Category Archives: Other People’s Work

Japanese Photographs acquired by the Hirshhorn

I’m thrilled to announce that two works by a brilliant Japanese daguerreotypist (and the man who taught me how to do daguerreotypes) have been acquired by the Smithsonian’s Hirshhorn Museum and Sculpture Garden.

I couldn’t find links to the images in question that were acquired by the Smithsonian, so I’m linking to two related images from his website.


A Maquette for a Multiple Monument for Fukushima Daiichi Nuclear Power Plant
2014, Daguerreotype, 67x280cm
and

The Atomic Bomb Dome, Hiroshima
2014, Daguerreotype, 25.2×19.3cm

ArtForum Article

You can see more of his work here, on his website:

Takashi Arai Studio

Alternative Process Revolution – Philip Jessup

Another artist interview from the Alt Process Revolution series – this one with Philip Jessup, another Canadian photographer. One of the great things about this touring show is that it brings greater visibility of Canadian photographers to the US audience – I think many US photographers are aware of many other photographers from their own country, but with the possible exception of Yusuf Karsh, most could not name a single Canadian photographer living or dead.

Philip Jessup

Tell us a bit about your photographic work:

  • How did you get interested in photography?

My landscape photography is an extension of my professional work over the years advocating solutions to climate change. Many of the effects of climate change—rising sea levels, warming global temperatures, increasingly erratic precipitation patterns—are placing wilderness and communities that depend on them under unbearable stress. Many of these areas are likely to vanish, like low-lying atolls in the Pacific. I see my job as documenting such areas, so that if they do vanish or change in some unrecognizable way, humankind will remember them.

  • Do you feel your work is influenced by other media/periods/genres? If so, which ones, and why?

I’ve been influenced stylistically by other landscape photographers whose work I love. Eliot Porter, who was the first landscape photographer to work extensively in color, has always inspired me, his ability to find the abstract in the real. Other photographers who work I admire include: Fay Godwin, Harry Callahan, Brett  Weston, Toshio Shibata, Wynn Bullock, and the Canadian Edward Burtynski, who has taught us to find beauty even in the devastation being inflicted on the environment.

  • What is your experience with analog photography? Digital photography?

All of my early work dating from 2003 was shot with medium format film, Fujifilm’s Velvia 50. I love its wide color gamut and detail. From the start, however, I had my reversal film images scanned at high resolution and then printed on a Lambda using Cibachrome and later Fujiflex media. Today I shoot with a digital camera, process the images myself, and print on my own Epson P7000. I’ve been able to achieve rich, long lasting color prints this way. I would go back to Cibachrome if the media were available. Today, I occasionally shoot using film just for the pleasure and self-discipline, but in Canada availability and processing is limited and quite expensive.

  • What brought you to participate in the APR show? 

I’m always interested in exploring new ways to create an image that deepens the experience of my work with the viewer. Multiple gum over palladium produces a highly subjective final print that feels to me like a memory or a remembrance of something that is past or lost. The theme of my own work, which is trying to capture the beauty of landscapes and communities that may vanish, is a good match for this process. I also like the extreme longevity of these images. Again, it is a good match for my own goal, which is to memorialize imperiled landscapes so future generations won’t forget.

  • Do you see a continuing role in your photography practice for alternative processes?

I’m keen to explore the potential of alt processes to emotionally charge the images I place in front of the viewer. The exhibit at Glen Echo is the first step.

Alternative Photo Revolution – Alan Dunlop

Alan Dunlop

I sent interview questions out to a number of the Alt Process Revolution artists. Artists, being artists, don’t always respond in exactly the way you expect 🙂 So I didn’t get answers to my questions in a literal, 1:1 response, but here is the photo of Alan Dunlop and his bio/response.

My name is Alan Dunlop. I currently live in Toronto, Ontario.

Photography has always been a part of my life. I remember my dad taking photographs with his Rolleiflex and watching him develop prints in the closet of our tiny apartment. I wasn’t hooked, however, until I was studying advertising art and one of my teachers handed me a camera to experiment with. I eventually became a news photographer and worked for a number of local papers for more than two decades.

