buildings and those which have managed to last all these years? Or was I photographing the story of its future? With the help of the School of Architecture, the Business Improvement Program initiated by the mayor and the whisper of the Venice Biennale making its way across the Atlantic to the small town, Galt was slowly being revived. For the first time in decades, there was a very hopeful future for the town that, in the 70s, disappeared into the large and anonymous collection of other lost towns, known as Cambridge, which in turn was swallowed up by “The Waterloo Region”. The identity, which Galt had worked so hard to achieve and maintain for almost 200 years, disappeared.
I finally settled on simply photographing. I would stop looking for a justification for picture taking, besides my desire to do so, as well, I would stop trying to take an analytical and structured approach to the task of documenting the town. I began to wander streets, not caring particularly where I ended up or how long I was out, as long as I had enough film.
My decision to use 35mm and 120mm film cameras and not digital equipment was automatic. My love of the craft itself drove me to make the decision, though considering the subject is Galt, once a prospering industrial town, it seems very appropriate. It is a manner of production that is based on a meticulous method, utilizing equipment & materials that have not been the primary choice of individuals & industry in decades. This system only succeeds with many man hours, the use of one’s hands (and eyes) and ultimately on skill (which comes only with hours and hours of practice – in the beginning it’s mainly guesswork).
Recently, as the deadline for my thesis approaches, I was directed to begin ‘grouping’ my images. I had attempted such an exercise in a blog entry and it was considered very successful and a good route to take to really identify the patterns in my work. I was pleasantly surprised that photographs, which I had taken months previously, fit in very nicely with those taken just days before – there seems to be a system I am employing, even though I am note aware, yet, of what that system is. As I continued to group the photos, a cohesiveness began to evolve – photos, which I thought were interesting but not anything special, took on a brand new life when placed beside another such, non-descript photo. The power of the pair or group could not be ignored and it is this route that I am taking, attempting to find themes and motifs within my photographs to better understand what story I am trying to tell.
a.
Tuesday, April 14, 2009
In Preparation for Mx Reviews
I've been going through existing photos to see if I could put together more groupings, without actually having to go out and take more photos, just yet. Up until now, I have been somewhat worried that most of the photos I had taken were completely useless. I was concerned that I had not even taken a quarter of the required (good) photos for the thesis, but it seems that I might be well on my way... I hope, anyway. Here are some more.... (some photos appear more than once).
a.
...somewhat phallic...
Groups of four.
Fences.
The back of the Ainslie street block.
a.
WALLS
...somewhat phallic...
Groups of four.
River bank walls.
Fences.
The back of the Ainslie street block.
Monday, April 13, 2009
Groupings
In preparation for the Mx Reviews this coming Thursday, I am preparing some more 'groupings'. I am hoping this exercise helps me look at my existing photographs in a different light, and possibly be an inspiration for more photographs, either to go into current groups or to add variety. I have noticed I have quite a few train bridge shots, three groups, actually, so I think that topic is sufficiently covered for the time being.
I don't think I can have all of these developed in time for the review, in fact, I'm not sure I want to, so I am going to see about developing as much as I can, preparing my presentation and bringing in a projector to show my work. I'd like to get opinions before developing all these photos, not knowing if they will be included in my final selection.
Please ignore the quality variation in some of these groups - some are scanned prints and others only scanned contact sheets. Also, if you notice, some of the groups contain recent photographs as well as ones taken many months ago. I think this is a good sign that, perhaps, some of the pieces is starting to come together into a coherent work.
I don't think I can have all of these developed in time for the review, in fact, I'm not sure I want to, so I am going to see about developing as much as I can, preparing my presentation and bringing in a projector to show my work. I'd like to get opinions before developing all these photos, not knowing if they will be included in my final selection.
Please ignore the quality variation in some of these groups - some are scanned prints and others only scanned contact sheets. Also, if you notice, some of the groups contain recent photographs as well as ones taken many months ago. I think this is a good sign that, perhaps, some of the pieces is starting to come together into a coherent work.
a.
The train bridge.
This grouping previously included a different photograph. This new photograph is a scan of a final 7"x9" print and I think it is much more successful. I am very happy with this picture.
She is sad and beautiful and I'd steal her if she wasn't chained to the post. But that's probably what makes her so beautiful.
I saw a similarity in composition between these two photographs, though the difference in light might be too much of a distraction... maybe I need a third.
A new addition (of an old photo) to a previous twosome.
