Under the Cloud Gate

OK, I wasn’t going to start posting about my upcoming exhibition at Les Nereides on 108 N State Street, but I got one that’s a doozy and wanted to share it, so might as well spill the beans now. Yesterday I went to Millennium Park, and on a whim took only one shot under the Bean, a.k.a. Cloud Gate (BTW, now you can see why it’s called that):


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Workshop notes 20170420

I think I have the prototype camera for my workshop on April 30 (https://www.facebook.com/events/500184700371307/) pretty well nailed down. It’s a simple design that’s easy and cheap to make but is very flexible in use and adaptable to many ways of working. The latest test, from a paper negative photographed with my crappy cell phone while still in the wash:

The trick is to carefully crumple up the negative before exposure.

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Workshop notes, 20170320

I was going to pace these posts more, but yesterday’s results from testing the prototype camera for the workshop were too encouraging not to share:

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Workshop notes, pt. 1

Thanks to the courtesy of the fine folks at Compound Yellow, I’m going to hold a pinhole photography workshop on April 30. In the spirit of full disclosure, I wanted to keep an open notebook here as I stumble through the event’s organization and the experimentation that goes with doing this kind of thing for the first time.

Thus this:

It’s the first image out of the first of the cameras I’ll be building for the workshop. It’s all creasy and messy because I want the event to revolve around the flexibility of pinhole photography – really the only reason I have for engaging in this anachronistic medium. You can do things that would be unthinkable with more technologically advanced processes, simply because you control pretty much everything, from the form of the camera to the shape of the negative. Anyway, it’ll all get better as we go along.

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El Tracks Revisited

I wasn’t happy with the images I showed in this post, so I decided to rescan them on my new/old Epson 4990 in 16 bits, and processed in Darktable to bring out detail in the shadows. The negatives are the same, but the difference, I think, is appreciable:

Coming up next, I’m going back to my public art theme with the Picasso on Daley Plaza.


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