Бочки для проявки пленки

нашел на ссылку на pinhole.ru - проявка фотобумаги в кофе, (темная комната все доступнее... )

http://tomoverton.images.googlepages.com/caffenol

Photo Essay
R.I.P. Polaroid film

By Kerry Loewen
21 April 2008

I love to shoot Polaroid film. I shoot Spectra, pack film in my trusty 195, 4x5, 8x10 and (in my dreams) 20x24. Soon I will run out of film and won't be able to buy any more. Already the cost of new and used Polaroid film is skyrocketing as production ceases. R.I.P. Polaroid film.





http://www.jpgmag.com/stories/3976

21st: The Journal of Contemporary Photography

Вообще ссылка уже где-то была, но поиск не дает ничего. На дистанционном курсе, видимо, не здесь.

Hand printed silver-gelatin prints by David Halliday

Edition of 60 numbered copies
10 signed, bound silver-gelatin prints
1 signed, free-standing silver gelatin print
Hand-made clothbound clamshell box
15" x 20 1/2"

David Halliday’s graceful still lifes bring forth richly diverse moods and emotions. The second in our Silver Series of fine books, illustrated with gelatin-silver photographs hand-printed and individually signed by the photographer himself, The Perfect World of David Halliday reveals the photographer’s magically beautiful palettes of form, texture and light. Fine bindings, Arches papers and letterpress type all serve to frame the 10 radiant silver prints contained in this book. Delivered in a custom portfolio case and including an 11th free-standing signed print, the Silver Series has offered our collectors the rare opportunity to acquire a large body of each photographers’ work presented in the completely unique surroundings of a finely crafted book.


Still Life With Cantaloupe and Scissor

Colophon:
Hand printed silver-gelatin prints by David Halliday
Edited with an introduction by John Wood
Selections from Ancient Roman Cookbooks to Contemporary Art Critics
Design by Michael Russem
Mold-made paper by Arches
Hand-sewn & crafted binding by Mark Tomlinson
Letterpress printing by Michael Russem
Text Composition by Michael Bixler
An art publication of Leo & Wolfe Photography, Inc.

Complete List of Silver Prints

http://www.photoarts.com/21stphotograph ... lliday.htm

Можно посмотреть как галерею:

http://www.watermarkfineart.com/portfol ... =collector

Несколько галерей (и цвет в том числе):

http://www.carriehaddadgallery.com/inde ... AllArtists

Три раздела:

http://www.sailorsvalentinegallery.com/Halliday.htm

Поэзия внутрилинзовых бликов и истинная соляризация. Скорее, это для «Легенд» топик, так что там закладочку сделаю.

Sunburns
Chris McCaw
Duncan Miller Gallery
USA. Los Angeles, 10 Apr-24 May 2008


SUNBURNED GSP#168


SUNBURNED GSP#187


SUNBURNED GSP#202

http://www.duncanmillergallery.com/chrismccaw.html

Chris McCaw is a fine-art photographer who shoots with large-format cameras (8 x 10, 16 x 20, or 20 x 24 inch), which he builds himself. Sunburns, as the series is titled, are unique images made as McCaw's camera lenses capture and intensify the sun's rays, which often burn a path across the paper.

McCaw explains: "When the conditions are right, the burning goes all the way through the paper base. The subject of the photograph reverses through solarization, and the unique paper negative becomes a one-of-a-kind paper positive . . . not only is the resulting image a representation of the subject photographed, but the subject, the sun, is an active participant in the printmaking . . . both creating and destroying the resulting photograph."

The images-subtle, elegant, and even slightly ominous-invite close scrutiny. The minimalist skylines or horizons, where visible, evoke the transitory nature of the elements in the locales where McCaw chooses to photograph: the desert, the sea, or the mountains.