In my personal work, I always like to push the limits of photography and explore new perspectives and alternative realities. Over the past decade, my focus has been on collaged images. My work is influenced by my background in technical illustration and advertising art. I am also inspired by the works of contemporary artists David Hockney and Robert Birmelin. I am especially fascinated by how these two artists blend multiple images together to elicit a sense of movement and space to convey the myriad complexities of a single moment in time.

The image I submitted to the APR show is from a series of self-portraits shot over several months exploring reflections. It was created in camera, not Photoshop.

I grew up with film and spent many hours in the darkroom. The move to digital photography was an exciting one which I embraced wholeheartedly. I now work only in digital and do my own printing. The immediacy of digital allows me to explore and create images in a way that film never could and gives me more control over the final results.

After becoming familiar with Bob Carnie’s approach to alternative processes, I was curious to learn more. I am drawn to the richness of the images created using this method. I have spent time with Bob processing a number of images, including some of my own, using alternative processes.  The results were quite intriguing. The alternative process prints have a uniqueness of their own and have a very tactile feeling about them. I am curious to see how this will work with more of my own photos.

Alternative Photo Revolution – Kevin Kelly

Another one of our artists participating, Kevin Kelly, has been working for a long time on a series of images concerning gender and sexuality. I wanted to present a short video concerning his work here (if you pay attention, you’ll get to see the Dylan Ellis Gallery space in Toronto, where the show is going in May for the Contact festival).

Kevin Kelly GENDER PreDoc 1080p from Simon Haworth on Vimeo.

 

Alternative Photo Revolution

Glen Echo | Glen Echo Park in the Ballroom, Backroom

March 28
Viewings will be taking place from 1-9pm with a formal reception from 6-9pm. Admission: Free

New Orleans | L’Entrepot

March 31-April 1
Private reception on Friday March 31st from 6-9pm.
General admission is $10
VIP Collector ticket is $30 admission + chance to win a unique permanent print
Stay at home ticket $25 for a chance to win a unique permanent print
Tickets can be purchased on Eventbrite.
April 1st, viewings will be open to the public from 1-9pm. The Julia Street First Saturday event is from 6-9pm with all gallery’s in the area having receptions

Toronto | Connections Gallery

May 15-June 17
Opening May 18 from 6-9pm
The Toronto portion of the exhibition is a part of the Contact Photography Festival

#ContactPhoto #202Creates #202Fotos #acreativedc #glenechophotoworks #photoworks #altprocessrevolution #DylanEllisGallery #ConnectionsGallery #Toronto #NewOrleans #NOPA #KevinKelly

AltProRevSponsors

Alternative Photo Revolution – Interview with Brittany Fleming

As some  of you may remember from my Rendering the Spirit show, I interviewed the artists participating in the show via email. For APR, I did the same. With 40 artists participating and a quick turn on the time-frame, I’m only posting a few interviews.

Today’s interview: Brittany Fleming

Tell us a bit about your photographic work: * how did you get interested in photography? 

Born and raised in rural Ontario, Brittany spent most of her adolescence outside experimenting with a camera. It was during a three-month backpacking trip to Europe that her interest in travel and photography was sparked. “Being able to combine my passion for travel with photography opened up a new way of thinking. I came back to Canada knowing what I wanted to do.” 

Leaving Fergus behind, Brittany left for school in Ottawa where she completed a two- year photography program at Algonquin College. Before graduating, she started her career as a Lifestyle Photographer with Union Eleven, where she currently works. 

* what kind of work do you produce (how would you categorize your work)? 

I currently work for a studio in Ottawa, Union Eleven where I`m a lifestyle photographer. The work I show for galleries is my Street photography & Photojournalism. 

* what themes or subjects inspire you? 

I am currently working on three projects that are close to my heart. The first is about urban development and the ever changing cityscape. I document this environment through street photography. The second is an ongoing project about agriculture – showcasing farmers from our past, present, and the future of farming through a photojournalistic lens. Lastly, I am combining street photography and photojournalism to bring light to the human rights issues of our time, specifically women’s rights. 

