Archive for the ‘project’ Category
Well, I investigated the idea that I thought would allow me to print them faster – doesn’t work sadly 😛
The idea was sensitizing the solution with methylene blue dye – Only I think I may have used a bit much as it pooled quite drastically, and frankly it cut the sensitivity away to nearly nothing, so I may be on to something with the idea of spectral sensitizing, just I have it backwards or something. *shrug*
That’s my pouring bench, my uber high tech coating method is to put about 1/6th tsp of solution in a spoon and then dump it in the middle of a clean plate… Like so (after 30 sec or so of spreading out).
I was double coating those in the hope it would make a difference – it didn’t. With a clean glass plate the solution will spread itself out by capillary action or something – over a minute or two it basically covers the plate on it’s own – this makes for a slightly thicker coat at the center, but unless you’re dopey enough to add dye to it it shouldn’t matter.
Some coated plates;
I guess it eliminates a variable – Yay me!
This is the closest that i got to a print;
It’s from a negative, so is negative, and it’s on black perspex – a substrate which, excitingly enough, I have discovered does not work at all well with this process (it coats very unevenly) – though it is good for backing coated glass plates – In the following I’ve bumped the levels and suchlike a bit.
I can make stuff out cos I know what the neg was – a view from my atillier window amusingly enough – there’s a square white sign in the foreground, some stairs about 1/3rd of the way up towards the right – and at the same level on the left a rounded window on the building facing me – very bloody hard to photograph.
So for now, I’ll go back to 1 & 2% solutions of rosin in ethyl alcohol on chemically cleaned glass plates, cos I’m reasonably sure that works.
A bit of fitting to go, and I need to make a focus screen (Lubitel for scale).
It’s a fairly large camera 😀
[EDIT] Turns out that the kodak lens doesn’t quite meet my expectations – I’d really only thought about coverage, not that it would give me a range of magnification starting at 1:1 macro (which included the front of the focussing rail) and going up to about 5:1 (five times life size) – which is sure interesting, but not exactly ideal for the level of focussing technology I’m using.
So I’m cobbling something together out of an old pair of spectacles which will go from infinity to about 1:1 as well.
So I now have a system 😛
Well, the crit seemed to go ok, the feedback that I got was all along the lines of the stuff that I’d been thinking about when I was preparing and selecting.
Having given it a days thought, I shortened that in the critique to a verbal “I’m interested in how photography can make icons of ordinary things.”
My little wee 5×7″ print all on it’s lonesome, well, it does have a couple of vents to keep it company I guess – incidentally that’s the name of the gallery – “Vent” – not sure which one is ‘the’ vent – probably the one above my pic.
It’s quite a hard thing to view, cos it’s really as much a mirror as a print in an odd way – it’s black on black, but how you look at it determines the tones you see,
And, I’m reaching a point where I’m starting to see what a camera I’m building will look like – it’s a half plate camera for dryplate (the hole at the back is 7×7″ – it’s a big camera by my standards).
The front will be friction focus and will have front tilt, no other movements are planned in this iteration – I’ve been working on it for about a month on and off, I guess there’s another week or so of work to go.
And the obligatory studio shot;
Some things I’ve tried – first up an orotone – which is a fancy term for painting the back of a positive gold (you’re supposed to use a ‘particular’ paint, but whatev’s, I just used oil paint)
A black print (yup, I made that name up) – sorta like an ambrotype, but not like an ambrotype at all (silver gelatine liquid emulsion based) – I’m handing in one of these this week – it’s washing as I type.
The second I got a line;
The third I got a rhinoceroses bottom;
I messed up the development a bit, but it’s proof of concept – violin rosin and meths with mineral turps as a developer – a la Niepce. I’ve figured out a couple of things to improve the print – but learning to coat the stuff onto glass is top of the list – not easy compared to gelatin, or even collodion.
I have a masters crit Thursday, so after that I’m looking forward to doing some more of them, fun!
Some new video works (about 5mb each);
Yeah, I like bastardising technology 😀
I guess this is where I do the ghost of Christmas future, having done present and past. Though to be honest I watched the Dr Who version of that story recently and am currently thinking of the flying shark, so, be warned, I may not be channelling Dickens in an academically appropriate manner.
In my art practice, what are my ongoing concerns;
Firstly the very idea of representation, and re-presentation are important – the former is a means of denoting something that stands for a meme or an idea it is conceptual – much in the manner that a (ostensibly female) model could stand for femininity (or a range of feminine ideals), the god awful “The two ways of life” (which admittedly someone had to do so I shouldn’t be too derisive of poor Oscar, dear chap) stands as an allegory for the choices that upright Christians must necessarily make between the left and right paths and suchlike – it is allegory, and metaphor, and as somebody who loves writing (note I didn’t say ‘good writing’) this interests me deeply.
Re-presentation on the other hand – and this is a purely personal distinction in terms – is when something is taken from it’s natural state (indeed, it’s original presentation) and re~presented by an outside agency as an original artefact, realistic and whole – think of how different contentious (or merely targeted) demographics have been promoted by their detractors – this also intrigues me, though I feel that somehow it is necessary to differentiate these terms, they are problematic in that each shades to the other, but identifying the extremes is nevertheless a worthwhile use of intellectual energy, even if it does lead to tone arguments and arbitrary distinctions.
The Photographic – the writing with light, or even Skiagraphic – writing with shadow (I have no idea how to format that sentence formally), is a fascination of mine also – this entails a whole spectra of options, from human vision to human failure of vision – to set arbitrary boundaries which are pseudobinaristic, but more properly merely a spectrum – I am fascinated by Light, Vision, Articulation, and the boundaries of my own senses. The Claude glass, and the infra spectral.
Sensory phenomena – not merely visual – I have hearing loss in a major way, though compensated otherwise, and work daily with a range of perception issues – some give me a sensory deficit, and some give me extra ordinary senses (as in more than usual, but they’re ordinary to me – colours glow complimentary in darkness (dimness?) for instance and I can track chocolate like a champion). Much of the video/audio work that I have done is along these lines. I still have no idea how to present smell adequately as a painting medium, despite having attempted and failed at this since circa 2000 – (the chocolate secret is all mine (my prechusss).
Yes, I am fascinated with the semantic, and the semiotic. these distinctions, when used thoughtfully can lead to a crystalline elegance in description – I appreciate the difficulty of stepping into this wavelength, but the elegance of distinction is more than worth it when I get it right – I know that a few people can follow what I say, even if many cannot, or perhaps simply cannot be bothered.
And media (see what I did there,? no?), I am simply in thrall of media, I love… not the stuff – as someone recently stated, but, what can be done with the stuff (‘stuffness’ is not a real word btw). Camera’s are neat, but so are paint brushes, and they’re a damn sight easier to learn how to make. I have a lot of media which I will draw from. I like physicality, both in art media, but also in myself and the world at large – from the martial arts I have done, I would say that the most important thing I’ve learned is where my body ends and the world begins – the extent of my influence as it were. My body, my art, what i make, and what i leave behind – these are important in terms of the trace i leave. Media is broad.
Though I am not entirely sure that identity politics (arguing them at least) is important, I am interested in how identity sits within the world. Personal, national, sexual, whichever. As a means of distinction this ties straight back into representation – and there we have a loop, already, after a mere seven hundred fifty odd words.
And I hope you know that my answer would be different tomorrow, cos my interests aren’t narrow at all – even if I am capable of focussing them rather sharply as need be.