Some new, some old photos... backyards.
A large house up on the hill.
Collections.
Here are two of the newest contact sheets & some images from them which were not included in the groupings.
This one was really just for me.
Friday, April 10, 2009
Update.
The last three days:
Wednesday: Printed a train bridge picture on glossy paper - looks great. I'm happy with the glossy paper decision. I'm up to seven finals... though six have to be redone on glossy. It should go relatively quickly.
Thursday: Lost a day due to dizziness... bad timing. Bought a pack of glossy paper though, and a binder & plastic inserts to hold the finals so they don't get ruined. Everything is much more organized now.
Friday: Back in the darkroom today. Printing the public school diptych. Hoping to catch up on lost time. Going to reprint the train image today too... I don't think I need it for Mx reviews as it doesn't really have a pair or group yet, but it won't hurt. It should be pretty easy since I have everything writting down.
Saturday and Sunday will be write-offs... I'm beginning to panic slightly for Mx reviews...
a.
...from my daybook...
April 4
After speaking to Bob, I learned there is no easy solution to my park picture. Branches against skies (I'm sure) will be the bane of my existence forever.
The only way to solve the problem is to individually spot burn the main white areas while avoiding, as best I can, the larger branches.
So, that's what I did yesterday. I admit it looks muhc better than before, but I think it still needs some work.
[after printing]
Very overwhelmed and furstrated right now. I started printing this image and it did not go well. I don't think I have the skill set to print this image yet... not this large.
Got a pep talk from Sach... I'm going to do a different image.
[1.5hrs later]
I think I've successfully printed an image. This one was much easier - not nearly as much contrasting areas. No more sunny days! I am quite happy with the result of this one. I even listened to my gut and slightly reframed the picture, bringing the right side to hug the plant a little more. I felt the plant was getting lost and it's one of my favourite things about this picture.
There are seventy-six day sleft of my 100, or 97 if I give myself until the very end of June. However way I look at it, there isn't much time left and I have printed finals of only five images...
April 8
Developed two rolls today. They look pretty good - might be some interesting shots on there. Going to work on the contact sheets today and one train bridge print. I'm trying to get some ready for the Mx Reviews. I'm also done my bulk roll of film. I might have 12 or so pictures worth of film left. Aleks is picking me up four rolls of 120mm film for this weekend, so I'll focus on that for a while. Maybe some groups could contain both sizes of pictures?
I am still facing the dilema - glossy or pearl? I have always printed on pearl... I like that the paper is somewhat unassuming and not show-offy. Glossy paper also tends to glare if not observed under the right condition and at the right angle. BUT, it does look really sleek and the contrast pops more. The blacks are definitely true blacks. I'm going to have to decide quickly before I print too many more finals. Redoing 7 or 8 isn't a huge deal... 20 or more is a bit redundant.
Spoke with Bob... glossy paper it is.
[back tracking]
A couple day sago I printed the bookstore front window. It looks pretty nice - and is a nice partner to the front door/mailbox/plant image I printed a couple days earlier. I'd liek to get a third to go along with this group/theme.
After speaking to Bob, I learned there is no easy solution to my park picture. Branches against skies (I'm sure) will be the bane of my existence forever.
The only way to solve the problem is to individually spot burn the main white areas while avoiding, as best I can, the larger branches.
So, that's what I did yesterday. I admit it looks muhc better than before, but I think it still needs some work.
[after printing]
Very overwhelmed and furstrated right now. I started printing this image and it did not go well. I don't think I have the skill set to print this image yet... not this large.
Got a pep talk from Sach... I'm going to do a different image.
[1.5hrs later]
I think I've successfully printed an image. This one was much easier - not nearly as much contrasting areas. No more sunny days! I am quite happy with the result of this one. I even listened to my gut and slightly reframed the picture, bringing the right side to hug the plant a little more. I felt the plant was getting lost and it's one of my favourite things about this picture.
There are seventy-six day sleft of my 100, or 97 if I give myself until the very end of June. However way I look at it, there isn't much time left and I have printed finals of only five images...
April 8
Developed two rolls today. They look pretty good - might be some interesting shots on there. Going to work on the contact sheets today and one train bridge print. I'm trying to get some ready for the Mx Reviews. I'm also done my bulk roll of film. I might have 12 or so pictures worth of film left. Aleks is picking me up four rolls of 120mm film for this weekend, so I'll focus on that for a while. Maybe some groups could contain both sizes of pictures?
