playing around with the d90 instead of doing work for school.
30 March, 2010
selective focus of offwhite textures around my bed.
playing around with the d90 instead of doing work for school.
25 March, 2010
17 March, 2010
10 March, 2010
notez
When hands cease to intervene, the mind starts to know the absence of murky digital flowerings; inspiration is extricated from the technical process, which is entrusted solely to the unconscious calculations of the machine.
The new method of spiritual creation which is photography, puts all the stages of the production of the poetic act in their right place.
...
Knowing how to look is a completely new system of spiritual surveying. Knowing how to look is a way of inventing. And no invention has been as pure as that created by the anaesthetic stare of the extremely clear eye, free from eyelashes and the Zeiss: distilled and attentive, immune to the rosy flowering of conjunctivitis.
...
Photography glides with continual imagination over new events, which in the pictorial realm have only possibilities for being signs. The photographic crystal can caress the cold delicacy of white lavatories; follow the sleepy slowness of aquaria, analyze the most subtle articulations of electrical equipment with the unreal precision of its own magic.
...
Photographic imagination! More agile and faster in discoveries than the murky subconscious processes!
A simple change of scale causes unusual similarities, and existing-although undreamt of- analogies.
A clear portrait of an orchid poetically merges with the photographed inside of a tiger's mouth, where the sun plays in a thousand shadows with the physiological architecture of the larynx.
Photography, grasping the most subtle and uncontrollable poetry!
In the big, limpid eye of a cow we can see deformed, in the spherical sense, a miniature, very white post-machinist landscape, precise enough to define a sky where diminutive, luminous little clouds sail by.
New objects, photographed amidst the agile typography of advertisements!
All recently manufactured machines, as fresh as roses, offer their unknown metallic temperatures to the ethereal spring air of photography. Photography, pure creation of the mind!
Salvador Dali, "Photography, Pure Creation of the Mind" 1927
Among all the many misfortunes to which we are heir, it is only fair to admit that we are allowed the greatest degree of freedom of thought. It is up to us not to misuse it. To reduce the imagination to a state of slavery—even though it would mean the elimination of what is commonly called happiness—is to betray all sense of absolute justice within oneself.
Imagination alone offers me some intimation of what can be, and this is enough to remove to some slight degree the terrible injunction; enough, too, to allow me to devote myself to it without fear of making a mistake (as though it were possible to make a bigger mistake). Where does it begin to turn bad, and where does the mind's stability cease? For the mind, is the possibility of erring not rather the contingency of good?
...
It is pointless to add that experience itself has found itself
increasingly circumscribed. It paces back and forth in a cage from which it is more and more difficult to make it emerge. It too leans for support on what is most immediately expedient, and it is protected by the sentinels of common sense. Under the pretense of civilization and progress, we have managed to banish from the mind everything that may rightly or wrongly be termed superstition, or fancy; forbidden is any kind of search for truth which is not in conformance with accepted practices. It was, apparently, by pure chance that a part of our mental world which we pretended not to be concerned with any longer—and, in my opinion by far the most important part—has been brought back to light.
...
Andre Breton, i can't remember what it's from, dammit.
The new method of spiritual creation which is photography, puts all the stages of the production of the poetic act in their right place.
...
Knowing how to look is a completely new system of spiritual surveying. Knowing how to look is a way of inventing. And no invention has been as pure as that created by the anaesthetic stare of the extremely clear eye, free from eyelashes and the Zeiss: distilled and attentive, immune to the rosy flowering of conjunctivitis.
...
Photography glides with continual imagination over new events, which in the pictorial realm have only possibilities for being signs. The photographic crystal can caress the cold delicacy of white lavatories; follow the sleepy slowness of aquaria, analyze the most subtle articulations of electrical equipment with the unreal precision of its own magic.
...
Photographic imagination! More agile and faster in discoveries than the murky subconscious processes!
A simple change of scale causes unusual similarities, and existing-although undreamt of- analogies.