How do you see your work in relationship to the larger art world:

* did you come to photography from another medium?

no

* do you feel your work is influenced by other media/periods/genres? If so, which ones, and why? 

On backpacking trips I was able to connect with locals. I have the ability to connect the camera to the heart, to feel the subjects and their story. An anthropologist at heart, my aim is to show the social landscape of my time. Deriving my photographic influences from Robert Frank, Diane Arbus, Walker Evans, Garry Winogrand, and Lee Friedlander, I always try to keep the human condition in focus. 

Could you talk a bit about the piece you submitted to the APR show? 

We all want to feel equal. My work is strongly influenced by this innate desire, and I’ve chosen to expose it through a female perspective. 

Captured in this photo are a group of people at the women rights march. Showing the young girls looking up to their mothers sparked a strong emotion. Thinking about this young girl, her past, present and, future. 

I too, yearn to feel accepted and equal. My hope, by sharing this image, is to show how truly brave these women are and how grateful they are for their rights and freedoms. We all have the power to go ahead and face our fears, follow our passions, and do so with grace. Our successes and failures are what will shape the generations of tomorrow. 

What is your experience with analog photography? Digital photography? 

When i was in school for photography we uses 4×5 cameras. Other then that I primarily shoot with my DSLR. 

Do you normally print your own work, or have others print for you? 

Bob and the team at Alternative Photo Services do an amazing job at printing my work for me. They are experts at bringing my images to life. 

Have you ever worked in alternative processes before? 

No this will be my first time 

 Brittany Fleming

Glen Echo | Glen Echo Park in the Ballroom, Backroom

March 28
Viewings will be taking place from 1-9pm with a formal reception from 6-9pm. Admission: Free

New Orleans | L’Entrepot

March 31-April 1
Private reception on Friday March 31st from 6-9pm.
General admission is $10
VIP Collector ticket is $30 admission + chance to win a unique permanent print
Stay at home ticket $25 for a chance to win a unique permanent print
Tickets can be purchased on Eventbrite.
April 1st, viewings will be open to the public from 1-9pm. The Julia Street First Saturday event is from 6-9pm with all gallery’s in the area having receptions

Toronto | Connections Gallery

May 15-June 17
Opening May 18 from 6-9pm
The Toronto portion of the exhibition is a part of the Contact Photography Festival

#ContactPhoto #202Creates #202Fotos #acreativedc #glenechophotoworks #photoworks #altprocessrevolution #DylanEllisGallery #ConnectionsGallery #Toronto #NewOrleans #NOPA

AltProRevSponsors

Alternative Photo Revolution – Artists

As a follow-up to my previous announcement about Alternative Photo Revolution, I wanted to post a list of the participating artists. One of the conceits of the show is that virtually all work presented will be printed by Bob Carnie, an internationally recognized photo printer and master craftsman. Bob has been in the forefront of experimenting with bridging the gap between digital and wet-darkroom technologies. He was the first person to take a Durst Lambda enlarger (a digital enlarger that was designed to make traditional C-prints from digital files) and use it to produce enlarged negatives on Ortho film. Bob has used this technique to make the required negatives for alternative process prints from sources as diverse as in-camera 4×5 sheet film to iPhone digital files.

Participating in the show is a bit of a leap of faith and trust in Bob’s creative vision and talent, as none of the participants will have seen their final prints before they hang in the gallery (Bob has been kept extremely busy producing, mounting and matting 40 images for the show in addition to running his lab). Some of the artists in the show are long-time alternative process workers, like myself, and others have only worked digitally, and never printed their own work.

Here is the list of artists and their organizations/locations.