Chris McCaw was born in the San Francisco Bay area in 1971 and has worked obsessively in the darkroom since the age of thirteen. Although initially self-taught-he spent his teenage years photographing the punk/skateboarding scene-McCaw later received a BFA from the Academy of Art College in 1995.

http://www.duncanmillergallery.com/mccaw/mccaw-bio.html

Вот тут имеется довольно подробное описание процесса:

Chris McCaw's 'Sunburns' illuminates with astonishing camera tricks
By Leah Ollman, Special to The Times

Photography, literally defined, means writing with light, and light packs heat. Together, the twinned energy sources fuel Chris McCaw's astonishingly beautiful body of work, "Sunburns," at Duncan Miller.

The process McCaw devised to create the work is captivating. Each picture is a unique print, made in a large-format camera that the Bay Area-artist built himself using old, scavenged lenses. McCaw sets up his cameras in the desert or near the sea, aimed with the sun fully within the frame. He places photographic paper where film belongs, inside the camera's film holder. Exposures can last up to four hours. They produce an image that is a negative but that appears to be positive because the lengthy exposure time and the idiosyncratic behavior of the expired photographic paper cause a reversal of values akin to the effect of solarization.

Further, the lens concentrates the sun's rays. Remember the old scouting method of starting a fire by using a magnifying glass? Over time, those focused rays burn into the photographic paper. In some of the images, the sun appears as a singed black dot. In other, longer exposures, the arc of the sun's rising or setting has slashed all the way through the paper, leaving a scarred absence outlined in scorched black.

McCaw's favorite part of the process, he states on his website, "is watching smoke come out of the camera during the exposure."

It's hard to pick favorites among the results. The images mesmerize in different ways. Some show just sea and sky as barely differentiated bands of gray, the water shimmering with light reflected from a paradoxically dark sun. For some pictures, McCaw opens and closes the shutter several times, so the sun repeats as it rises, forming a string of coded dots, ascending notes on a scale.

McCaw uses a variety of photographic papers in different sizes, and they yield a rich range of tonalities and temperatures. One image looks as if it were drawn in metallic dust; another, in graphite or charcoal. Another, anomalous in this group, has the creamy sepia tones of the 19th century. The process reduces subjects -- Joshua trees, palms, sea cliffs and mountain ranges -- to silhouettes, giving McCaw's daytime photographs the moody, elusive quality of Whistler nocturnes.

Several pictures read as pure gesture: the slash of the sun's trail across a scale-less expanse, the fall of a luminous, silvery comet. Lucio Fontana's "Spatial Concept" paintings, their surfaces violated by punctures and slicing stabs, come to mind, as do Joe Goode's "Environmental Impact" canvases, pierced by shotgun blasts. McCaw's work too entails violation, but not violence, and the interruptions of the surface are inflicted not by the human hand but by natural (and chemical) processes, harnessed. The work feels more reverential than defiant, a homage to the creative/destructive powers of nature and the wholly explicable mysteries of the photographic process.…



На сайте автора:

Sunburns — New experiments in starting fires in my camera.

Personal Portfolio — On going personal project involving my life, nostalgia, and my homemade 7"x17" view camera.

the digital platinotype — Platinum/palladium printing service using digitally enlarged negatives from your originals.

http://www.chrismccaw.com/

Rocky Schenck

Живопись в детстве, кино и фотография. В 2003-м вышла книга:

Rocky Schenck
Photographs
Foreword by John Berendt
2003, University of Texas Press in Austin, TX; 160 pages

Book Description

"Each photograph is like a still taken from a movie that exists not on film but rather in one's memory, with all the fuzziness typical of remembered impressions. The viewer, willing or not, fills in the frames that precede and follow it. . . . When confronted by such compelling and seductive images, the viewer can hardly help but respond reflexively, amplifying, expanding, and otherwise making the photograph his own. This compulsion to respond, together with the lovely elegiac mood in allhis work, is the real power of Schenck's photographs."

--John Berendt, from the Foreword Remembered movies . . . images from a dream . . . scenes from another world--the photographs of Rocky Schenck are endlessly evocative, though the photographer asserts that "my approach is rather simple: I record on film what I see and what I feel as I travel through life." Still, these haunting images are no mere reproductions of everyday reality.

