Stuff wot I need to do.
1. – A post of the stuff I have on my wall atm.
2. – A Post of some of the digital stuff I’ve been paying with.
3. – More random artings, I have a bunch of stuff with carbon paper and monotype that I’m getting into atm.
4. – Video stuff – assuming that I manage to get this software to play nice at some stage.
5. – Digi infrared update.
1. – Stuff about Video and sound platforms that I’m currently attempt to force into work.
2. – Camera profiles – these will be written for my website – I have far more cameras than any normal person would need (and less than I want).
3. – Digital Infrared explanations.
The other blogs will be getting other stuff updated and stuff.
Step three – Digital; I change the folder properties so that the icons for the images are larger, thus I can consider the images at a slightly larger scale – i use preview to look closer at marginal images. I then select the images that I want to see as prints and copy them to a new filder before returning the folder back to a normal status and filing the folder – from this point on I work with the new folder with the original folder backed up externally.
Step Four – Film; I then print all of the selected prints as 4×5 prints on black and white proof paper (RC silver paper), and then tape them together as concertina books – I don’t make a point of inspecting them at this stage.
Step Four – Digital; I then Go through the folders of selected files and photoshop them so that they make cohesive sets and are ready for printing (this is my least favorite part of working with digital images). I then print all of the selected prints using a digital printing service – usually for around 12 cents a print – I don’t make a point of inspecting them at this stage. I don’t make concertina books of these.
Step Five – Film; When I have several of these books I lay them out and go through them deciding what to label them as – the labels (apart from rejects are for each of the projects or subjects I’m currently keeping a file for – some images make it to more than one file)
Step Five – Digital; a good stack of these I lay them out and go through them deciding how to group them – the groups (apart from rejects) are for each of the projects or subjects I’m currently keeping a file for – some images make it to more than one file. I move them around in the folders for sorting and delete the rejects (this is why I work with copies).
Step Six – Film; I then break the books up and recreate them as selected subject books – I haven’t gotten to this stage yet in my current project
Step Six – Digital; These are now ready for final selection and being ready for printing.
Step Seven – Film; I then Go into the darkroom and go through the process of making exhibition prints – I tend to make one print as an AP (artist proof) so that I can see how to print the final image and then two final prints of which one will be presented.
It’s not so terribly exciting to see something like this laid out as a step by step process, in practice I find that neither digital nor film is cheaper to work with, and due to experience and a degree of procrastination I’m slightly quicker and more efficient getting silver exhibition prints done than digital exhibition prints.
I found this photo recently, it’s of the memorial baths on Marine Parade in Napier, You couldn’t get a photograph from the same location now as the trees have grown much much higher and the view is blocked, but it’s put me in a mind to take some photos when I go up there in the next couple of weeks, I’ll grab some copies of historical shots and see how much has changed – it’s not an original idea, but it’ll keep me occupied when I’m up there.
I have been playing with the idea of unmapping for some time (I started collecting maps about a year ago), but I’ve found that my original concepts aren’t really workable. I had envisioned using gouache to paint over the map thus painting out all traces of people – but at a certain conceptual level that’s really not all that compelling, the process is more interesting than the final result for one, and for a second problem it’s hard to get past the fact that the full map is still under the paint, thus I’m not eliminating anything, but rather obfuscating.
This is one of the maps that I was fiddling digitally – after deciding that paint was not the correct answer – digital is better, but still not all the way there, that and I’m not a fan of computers for painting (that’s actually a big factor), but ultimately I’m still working with maps and all of the overlaid data. I also tried tracing to mylar and using cell painting techniques, which has greater possibilities, especially with different types of maps.
Ultimately with the paper maps I’m beginning to think that the only logical answer is to burn them and use their ashes for a work – this has the advantages that I can video it, and that I get to burn something, which is always a plus in terms of making something more interesting.
I have been using whiteboards (actually aluminium print plates) a great deal in my practice for the last year or so to work things out and to keep a tract of tasks, library books, notes, hand in dates, and suchlike – I haven’t been making a point of photographing these notes unless there’s something I wish to replicate, and thus I don’t have much in the way of records of them – I need to make a point of photographing them before I blank them.
I find that having this scratch board makes it a great deal easier to keep a track of things and to work out complex issues – this is one part that I did photograph as it was the point where I managed to tie the parts of my practice together into a structure that makes sense to me.
I’m also noticing retrospectively that this is also the point where my basic question changed from “finding a place for myself in the world” to “Placing myself in the world” I hadn’t noticed that before right now, and it seems kinda important.