Gallery 44: Alexis Jackson

Seneca IDP: Kin Lon Ma

Photoworks: Scott Davis

New Orleans Photo Alliance: David Armentor

Toronto: Marc Betsworth, Tamiko Winters, Paul Taborovsky, Kevin Kelly, Alan Dunlop, Lisa Murzin, Ron Erwin, John Migicovsky, Evan Dion, Salina Kassam, Philip Jessup, Marlene Hilton Moore, Juli Lyons, Skip Dean, Thomas Brasch, Matthew Plexman, Laura Paterson, Bob Carnie, Monica Glitz

St Thomas: Jeff Suchak

Quebec: Hugues Rochette, Jean Lauzon, Madeleine Marcil, Claude Dagenais, Guy Lafontaine, Mirabelle Ricard, Guy Glorieux

Ottawa: Brittany Fleming

Saskatoon: Jennifer Crane

Vancouver: Brendan Meadows

Seattle: Andrej Gregov

Texas: Larry Hayden

New York: Bryan Helm

The following three artists are supplying their own prints for this show:

Ginette Clément (Quebec)- Lumen Silver Gelatin

Stephen McNeill (Toronto)- Silver Gelatin Photogram

David Christensen (Calgary)- Silver Gelatin

AltProRevSponsors

Glen Echo | Glen Echo Park in the Ballroom, Backroom

March 28
Viewings will be taking place from 1-9pm with a formal reception from 6-9pm. Admission: Free

New Orleans | L’Entrepot

March 31-April 1
Private reception on Friday March 31st from 6-9pm.
General admission is $10
VIP Collector ticket is $30 admission + chance to win a unique permanent print
Stay at home ticket $25 for a chance to win a unique permanent print
Tickets can be purchased on Eventbrite.
April 1st, viewings will be open to the public from 1-9pm. The Julia Street First Saturday event is from 6-9pm with all gallery’s in the area having receptions

Toronto | Connections Gallery

May 15-June 17
Opening May 18 from 6-9pm
The Toronto portion of the exhibition is a part of the Contact Photography Festival

#ContactPhoto #202Creates #202Fotos #acreativedc #glenechophotoworks #photoworks #altprocessrevolution #DylanEllisGallery #ConnectionsGallery #Toronto #NewOrleans #NOPA

 

 

Rendering The Spirit: Interview with Hendrik Faure

Could you tell me your name?
Hendrik Faure

Where are you from?
Germany

How did you get into photography as an art medium (as opposed to casual or professional use)?
I do not remember for sure, I have a darkroom since 1966 and soon was interested in fine art printing, made solarisations and lith-printing. Later I hand-coloured my still life photographs.

Which alternative processes do you practice?
copperplate photogravure following method of Talbot/Klic.

What attracted you to alternative processes in general?
Interest in photohistory and in aesthetic well composed pictures.

What drew you to the specific media you practice?
Pictorialistic photogravures in literature and museums.

How does the choice of media influence your choice of subject matter (or vice versa)?
The medium fits the message.

In today’s mobile, electronic world of instant communication and virtual sharing of images, how important is it to you to create hand-made images?
Important enough to spend three days work per print edition

Is your choice to practice alternative, hand-made photography a reaction to, a complement to, or not influenced by the world of digital media?
When I began photography, there was no digital. Later I had my first computer. It was a Tandy TRS 80 model 3 and already had a mouse. She crawled through the floppy drive slot and tragically died within. I suppose, then the mouse did not like computers. I made some stills with dead mice. This was the strongest influence of digital media to my work.

Do you incorporate digital media into your alternative process work?
Photogravures need an inter-positiv, which I make chemical-based on document-film or digital on pictorio ohp. Digital so-called full frame cameras give freehand a quality like 24x36mm film cameras on tripod, but tend to have no soul.
I use digital capture sometimes if film is not possible. In the scrap project I captured pictures as well electrical as film-based (middle-format to 8x10inch).

If so, how do you incorporate it? Is it limited to mechanical reproduction technique, or does it inform/shape/influence the content of your work?
I use digital media for inferior photowork and seldom for multimedia projects.

What role do you see for hand-made/alternative process work in the art world of today? Where do you see yourself in that world?
This may be decided some 50 years later

Scrap Yard, Winter, by Hendrik Faure
Scrap Yard, Winter, by Hendrik Faure