By manipulating both the film's negative and the print's surface, Schenck creates images that are "illustrations of my conscious (and perhaps subconscious) dreams, emotions, and longings. . . . When I shoot these images, they are usually not premeditated or contrived. . . . I simply take my camera with me where I go and try to remain open to whatever life shoves . . . or gently places . . . in front of me."

На сайте — ссылки на галереи, смотреть можно вот здесь:

M+B GALLERY, LOS ANGELES


Rocky Schenck, Savannah, 2004
Toned gelatin silver print, Printed by the photographer
Signed, dated and titled verso
30 x 40 inches, Edition of 8, 16-1/2 x 24 inches, Edition of 10


Rocky Schenck, Endless, 2004
Toned gelatin silver print, Printed by the photographer
Signed, dated and titled verso
30 x 40 inches, Edition of 8, 16-1/2 x 24 inches, Edition of 10


Rocky Schenck, The Art Lovers, 1999
Toned gelatin silver print, Printed by the photographer
Signed, dated and titled verso
16-1/2 x 24 inches, Edition of 10

http://www.mbfala.com/Schenck/Schenck_IG.html

CATHERINE EDELMAN GALLERY, CHICAGO


Peeping Tom (2003) Rocky Schenck


Nine Trees (1998) Rocky Schenck

http://www.edelmangallery.com/schenck.htm

Довольно отличающаяся по составу подборка:

Jackson Fine Art: Rocky Schenck


NUDE WITH CRUTCHES, 1988


Rocky Schenck POWWOW, San Francisco, 2003
20 x 24 inch Silver Print With Mixed Media, Edition of 10

Большая подборка — в связи с выставокй 2003-го в

Paul Kopeikin Gallery:









http://www.paulkopeikingallery.com/arti ... /index.htm

*
Портфолио коммерческих работ: http://www.rockyschenck.com/pg2.html


2001 ROCKY SCHENCK

Обращает на себя внимание использование очень жесткого освещения, практически постоянный прием:


2001 ROCKY SCHENCK

Биография:
http://www.rockyschenck.com/about_the_artist.html

Timothy Greenfield-Sanders

http://en.wikipedia.org/wiki/Timothy_Greenfield-Sanders

In 2004, seven hundred of his art world portraits were accepted into the permanent collections of The Museum of Modern Art and the Museum of Fine Arts, Houston.

http://www.greenfield-sanders.com/bio

В серии портретов раздела Art имеются и вот такие:



Да, еще Jeff Koons и другие…

См. http://www.greenfield-sanders.com/portraits/art :


Yayoi Kusama

В 2008-м — три выставки:

"The Black List" Museum of Fine Arts, Houston, 8/04/2008-10/26/2008
"Injured Soldiers" MA2 Gallery, Tokyo, Japan, 4/1/2008-4/30/2008
"Injured Soldiers" Örnsköldsvik Museum, Örnsköldsvik, Sweden 1/1/2008-2/28/2008

Да, были еще выставки в связи с книгой

XXX: 30 Porn-Star Portraits
Published by Bulfinch in 2004
Introduction by Gore Vidal

http://www.greenfield-sanders.com/conte ... -portraits

Фильм Thinking XXX:

http://en.wikipedia.org/wiki/Thinking_XXX

Новая публикация на lens culture:

Surfers: modern/primitives

Мокроколлодионный процесс в действии:

Using a century-old photo technique, photographer Joni Sternbach creates portraits of modern-day surfers.



См. галерею и текст здесь:



http://www.lensculture.com/sternbach.html

Quinn Jacobson


Kerby
Quarter Plate Ambrotype
April 27, 2005

http://www.collodion.com/

Scully & Osterman collodion.org

Exhibits - 2008 -



Exhibition in HCPs (The Houston Center for Photography) main gallery will include work from France Scully Ostermans series Sleep and Bed, and Mark Ostermans series Free Show Tonight and Artifacts of the Process.