A clear portrait of an orchid poetically merges with the photographed inside of a tiger's mouth, where the sun plays in a thousand shadows with the physiological architecture of the larynx.
Photography, grasping the most subtle and uncontrollable poetry!
In the big, limpid eye of a cow we can see deformed, in the spherical sense, a miniature, very white post-machinist landscape, precise enough to define a sky where diminutive, luminous little clouds sail by.
New objects, photographed amidst the agile typography of advertisements!
All recently manufactured machines, as fresh as roses, offer their unknown metallic temperatures to the ethereal spring air of photography. Photography, pure creation of the mind!
Salvador Dali, "Photography, Pure Creation of the Mind" 1927
Among all the many misfortunes to which we are heir, it is only fair to admit that we are allowed the greatest degree of freedom of thought. It is up to us not to misuse it. To reduce the imagination to a state of slavery—even though it would mean the elimination of what is commonly called happiness—is to betray all sense of absolute justice within oneself.
Imagination alone offers me some intimation of what can be, and this is enough to remove to some slight degree the terrible injunction; enough, too, to allow me to devote myself to it without fear of making a mistake (as though it were possible to make a bigger mistake). Where does it begin to turn bad, and where does the mind's stability cease? For the mind, is the possibility of erring not rather the contingency of good?
...
It is pointless to add that experience itself has found itself
increasingly circumscribed. It paces back and forth in a cage from which it is more and more difficult to make it emerge. It too leans for support on what is most immediately expedient, and it is protected by the sentinels of common sense. Under the pretense of civilization and progress, we have managed to banish from the mind everything that may rightly or wrongly be termed superstition, or fancy; forbidden is any kind of search for truth which is not in conformance with accepted practices. It was, apparently, by pure chance that a part of our mental world which we pretended not to be concerned with any longer—and, in my opinion by far the most important part—has been brought back to light.
...
Andre Breton, i can't remember what it's from, dammit.
02 March, 2010
study abroad application portfolio!
i thought it would be nice to have little blurbs with each image to illustrate how they relate and my progression as an artist. i don't know if i'm making sense, though. is what i'm saying making sense? please tell me. thanks.
spring III
Digital
May 2008
This photograph was made in the second semester of my freshman year at KCAI. It was an assignment for Sherry Sparks' Constructed Realities workshop, which focused on narrative photography. It was during that workshop that I decided to make photography my major.
The image implies a relationship between the two models, creating a narrative presented in a cinematic style.
Justin & Ben at the light table
Color transparency
November 2008
For my first semester in KCAI's photography department, I mainly focused on honing my technical skills. At the same time, I was trying to create “spontaneous narrative” images. I shot my photographs spontaneously with the intention to imply a storyline within a single frame. I continued to compose my shots with a cinematic eye, hoping that this would encourage the impression of narrative.
The Assassination of Anastasia WitbolsFeugen by the Coward Byron Case
Digital collage
February 2009
When given the opportunity to create my own assignment second semester sophomore year, I chose to continue my narrative theme by staging murders that had happened in the area. I chose to use myself as the model for these images.
Oliver's bulbs
Digital
February 2009
At the same time I began creating images that may have an implication of a storyline, but leave questions for the viewer. In this image, I present the viewer with an unusual scene of a boy standing before a tidy row of flower bulbs. It was my intention to give the photograph an air of mystery and room for the imagination of my audience.
living room (from the series egg hunt)
Digital
April 2009
As I continued to explore my ideas and tried to find my place in photography, I began to focus on the personal. In the series egg hunt, I photographed myself in both the house I grew up in and my home at the time, looking for similarities in the spaces and trying to find where it was exactly that I drew my inspiration from. I also began experimenting with longer exposures, lighting, and a diptych format.
