Tag Archives: black and white

Dark As Night

Awake, quite, at 2:30 am. What to do? Make a picture:
20130224-024343.jpgLight Sliver, February 24, 2013

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Filed under Hungry Eyes, New Work

Post 361: A Bit More Weight

Orchid #3, January 25, 2013

Orchid #3, January 25, 2013

Show Info: Debora Miller’s installation I’m Not Me, She’s Over There, and its companion outdoor piece Horizon Grid (viewable 24/7), is up until February 22nd at Susan Hensel Gallery. Open Mondays 10-5, and by generous appointments.

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Post 360: A Light Touch

Orchid #2, January 24, 2013

Orchid #2, January 24, 2013

Show Info: Debora Miller’s installation I’m Not Me, She’s Over There, and its companion outdoor piece Horizon Grid (viewable 24/7), is up until February 22nd at Susan Hensel Gallery. Open Mondays 10-5, and by generous appointments.

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Post 359: More Potential

Spent Lily #4, January 23, 2013

Spent Lily #4, January 23, 2013

Show Info: Debora Miller’s installation I’m Not Me, She’s Over There, and its companion outdoor piece Horizon Grid (viewable 24/7), is up until February 22nd at Susan Hensel Gallery. Open Mondays 10-5, and by generous appointments.

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Post 358: Getting to Lyrical

Spent Lily #3, January 22, 2013

Spent Lily #3, January 22, 2013

Working in series, like with these lilies, allows me to move closer to what I am wanting. This image was taken yesterday with the batch in that good cold light. I loved the form, and thought about it all day. Making it black and white with some filter adjustments lets me enhance its swinging form. The detail in the focussed area gives the eye something to hold.

Show Info: Debora Miller’s installation I’m Not Me, She’s Over There, and its companion outdoor piece Horizon Grid (viewable 24/7), is up until February 22nd at Susan Hensel Gallery. Open Mondays 10-5, and by generous appointments.

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Post 353: Emergent View

Orchids #1, January 17, 2013

Orchids #1, January 17, 2013

It’s when I am looking though the lens, that the images are revealed to me. I have an extremely shallow depth of field, and the subject sort of emerges from this mist of focus. Sometimes I actually shoot the mist — and like the effect. I think the impressionistic quality is in some ways more like reality. I don’t put a lot of stock in what would be called straight realism, because I think that’s really a reduction of what we actually see in life. When we look at things up close, and really focus on them, the rest of the world becomes kind of a mystery. Your mind expands to fill in the gaps.

– David Johndrow, Black & White Magazine, Issue 54, October 2007

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Filed under Inquiry Project, Magnificent Light, New Work

Don’t Tie Me Down

Sculpture Foot Roman Fountain (2002), January 3, 2013

Sculpture Foot Roman Fountain (2002), January 3, 2013

What would you call yourself now if you had to give yourself a label?

I don’t have to give myself a label. What I can do is say ‘no’ to certain things. For example, if I’m invited to do a photography show, I tend to say no. The medium itself, I find, is a relatively boring context. You never see a show about acrylic paint. If it’s that kind of understanding of the medium, it’s completely uninteresting on an intellectual level. I make art. I don’t come from a photographic background and I try to stay away from contexts where the work is diminished down to how it’s made. For example, I wouldn’t do a show about Fuji film.

– Thomas Demand, quoted in an interview in Image Makers/Image Takers.

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The Twin Effect: 20

Two Silos with Wires, 2012

Two Silos with Wires, December 16, 2012

I am keeping on feeling hungry for the binary dualism. It is fascinating to look at older images (the source image for this was shot in 2007), and find my eye is newly curious and satisfied.

 

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Learning Curve: 4

Skyway Roof Pairing, December 13, 2012

Skyway Roof Pairing, December 13, 2012

Today was about color management. You see one thing on screen, and expect it to appear on the print. Not always so. There are lots of technical bits – paper profiles, printer settings, etc. I have almost always struggled with this, and setting up to use my Epson 2200, I faced the demon again. Color management for photographers is like glazing and firing for potters: some folks are more cut out for the technical side of things. I tend to want to wing it, but I have an overriding drive for control that beats my impulsiveness.

This time, I set out to do it right. My research all told me to let Photoshop manage the colors – and I got gunky dark prints. I was trying to be frugal on paper and ink, but my tests were all flops. If I did a gross overall brightness adjustment I got an almost acceptable result. But – I knew this was not how I wanted it to be.  I asked for some guidance from my pro friend Crystal Liepa, and she suggested I let the printer manage it. She gave me an outline of the settings and I tested it out. Bingo! Great results from the get-go. She acknowledged that the going advice is to let Photoshop drive it, but the proof is in the pudding on this one.

For today: a nice little black and white pairing. The base image was shot in 2007, looking up at new fallen snow through the clear skyway roof at the IDS Center. I was still enjoying the binary dualism from yesterdays’s post; so a pairing.

 

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The Twin Effect: 19

Winter Diagonal, 2012

Winter Diagonal (2007), December 2012

I am a little homebound after another run to the hospital on Tuesday. Again recovering and out for short dog walks – not photo excursions.

However, if I was out and about, I would have taken this picture today. It is originally from 2007  – shot in the same week I was first diagnosed with breast cancer. This picture was taken in Western Minnesota. We were on a day trip, and I was completing final shooting for my first projection artwork.

Here: I love what I can only describe as binary dualism.

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