Mark Osterman, The Pitch
Ambrotype print, from the series Free Show Tonight

http://www.hcponline.org/exhibitions.asp?gx=current&gy=&exid=24

collodion tutorials: http://www.collodion.org/Tutorials.html

wet-plate collodion photography: http://www.collodion.org/q&a.html

Ken Merfeld, Фотограф, The Wet Plate Collodion Process





http://keyman.livejournal.com/7182.html

Сайт автора, где много разделов и новые работы 2008-го:

http://www.merfeldcollodion.com/index_col.html

Видео (collodion)

http://www.kotirovok.net/collodion/

См. также ранее:

http://forum.znyata.com/viewtopic.php?p=19003

deFocused: justBlurryPinhole Archives


August 15, 2003, atlanticScapes

http://defocused.net/archives/cat_justb ... nhole.html

Вообще мешанина картинок в разных темах (включая deFocusedBody, unBody, gentlemen TakePolaroids…) Но есть хорошие.

Ссылки:

http://community.livejournal.com/pinhole/

Рекомендации разных авторов, известных, и не очень, еще большая мешанина: давайте все дружить…

На заметку: полезные советы при работе с моделью

A History of Photography, by Robert Leggat:

PORTRAITURE

Как известно, проблема обеспечения неподвижности снимаемых при длинной выдержки при съемке решалась различным образом; классические подпорки — только один из способов решения этой проблемы. Leggat цитирует:

Trying to keep a sitter still for this long process must sometimes have been quite a feat. The most extreme form of persuasion comes from an article in the American Journal of Photography, 1861, where we read of one operator who had tried all sorts of means of persuasion,

"...when it occurred to him that the strongest of all human motives is fear. As soon as he had completed his adjustments, he suddenly draws a revolver, and levelling it at the sitter's head, he explains in a voice and with a look suggestive of lead and gunpowder: 'Dare to move a muscle and I'll blow your brains out....'"

Another, advertising photography "without pain" proposed to use gas on his sitters, and once they were out for the count, he would take the picture. Yet another suggested

"A good dose of laudanum (opium) will effectively prevent the sitters from being conscious of themselves, of the camera, or anything else. They become most delightfully tractable, and you can do anything with them under such circumstances....."

http://www.rleggat.com/photohistory/his ... rtrait.htm

PHOTOS LIVRES APPAREILS de COLLECTION

http://www.argentic.fr/

Раритеты:



ProvenceNude,WillyRonis
Shooting date : 1949
Printing date : 2001
Topic : Nudes
Signature : Signed, dated, captioned and stamped.
Classification :
State : Mint
Total size (in) : 11.8 x 15.7
Image size (in) : 9.8 x 12.2
Print Silver Print
Price : 3500.00 €


DistorsionN°40,AndréKertesz
Shooting date : 1933
Printing date : 1980 est.
Topic : Nudes
Signature : Drystamp
Classification :
State : New
Total size (in) : 11.8 x 9.4
Image size (in) : 11.0 x 8.7
Print Fiber based Paper Print
Price : 1750.00 €

http://www.argentic-photo.com/rare.html

Elliott Erwitt, Paris, 1952

HackelBury Fine Art

Elliott Erwitt 'Unseen' 12 JUNE-31 JULY 2008


Marilyn Monroe, NY 1956


Jack Kerouac, 1953


Simone de Beauvoire, 1949

*


Bratsk, Siberia, 1967
Silver gelatin print, signed in ink on recto.
11 x 14 - $4,000
16 x 20 - $4,500
20 x 24 - $5,500
30 x 40 - $8,500

http://www.hackelbury.co.uk/artists/erw ... tt_sm.html

Йорг Кольберг:

Color Carbon Printing

Last night, I had the opportunity to meet Tod Gangler, the man behind Art & Soul studio. Tod produces color carbon prints, a incredibly complicated process that uses pigments, gelatine, and all other kinds of obscure materials - plus high-tech lasers to etch sets of negatives to be used (it's a contact printing process, and it uses three separate negatives for different colour layers).

I have the feeling that most readers by now have looked at the samples that can be found online and are wondering what the big deal is. If you had been there last night, to see the photos, you would know. In my whole life, I have never seen photos of such stunning physical beauty. The tonal ranges in those prints I have never encountered anywhere else, and for the first time I saw photos that conveyed a very clear sense of a third dimension.