New Mexico 1
Salt print from a digital negative
April 2009
In the second semester of my sophomore year I began experimenting with digital negatives and alternative photographic processes. I became interested in the photograph as a print, using a process in which it was impossible to create the exact same image twice. I began considering the possibilities of the digital image after the shutter clicks. The images I chose were very personal to me: photos from my travels through New Mexico. By printing these photos in a unique, one-of-a-kind fashion, I hoped to express the uniqueness of the moment when I took the photograph.
Marguerite's words: Zeitschrift (from the words series)
Digital
May 2009
Influenced by the time and craft required to create salt prints, I wanted to add more process to my image-making. Almost without thought, though probably inspired by my love of language, I began the process of cutting out every word in Sigmund Freud's The Ego and the Id. Once I acquired a large number of words, I began using them as props with models for my photographs. I asked the models to take action with their words, to surround themselves with them and to consume them.
Untitled 1: Stove (collaboration with Austin Buckingham from the series The Manhattan Project)
Digital
May 2009
As my final self-directed project sophomore year, I teamed up with classmate Austin Buckingham to work on The Manhattan Project. The two of us spent a weekend in an old schoolhouse in Manhattan, KS. Using ourselves as models we explored the relationships between ourselves and the space. Using lighting and composition, we created images that again inspired a bizarre and mysterious narrative to the viewer.
Untitled 1: Water
Untitled 1: Projection
from The Manhattan Project show, October 2, 2009
After completion of the Spring 2009 semester, Austin and I continued work on The Manhattan Project in preparation for a show in the Omni Bus Gallery in October of 2009. The two of us continued to explore the possibilities of the digital image, re-thinking its presentation beyond a print in a frame. What resulted was a series of installations that continued to utilize light and space.
...its own making
Digital
September 2009
Our first assignment upon entering the junior year of photography was to “create an image about its own making.” My approach to this assignment was to take long exposures and utilize both a strobe and a spotlight to illuminate my own figure and “paint with light”. The resulting photograph shows the time and movement that occurred when the photograph was being made. I originally chose not to print the image as I felt it was best shown in its original format, on a digital screen.
Perception
Digital composite
October 2009
At this time I began to think of my work beyond the photograph. I began researching ideas of thought and the human psyche and came to form my own theory of human perception. It occurred to me that everything, including photography, is dependent upon the perception of the viewer to form any sort of meaning. I also wanted to convey my own perceptions through my photographs. I created this image to illustrate how humans live within their own minds, creating their own realities in the world around them.
Aaron smoking
Digital
November 2009
I began to experiment further with lighting, composition and exposure time in order to create images that show what exists in this world, but in ways that we can never see it. I explored methods of photographing that were visually disorienting and surreal.
she just _____ because ______ _____. (from the captions series)
Digital composite
November 2009
Inspired by the book Ways of Seeing by John Berger and the writings of Walter Benjamin, I decided to go back to using words and the diptych format, this time as a way to symbolize the plethora of meanings an image can hold. captions is a series of diptychs in which there is a photograph with an implied yet still mysterious narrative, with disorienting lighting and compositions creating questionable realities. The photographs are coupled with text, a sentence with blanks where words are missing. Depending upon the words chosen by the viewer to fill in the blanks, various conclusions and meanings can be drawn from the photograph. As with egg hunt, my murder recreations, and The Manhattan Project, I chose to use myself as the primary model for the photographs.
Alex (from the books series)
Scanned B&W film
December 2009
One of the projects I am currently working on again relates to words and language. It is a series of photographs of people with their books, in their natural habitat without arrangement by the photographer. It is my goal to document the books people keep and how they keep them, in order to make comparisons from person to person. This series is a side project, a work in progress that has the possibility to continue indefinitely.
books: installation (from the books series)
February 2010
Wishing to work with installations again and expand upon my books series, I put together an installation in the photo department's Darrin Gallery. Framed photos from the books series hang on the wall of a small room. A comfortable and inviting old chair sits in a corner, surrounded by books. The viewer is invited to study the books at their leisure in the room, as well as add to the books and request to borrow them. A portfolio of every image from my books series sits amongst the books in the room. My goal with this installation is to bring what is shown in the image in to the physical world, and to encourage the viewer to interact and be a part of the piece.