I am still facing the dilema - glossy or pearl? I have always printed on pearl... I like that the paper is somewhat unassuming and not show-offy. Glossy paper also tends to glare if not observed under the right condition and at the right angle. BUT, it does look really sleek and the contrast pops more. The blacks are definitely true blacks. I'm going to have to decide quickly before I print too many more finals. Redoing 7 or 8 isn't a huge deal... 20 or more is a bit redundant.
Spoke with Bob... glossy paper it is.
[back tracking]
A couple day sago I printed the bookstore front window. It looks pretty nice - and is a nice partner to the front door/mailbox/plant image I printed a couple days earlier. I'd liek to get a third to go along with this group/theme.
Tuesday, April 7, 2009
William Klein
A quote from Contacts.1 - a collection of short films about photographers' contact sheets, accompanied by their own narrative.
William Klein begins....
"A picture is taken at 1/125 of a second. What do you know of a photographer's work? 100 photographs? Let's say 125? Well that's a body of work. That comes to all told one second. Let's say more like 250 photographs. That would be a rather large body of work. And that would come to two seconds. The life of a photographer, even a great photographer, as they say.... two seconds."
...and ends....
"There you are. About 20 photographs... 100 non-photographs... a few contact sheets... a few seconds."
Some of Klein's images....
William Klein begins....
"A picture is taken at 1/125 of a second. What do you know of a photographer's work? 100 photographs? Let's say 125? Well that's a body of work. That comes to all told one second. Let's say more like 250 photographs. That would be a rather large body of work. And that would come to two seconds. The life of a photographer, even a great photographer, as they say.... two seconds."
...and ends....
"There you are. About 20 photographs... 100 non-photographs... a few contact sheets... a few seconds."
Some of Klein's images....
Some Final Prints
Here are some final prints I've made so far; most of these you have seen in a less refined state. In terms of 'groupings' I am still looking for pairs/groups for most of these - that will be the next step. For Mx reviews I would like to present a series of groups or pairs to show and discuss.
I would love to have a third for this group.
Plus this one, obviously.
Here are the groupings I would like to have prepared for Mx reviews. I am not completely confident about all of them, but I figure it's a good place to start. This may seem somewhat redundant to you to see them again, but it's helping me organize everything and see it all together, so bear with me.
Looking at the previous three groups one after another, I realise they all have the same relationships/perspectives. I'm not sure if I like this... they seem redundant.I am not sure about these photos, per se, but there is something about grouping photographs of groupings that I like... photographing collections and then creating a collection out of them...
Monday, April 6, 2009
Friday, April 3, 2009
Favourites
I want to put together a collection of photographs which I love.
I am finding it very difficult.
I am finding it very difficult.
...from my daybook...
March 31
I've been browsing through photos I've posted so far.
There are some great 'groupings' among them - photos that on their own may not have caught the attention of anyone look quite intersting and seem to have mch more potential when paired with another.
Examples:
- two balcony shots of school
- pictures of grouping of bldgs in water/ainslie parking lot
- three shots of house gates/steps
April 2
[12:30pm]
My favourite time in the darkroom is when the ACM closes for lunch. It becomes my own studio without a stream of people coming in and out with printing issues...
Don suggested I put as much energy and anger into my work as there is in my thesis soundrack - I think I can do that. I didn't really realize there was anger in my soundtrack, but I guess there is. It's funny what a year (or two or three....) of Masters will do to a person.
As of May 6th, there will be aphotography class for the third years and my very own studio will no doubt be transformed into a chaotic mess, at least a couple times a week. NIghts and Saturdays will probably become my escape.
I have started developing three prints at one time, using three different enlargers. I have access to all of them right now, so I might as well take advantage of it. I find that I have much more patience when I do three at a time - mainly b/c before I would put in a couple hours to finish one print and then I would have to start the process all over again for a different print. Now, I start the testing for all three images and near the end of the finals around the same time. It feels much less repetitive and tedious. To avoid confusion, I am religiously writing every piece of information down as soon as I expose the paper - I can't keep track of that many numbers all at once.
Right now I'm workign on the park image, the school w/ trees and one of the 120mm wall images.
[5:30pm]
Okay, so the park is a bit of a puzzle. The bldg and ground are nto a problem - it's the trees. Or, the tre branches to be exact. Here's what I've done.
After a couple test strips, I decided f16 is a good aperture. With a number one-and-a-half filter, even some ofthe smallest twigs are shoping up, creating an incredbly intricate web in the sky. But, the photo is a bit flat - there aren't any blacks, really and the texture of the tree trunk is pretty blah.