In a sense, the photos looked as "un-digital" as possible - instead of having this kind of edgy crispness that digital photos usually have (even those that aren't completely overprocessed), the photos were amazingly smooth, with what looked like an infinite number of colours. It was quite unbelievable - as was talking to Tod and getting some idea of what actually goes into making those photos…

http://www.jmcolberg.com/weblog/2008/05 ... nting.html



Видео: http://shapeshifter.us/Video%202.html

…I print my work in the rare color carbon print process. Color photography was invented with this process, in 1869, by the frenchman Louis Ducos du Hauron. Carbon printing has always been the most difficult but also the most beautiful of all photo printing processes. The carbon print is also the ancestor of several other elite print making processes, including Carbro and Dye Transfer.

Like M. du Hauron, I mix pigments into homemade photo-sensitive emulsions. It takes days to expose, process and transfer these emulsions, to build a picture on Italian watercolor paper out of many layers of pigmented gelatin. Color carbon prints startle with their bravura visual syntax, describing rich colors, finest details, and subtly nuanced tone transitions in a way that no other print process can.

http://www.benhamgallery.com/artists/gangler.html

Art & Soul - Color Carbon Printing for Fine Art Photography

История, процесс, галерея:

http://www.colorcarbonprint.com/

http://en.wikipedia.org/wiki/Carbon_print

Benham Gallery

Nickolas Muray & Tod Gangler

The beauty of color and the carbon print bring together artists Nickolas Muray & Tod Gangler.

Nickolas Muray, 1892-1965, immigrated from Hungary to NYC in 1913 where he earned international recognition as a photographic portrait artist. His circle of friends in the Mexican art culture included Miguel Covarrubias, Rufino Tamayo, Diego Rivera and Frida Kahlo.

Muray and Kahlo had a 10 year off-again, on-again love affair. Images in this exhibition were made out of love for Frida. Except for the photo with the red shawl which was made for public, all of the other images were kept private until the negatives were discovered after Muray's death.

Frida Kahlo was one of the most photographed artists of the twentieth
century. Nickolas Muray's portraits of her have a luminous, painterly quality, described by Diego Rivera as being 'as beautiful as a Piero de la Francesca'.

Frida and Nick color portfolio

Printed by Tod Gangler (Art & Soul Studio).


Classic Frida


Frida Kahlo: The Breton Portrait

Portfolios

Silver gelatin prints ( Printed by Bruce Proctor)

Platinum prints ( Printed by Sal Lopes)

http://www.worldsangha.net/frida/portfolios.html

Цены:

http://www.worldsangha.net/frida/prices ... prints.htm

Angels and Insects

B.A. Bosaiya

ссылка с http://community.livejournal.com/ruguru/ , долго колебался, забросить сюда в закладки, или все же нет…

http://community.livejournal.com/ruguru/697246.html

В портфолио — две только серии, переделанная камера, классический процесс (но есть и печать Giclee):

B.A. Bosaiya is a fine art photographer currently residing outside of Seattle, Washington.

Bosaiya has a passion for photographing the common and everyday in new unusual and unexpected ways, preferring traditional darkroom techniques and large format cameras.

Bosaiya's Angels and Insects collection has been featured in galleries and magazines while the subUrban Decay series has received praise for shedding new light on old subjects.

All of Bosaiya's large format work is photographed on a heavily modified camera using traditional darkroom techniques.

http://www.bosaiya.com/


4x5 Polaroid negative, lith print, 16x20 framed print

http://www.knockoutproductions.com/ange ... os.cfm?c=f

Еще:

Favourite style or digital art: Unmanipulated

Tools of the Trade: Macro lenses, large cameras, extra long bellows, single-source lighting; bugs and spiders

http://bosaiya.deviantart.com/

http://www.dangenart.com/artistsbosaiya.htm

…в Минске были работы Богдана Конопки, дающие полное представление о том, что такое творческая работа форматной камерой. Для этого, правда, нужно уткнуться носом в раму или, что безмерно лучше, подержать работу в руках.