allusionem
Scan of a silver gelatin print
February 2010
Currently I am working on a project that centers on research. Hoping to develop my own theories of photography, I am researching theories and philosophies of the past. The images I am creating are in response to my findings. I began with Surrealism and am currently focused on the artist Man Ray. In this particular image, I had Man Ray's nude photographs in mind. I utilized the solarisation method, a highly experimental dark room process made famous by Ray. The images that result from solarisation can be unpredictable, creating mysterious, dream-like images. I shot this photograph digitally and used my knowledge of digital negatives from sophomore year to create solarised silver gelatin prints in the dark room. Scanning the print, I wanted to show its irregular edges at an enlarged size. Again, I chose to use myself as the model, a frequent choice which I am beginning to question the meaning of.
I am currently continuing my work with digital negatives and solarised prints with surrealistic themes.
spring III
Digital
May 2008
This photograph was made in the second semester of my freshman year at KCAI. It was an assignment for Sherry Sparks' Constructed Realities workshop, which focused on narrative photography. It was during that workshop that I decided to make photography my major.
The image implies a relationship between the two models, creating a narrative presented in a cinematic style.
Justin & Ben at the light table
Color transparency
November 2008
For my first semester in KCAI's photography department, I mainly focused on honing my technical skills. At the same time, I was trying to create “spontaneous narrative” images. I shot my photographs spontaneously with the intention to imply a storyline within a single frame. I continued to compose my shots with a cinematic eye, hoping that this would encourage the impression of narrative.
The Assassination of Anastasia WitbolsFeugen by the Coward Byron Case
Digital collage
February 2009
When given the opportunity to create my own assignment second semester sophomore year, I chose to continue my narrative theme by staging murders that had happened in the area. I chose to use myself as the model for these images.
Oliver's bulbs
Digital
February 2009
At the same time I began creating images that may have an implication of a storyline, but leave questions for the viewer. In this image, I present the viewer with an unusual scene of a boy standing before a tidy row of flower bulbs. It was my intention to give the photograph an air of mystery and room for the imagination of my audience.
living room (from the series egg hunt)
Digital
April 2009
As I continued to explore my ideas and tried to find my place in photography, I began to focus on the personal. In the series egg hunt, I photographed myself in both the house I grew up in and my home at the time, looking for similarities in the spaces and trying to find where it was exactly that I drew my inspiration from. I also began experimenting with longer exposures, lighting, and a diptych format.
New Mexico 1
Salt print from a digital negative
April 2009
In the second semester of my sophomore year I began experimenting with digital negatives and alternative photographic processes. I became interested in the photograph as a print, using a process in which it was impossible to create the exact same image twice. I began considering the possibilities of the digital image after the shutter clicks. The images I chose were very personal to me: photos from my travels through New Mexico. By printing these photos in a unique, one-of-a-kind fashion, I hoped to express the uniqueness of the moment when I took the photograph.
Marguerite's words: Zeitschrift (from the words series)
Digital
May 2009
Influenced by the time and craft required to create salt prints, I wanted to add more process to my image-making. Almost without thought, though probably inspired by my love of language, I began the process of cutting out every word in Sigmund Freud's The Ego and the Id. Once I acquired a large number of words, I began using them as props with models for my photographs. I asked the models to take action with their words, to surround themselves with them and to consume them.
Untitled 1: Stove (collaboration with Austin Buckingham from the series The Manhattan Project)
Digital
May 2009
As my final self-directed project sophomore year, I teamed up with classmate Austin Buckingham to work on The Manhattan Project. The two of us spent a weekend in an old schoolhouse in Manhattan, KS. Using ourselves as models we explored the relationships between ourselves and the space. Using lighting and composition, we created images that again inspired a bizarre and mysterious narrative to the viewer.