As soon as I do 21sec w/ a two-and-a-half, the overall depth of the photo improves quite a bit... but all the little twigs disappear! The top half of the photo is too washed out. I tried burning the sky & twigs (avoiding the main tree trunk) but it just doesn't work tha twell. The branches and sky are too dark compared to the rest of the photo.
[8:oopm]
I've done some more testing and I can probably up the exposure to about 25 seconds for the entire image of the park and burn the top portion an extra 7 seconds or so to get some more detail. I'd like to run this over with Bob, though, see if he has any suggestions before I waste half a pack of paper.
I did manage to get a very nice print of the school, though, so that makes me happy.
However, after speaking to Bob, I gave up on the 120mm wall image - it's just not good enough to be in the thesis, so there is no point of messing around with it. I have another roll in the Mamiya that I would like to finish and I'll print those instead (if they're better).
I also started test strips of the cyclops house - an hour or so more, and I think I'll have the print.
I've been browsing through photos I've posted so far.
There are some great 'groupings' among them - photos that on their own may not have caught the attention of anyone look quite intersting and seem to have mch more potential when paired with another.
Examples:
- two balcony shots of school
- pictures of grouping of bldgs in water/ainslie parking lot
- three shots of house gates/steps
April 2
[12:30pm]
My favourite time in the darkroom is when the ACM closes for lunch. It becomes my own studio without a stream of people coming in and out with printing issues...
Don suggested I put as much energy and anger into my work as there is in my thesis soundrack - I think I can do that. I didn't really realize there was anger in my soundtrack, but I guess there is. It's funny what a year (or two or three....) of Masters will do to a person.
As of May 6th, there will be aphotography class for the third years and my very own studio will no doubt be transformed into a chaotic mess, at least a couple times a week. NIghts and Saturdays will probably become my escape.
I have started developing three prints at one time, using three different enlargers. I have access to all of them right now, so I might as well take advantage of it. I find that I have much more patience when I do three at a time - mainly b/c before I would put in a couple hours to finish one print and then I would have to start the process all over again for a different print. Now, I start the testing for all three images and near the end of the finals around the same time. It feels much less repetitive and tedious. To avoid confusion, I am religiously writing every piece of information down as soon as I expose the paper - I can't keep track of that many numbers all at once.
Right now I'm workign on the park image, the school w/ trees and one of the 120mm wall images.
[5:30pm]
Okay, so the park is a bit of a puzzle. The bldg and ground are nto a problem - it's the trees. Or, the tre branches to be exact. Here's what I've done.
After a couple test strips, I decided f16 is a good aperture. With a number one-and-a-half filter, even some ofthe smallest twigs are shoping up, creating an incredbly intricate web in the sky. But, the photo is a bit flat - there aren't any blacks, really and the texture of the tree trunk is pretty blah.
As soon as I do 21sec w/ a two-and-a-half, the overall depth of the photo improves quite a bit... but all the little twigs disappear! The top half of the photo is too washed out. I tried burning the sky & twigs (avoiding the main tree trunk) but it just doesn't work tha twell. The branches and sky are too dark compared to the rest of the photo.
[8:oopm]
I've done some more testing and I can probably up the exposure to about 25 seconds for the entire image of the park and burn the top portion an extra 7 seconds or so to get some more detail. I'd like to run this over with Bob, though, see if he has any suggestions before I waste half a pack of paper.
I did manage to get a very nice print of the school, though, so that makes me happy.
However, after speaking to Bob, I gave up on the 120mm wall image - it's just not good enough to be in the thesis, so there is no point of messing around with it. I have another roll in the Mamiya that I would like to finish and I'll print those instead (if they're better).
I also started test strips of the cyclops house - an hour or so more, and I think I'll have the print.
Wednesday, April 1, 2009
Cancer Horoscope for week of April 2, 2009
I linked to this site through Vien's blog.
I enjoy it.
"You could be highly entertained and resoundingly moved by the dilemmas that come into your vicinity, but without going overboard into obsession. You could embrace the challenges in appreciation for the way they compel you to get smarter, but without clutching them desperately."
I enjoy it.
"You could be highly entertained and resoundingly moved by the dilemmas that come into your vicinity, but without going overboard into obsession. You could embrace the challenges in appreciation for the way they compel you to get smarter, but without clutching them desperately."
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