Событием визит Конопки в наш город не стал…

В Москве недавно:

Bogdan Konopka lecture

March 20, 2008

Moscow House of Photography and Rodchenko Moscow School of Photography and Media Arts within the framework of the Seventh International Photography Month in Moscow: Photobiennale 2008 invites you to Bogdan Konopka lecture (theme � Large-format camera and Direct printing).

When: 20 March, beginning at 15:00.
Where: Rodchenko Moscow School of Photography and Media Arts.

Галерея работ:



«О природе вещей» / «De natura rerum»
Богдан Конопка / Bogdan Konopka
Куратор: Ольга Свиблова
Коллекция: Собрание автора, Париж

http://www.photo-biennale.ru/exposition/551

March 21-April 23
Bogdan Konopka 'De Natura Rerum'Bogdan Konopka "De Natura Rerum" (Poland)

The exhibition "De Natura Rerum" of a Polish photographer Bogdan Konopka includes two series, both questioning the intimate relation between man and nature. …By extending the exposure time while photographing fluid elements, Bogdan Konopka makes use of his camera the same way an alchemist would, when dealing with the transmutation of material. This allows him to highlight the illusion of the visual perception: what do we see? No artificial effect in the trees series: the photographer simply steps aside. Understanding that the metamorphosis occurs by itself, Konopka registers the tormented shapes of these mutant monsters and invites us to share Lucrece's say: "The eyes do not have the power to understand the nature of things: you should therefore not blame the sight for the mistakes of the mind".

http://www.expat.ru/culturepics_ann.php?cid=813


Bogdan Konopka : RIAU DE GROS MONT (Szwajcaria) 14 VII 1996,
kopia stykowa z negatywu 20 x 25 cm


Bogdan Konopka : ARBONNE LA FORET, 20 V 1997
kopia stykowa z negatywu 20 x 25 cm

http://fototapeta.art.pl/fti-kpkmgp.html

Париж, см. текст:
http://www.galeriaff.infocentrum.com/konopka.html

Szary Paryż
Elżbieta Łubowicz

Cykl małych, stykowych fotografii Paryża, który powstał w latach 1994-95, Bogdan Konopka początkowo zatytułował „Niewidzialne miasto”. W tej nazwie zawarty jest sens, który wskazuje nie tyle na „miasto, którego nie ma” (według słownikowego znaczenia wyrazu „niewidzialny” jako „niemożliwy do zobaczenia”), ile na „miasto niewidziane”, a więc miasto, którego zwykle się nie widzi. Wszyscy, którzy pisali o tych fotografiach, zwracali uwagę, że jest na nich Paryż zupełnie inny niż ten, który istnieje w potocznym o nim wyobrażeniu…


Złudna przestrzeń Jeana-Michela Verreta

http://www.fotografia.net.pl/art.php?lang=1&id=143

Еще здесь:
http://www.images.ch/2000/index3.htm

Подборка работ:



Крупная иллюстрация:

http://www.akademiakaf.pl/zdjecia/bogda ... 202005.jpg

http://www.akademiakaf.pl/bogdan_konopka.html

On the Seen and the Photographed in Bogdan Konopka's Works





http://www.galeriaff.infocentrum.com/20 ... nop_a.html

"Beijing Opera" w obiektywie Bogdana Konopki





http://www.fotopolis.pl/index.php?g=258

*

http://www.actuphoto.com/artiste_491

Приятная работа какая:


Portrait Marion Zemann 1964

Marion Zemann
Fotogalerie Karin Schneider-Henn
D. Wasserburg, 25 May-06 Jul 2008

Жалко, молодая совсем:

http://photography-now.com/popup_ausst_ ... gen=T59570

Много давних работ, включая массу давних ню и эротики:

Galerie d'Art / art gallery
Au Bonheur du Jour

http://www.aubonheurdujour.net/

Thèmes et Auteurs
ci-dessous


Anonyme
"Etude"
vers 1920
Epreuve argentique
Prix : 250€ (euros)

http://www.aubonheurdujour.net/photogra ... efault.htm

Каталоги:



http://www.aubonheurdujour.net/les-cata ... efault.htm