Untitled 1: Water
Untitled 1: Projection
from The Manhattan Project show, October 2, 2009
After completion of the Spring 2009 semester, Austin and I continued work on The Manhattan Project in preparation for a show in the Omni Bus Gallery in October of 2009. The two of us continued to explore the possibilities of the digital image, re-thinking its presentation beyond a print in a frame. What resulted was a series of installations that continued to utilize light and space.
...its own making
Digital
September 2009
Our first assignment upon entering the junior year of photography was to “create an image about its own making.” My approach to this assignment was to take long exposures and utilize both a strobe and a spotlight to illuminate my own figure and “paint with light”. The resulting photograph shows the time and movement that occurred when the photograph was being made. I originally chose not to print the image as I felt it was best shown in its original format, on a digital screen.
Perception
Digital composite
October 2009
At this time I began to think of my work beyond the photograph. I began researching ideas of thought and the human psyche and came to form my own theory of human perception. It occurred to me that everything, including photography, is dependent upon the perception of the viewer to form any sort of meaning. I also wanted to convey my own perceptions through my photographs. I created this image to illustrate how humans live within their own minds, creating their own realities in the world around them.
Aaron smoking
Digital
November 2009
I began to experiment further with lighting, composition and exposure time in order to create images that show what exists in this world, but in ways that we can never see it. I explored methods of photographing that were visually disorienting and surreal.
she just _____ because ______ _____. (from the captions series)
Digital composite
November 2009
Inspired by the book Ways of Seeing by John Berger and the writings of Walter Benjamin, I decided to go back to using words and the diptych format, this time as a way to symbolize the plethora of meanings an image can hold. captions is a series of diptychs in which there is a photograph with an implied yet still mysterious narrative, with disorienting lighting and compositions creating questionable realities. The photographs are coupled with text, a sentence with blanks where words are missing. Depending upon the words chosen by the viewer to fill in the blanks, various conclusions and meanings can be drawn from the photograph. As with egg hunt, my murder recreations, and The Manhattan Project, I chose to use myself as the primary model for the photographs.
Alex (from the books series)
Scanned B&W film
December 2009
One of the projects I am currently working on again relates to words and language. It is a series of photographs of people with their books, in their natural habitat without arrangement by the photographer. It is my goal to document the books people keep and how they keep them, in order to make comparisons from person to person. This series is a side project, a work in progress that has the possibility to continue indefinitely.
books: installation (from the books series)
February 2010
Wishing to work with installations again and expand upon my books series, I put together an installation in the photo department's Darrin Gallery. Framed photos from the books series hang on the wall of a small room. A comfortable and inviting old chair sits in a corner, surrounded by books. The viewer is invited to study the books at their leisure in the room, as well as add to the books and request to borrow them. A portfolio of every image from my books series sits amongst the books in the room. My goal with this installation is to bring what is shown in the image in to the physical world, and to encourage the viewer to interact and be a part of the piece.
allusionem
Scan of a silver gelatin print
February 2010
Currently I am working on a project that centers on research. Hoping to develop my own theories of photography, I am researching theories and philosophies of the past. The images I am creating are in response to my findings. I began with Surrealism and am currently focused on the artist Man Ray. In this particular image, I had Man Ray's nude photographs in mind. I utilized the solarisation method, a highly experimental dark room process made famous by Ray. The images that result from solarisation can be unpredictable, creating mysterious, dream-like images. I shot this photograph digitally and used my knowledge of digital negatives from sophomore year to create solarised silver gelatin prints in the dark room. Scanning the print, I wanted to show its irregular edges at an enlarged size. Again, I chose to use myself as the model, a frequent choice which I am beginning to question the meaning of.
I am currently continuing my work with digital negatives and solarised prints with surrealistic themes.
28 February, 2010
To-do to-morrow
- finish portfolio for study abroad application
- finish essay for study abroad application
- go to the library
- check out D90 & shoot for exquisite corpse video assignment
- feed the cats
- 12noon: be in Frank's video
(this is also written in my notebook.)
(i better do it all.)
- finish essay for study abroad application
- go to the library
- check out D90 & shoot for exquisite corpse video assignment
- feed the cats
- 12noon: be in Frank's video
(this is also written in my notebook.)
(i better do it all.)
23 February, 2010
last wednesday's class...
i showed prints last week in class.
i asked the class whether the prints just looked like Man Ray imitations, or if my goal of creating my own images that were simply inspired by his work was showing through. Austin felt that they just looked like imitations; he said this was partially due to the fact that the pose of the figure in the image i printed was so similar to Man Ray's Minotaur....
Minotaur is one of Man Ray's most famous images, published in the Minotaur magazine. of course i was aware of the similarity in poses; for all of the images i shot i had Man Ray's poses and abstractions of the body in mind...
when i was shooting i took long exposures with one hit of the strobe; i was thinking of what i did for the first assignment last semester;
i was "painting with light" using my body. i thought the same method would be a useful way to convey my visual idea of surrealism.
i thought perhaps that would visually separate my images from Man Ray's.
perhaps when i print another of the images i shot, the differences will be more evident.
one of the things i'm trying to do with this project is discover what defines my images. i want to see how i react to the inspirations of artists and movements of the past. so far it seems i am unsuccessful... but this is the first image i have printed.
another thing that was brought up in class was the fact that these are nude, female self portraits.
this relates directly to a quote i read in Aperture about Carrie Mae Weems' "Not Manet's Type"
(this is just one image from the piece, and only a portion of the text... i am unable to find the rest online, unfortunately)
"...She purposefully casts herself as the object of the male gaze, and then shapes scenarios that overturn that role. One could speculate that these masters' often distorted images of women reflect a fear of the feminine; if this is the case, then Weems takes that threat a step further. In this series the black womam's body is seductive but also willful and independent - and it is the female artist who is putting herself on display. Not Manet's Type explores the dilemma of the modern woman who wishes to be desired, yet not to be created in the image of a male-generated reality."
... which made me think of chapter 4 of Ways of Seeing (which, if you haven't read, come on. read it already), which was all about the female nude in art, how women are always being observed by men, and because of that we always see ourselves as we would be seen by others.
my response, so far, however, is that i don't know how i feel about that, or why i use myself in my images (my excuse has always been that i'm the best model i know... but that's just because i don't have to explain to myself what i want)
i was fortunate last Wednesday night to have Fatimah Tuggar in my expanded cinema practice class. when critiquing the video i showed, she brought up feminism (i would have to go in to too much detail about the video to explain what was going on, and this is already a long post, so we'll just leave it at "she brought up feminism"..) and told me that because i am a female artist, that fact will always be a part of critiques of my work.
And who am i to say that it doesn't have something to do with feminism? certainly i have been influenced by the world around me, and i AM female, and these ARE nude photographs of me, not only taken by a female artist but by me, of me.
just things to think about.
things suggested for me to look in to:
"Woman House"
Lucy Lippard
Cara Lee Sheeman
Sherri Lavine
(i think i have the spelling wrong on the last two)
that was a very long post, i hope you read it all, (or at least enjoyed the images,) thanks if you did.
i asked the class whether the prints just looked like Man Ray imitations, or if my goal of creating my own images that were simply inspired by his work was showing through. Austin felt that they just looked like imitations; he said this was partially due to the fact that the pose of the figure in the image i printed was so similar to Man Ray's Minotaur....
Minotaur is one of Man Ray's most famous images, published in the Minotaur magazine. of course i was aware of the similarity in poses; for all of the images i shot i had Man Ray's poses and abstractions of the body in mind...
when i was shooting i took long exposures with one hit of the strobe; i was thinking of what i did for the first assignment last semester;
i was "painting with light" using my body. i thought the same method would be a useful way to convey my visual idea of surrealism.
i thought perhaps that would visually separate my images from Man Ray's.
perhaps when i print another of the images i shot, the differences will be more evident.
one of the things i'm trying to do with this project is discover what defines my images. i want to see how i react to the inspirations of artists and movements of the past. so far it seems i am unsuccessful... but this is the first image i have printed.
another thing that was brought up in class was the fact that these are nude, female self portraits.
this relates directly to a quote i read in Aperture about Carrie Mae Weems' "Not Manet's Type"
(this is just one image from the piece, and only a portion of the text... i am unable to find the rest online, unfortunately)
"...She purposefully casts herself as the object of the male gaze, and then shapes scenarios that overturn that role. One could speculate that these masters' often distorted images of women reflect a fear of the feminine; if this is the case, then Weems takes that threat a step further. In this series the black womam's body is seductive but also willful and independent - and it is the female artist who is putting herself on display. Not Manet's Type explores the dilemma of the modern woman who wishes to be desired, yet not to be created in the image of a male-generated reality."
... which made me think of chapter 4 of Ways of Seeing (which, if you haven't read, come on. read it already), which was all about the female nude in art, how women are always being observed by men, and because of that we always see ourselves as we would be seen by others.
my response, so far, however, is that i don't know how i feel about that, or why i use myself in my images (my excuse has always been that i'm the best model i know... but that's just because i don't have to explain to myself what i want)
i was fortunate last Wednesday night to have Fatimah Tuggar in my expanded cinema practice class. when critiquing the video i showed, she brought up feminism (i would have to go in to too much detail about the video to explain what was going on, and this is already a long post, so we'll just leave it at "she brought up feminism"..) and told me that because i am a female artist, that fact will always be a part of critiques of my work.
And who am i to say that it doesn't have something to do with feminism? certainly i have been influenced by the world around me, and i AM female, and these ARE nude photographs of me, not only taken by a female artist but by me, of me.
just things to think about.
things suggested for me to look in to:
"Woman House"
Lucy Lippard
Cara Lee Sheeman
Sherri Lavine
(i think i have the spelling wrong on the last two)
that was a very long post, i hope you read it all, (or at least enjoyed the images,) thanks if you did.
daily lydia
i used to have a million pictures of myself on my macbook pro. but she was stolen from me.
cory has been taking a photobooth picture of herself every day since she got hers.
i just got a new one, and i'm going to do that too.
it's mostly a personal thing.
2/20/2010
2/21/2010
2/22/2010
i'm interested to see the changes, i know my hair changes a lot, what i'm wearing, what i'm doing, who i'm with when i remember to open photobooth
eventually i will notice similarities in the images i choose to represent myself. common facial expressions. angles. etc.
here i will just post the pictures; i don't really care to reflect on them in text. if you are interested in the images you can draw your own observations, i think.
cory has been taking a photobooth picture of herself every day since she got hers.
i just got a new one, and i'm going to do that too.
it's mostly a personal thing.
2/20/2010
2/21/2010
2/22/2010
i'm interested to see the changes, i know my hair changes a lot, what i'm wearing, what i'm doing, who i'm with when i remember to open photobooth
eventually i will notice similarities in the images i choose to represent myself. common facial expressions. angles. etc.
here i will just post the pictures; i don't really care to reflect on them in text. if you are interested in the images you can draw your own observations, i think.
20 February, 2010
16 February, 2010
solarising test 1
here we have a lovely photobooth snapshot of a tray full of prints.
this was my first attempt at solarisation. unfortunately i forgot to hit up the media center before it closed, so i was working without a contact printing frame, without a lens, without filters, etc. i found a piece of plexi and made due without the lens (which i don't think is really necessary anyhow since i'm contact printing...)
the print in the center-ish is the best solarised one i came up with. the one in the upper right is the non-solarised version. the rest are tests/attempts
i think i need to use a contrast filter, probably a five, because the image really greys out when solarised. there's no white in the solarised photos....
i doubt i'll have time for the darkroom tomorrow, so i'll probably show these prints on wednesday. however, i'm going to wait until i have better prints before i make legit scans...
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