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Luther Gerlach is one of the foremost practitioners of the process - in terms of both practice and theory - he is recognized and used by the Getty Museum for their demonstrations and workshops in the medium. As an interesting side note - he is also the owner and operator of the world's largest 'mammoth' wet plate collodion camera, which you may be able to get a glimpse of while attending the workshop. We will also be offering a special 'mammoth plate' workshop with Luther and his camera.<br /><br />The Workshop will be both a technical and practical workshop concentrating on wetplate technique with the world's largest functional wet plate camera. You will create your very own 22x30 wet plate ambrotype, guided through the process by Luther Gerlach. Workshop fee is $275 - and a further $20 off if purchased online - and/or 15% off if purchased online. <br /><br />The workshop will be hosted at our gallery in Los Angeles, CA on May 2, May 16 and June 13, 2010. Please write to: <a href="mailto:workshops@c4gallery.com">workshops@c4gallery.com</a> or call us at 323.462.1600 if you have any questions.<br /><br />Please also see our other workshops, incl. gum bichromate, wet plate with Kerik, Lith workshop with Guillaume Zuilli (upcoming, dates not yet set) and<br />others. <br /><br /><a href="http://www.c4gallery.com/workshops/photo/mammoth-wet-plate-collodion-workshop.html" target="_blank">http://www.c4gallery.com/workshops/p...-workshop.html</a><br /><br /><a href="http://www.c4gallery.com/workshops/workshops.html" target="_blank">http://www.c4gallery.com/workshops/workshops.html</a>
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Luther Gerlach is one of the foremost practitioners of the process - in terms of both practice and theory - he is recognized and used by the Getty Museum for their demonstrations and workshops in the medium. As an interesting side note - he is also the owner and operator of the world's largest 'mammoth' wet plate collodion camera, which you may be able to get a glimpse of while attending the workshop. We will also be offering a special 'mammoth plate' workshop with Luther and his camera.<br /><br />The Workshop will be both a technical and practical workshop concentrating on wetplate technique, appropriate to all, from those who need an introduction to the process through seasoned 'professionals'. The workshop will focus on the topic of the human figure - and a model will be provided for shots the students take. Luther will show some of his figurative work - and we will also look at some precedents in this genre, specifically concerning the wet plate photograph. Lunch will be served while students' plates are setting up and we will explore students' results at the end of the session. Workshop fee is $275 - and a further $20 off if purchased online - and/or 15% off if purchased online. <br /><br />The workshop will be hosted at our gallery in Los Angeles, CA on May 1, May 15 and June 12, 2010. SPACE WILL BE VERY LIMITED. FIRST COME, FIRST SERVED! Please write to:<a href="mailto:workshops@c4gallery.com">workshops@c4gallery.com</a> if you have any questions.
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This workshop covers the essentials of the time-honored gum-bichromate process. You will leave the workshop with a small edition of your own two -color gum-bichromate prints. Master printer Karen Fiorito will guide you through the entire process - from the creation of individual plates from the digital image you provide through the care and handling of the final prints. She will also describe some best practices for the process and make suggestions for individual images which may require special treatment and help you make your own set of fabulous gum-bichromate prints. Please note - you will need to e-mail a scanned image that you'd like to use within three days of the workshop start date. You may also submit a hard copy for scanning for an extra ($10) fee.<br /><br /><br />Skill Level: Beginner/Intermediate<br />Location: Downtown Studio<br />Instructor: Karen Fiorito (click to see a sample of her work)<br />Duration: One Day.<br />Dates: See available sessions below<br /><br />Topics covered in the workshop are:<br /><br />making separations (screens) from a digital file or flat artwork<br />registration of screens<br />color strategies for separations and the creative process<br />choice of inks - other alternatives to ink<br />choice of paper/ alternate material selections for substrates<br />historical practices and creative options<br />image enhancement/modification (bleaching, brushing, masking and other advanced practices)<br />analysis and follow through/troubleshooting session where warranted<br />care and handling of final prints<br /><br />Space in the workshop will be limited to 10 (ten) participants..Each participant will go home with their own edition of silkscreen prints. The workshop fee is $275 or $240 for members.There is an additional lab fee of $45 to cover the cost of fine art papers and inks for this workshop. . The workshop takes five hours and includes a lunch with a non-alcoholic drink of your choosing. The fee also includes handbook summarizing topics included in the workshop. Individual instruction is also available upon inquiry. <br /><br />Please see our membership page for additional huge discounts on all workshops and merchandise as well as other goodies. There is an additional $20 off the workshop fee if purchased online, below. Students of accredited educational institutions are also eligible to receive a 15% discount on all workshops. Please inquire about multiple workshop discounts too. <br /><br />See also: Silk Screen Printing with Karen Fiorito and other workshops.<br /><br /><a href="http://www.c4gallery.com/workshops/printmaking/gum-bichromate-workshop.html" target="_blank">http://www.c4gallery.com/workshops/p...-workshop.html</a><br /><br /><a href="http://www.c4gallery.com/workshops/workshops.html" target="_blank">http://www.c4gallery.com/workshops/workshops.html</a>
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Hi. can someone point me to a link that indicates how to find the page with the
firmware version on the D1X menu system? I can't seem to find ANYTHING on google.
Thanks.
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You already have the perfect 6x7 shift camera - you have a full 2cm of rise! (hint hint)
:)
Seriously. Just change the way you use it. I have a 670 - and WISH I had a 690 for
EXACTLY that reason.
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I just checked B&H.
http://www.bhphotovideo.com/bnh/controller/
home?O=productlist&A=details&Q=&sku=29097&is=REG
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As far as I know - Technidol is still being made. Should be no problem. Just google it.
I buy the stuff online all the time - though I usually shop around and find the best
price. Try it. It'll work. As for worrying about the date. That's just silly. I've shot a
bunch of 15 year old tech pan in the last few years - and it works great! No fog at all.
If it were Tri-X - I think that might be another story, though.
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Hiroshima? Dead man's shadow? Those would be photo-GRAMs wouldn't
they...? There's some dark humor for you. I find your line of questioning a
bit wanting in the precision department. It seems you are looking for
several orders of 'quality' at the same time. When you refer to 'signifiers'
aren't you in fact referring (if i can assume here) to it's plastic qualities (see
greenberg's essays) - or it's conceptual qualities (see sontag's on
photography)? Or both...? If it's the latter - I wouldn't perhaps use 'signifier'
since these are not overt signs, but simply ideas which we all HAVE about
photography in general, according to it's ephemeral nature. A signifier is
usually an element of meaning which is immediately 'read' and is visually,
physically distinct from other visual and physical constructs. The one
QUALITY which photography as a MEDIUM possesses inherently is maybe it's
FREEDOM from signifiers - relative to other media, whose brushstrokes,
whose casting lines, whose typewritten words connect us with it's message
through a more complex machinery. Photography, on the other hand,
presents us with trained visual stimulus as if 'we were there'. And this is the
starting point for the construction of meaning in this medium (seems to me,
anyway). So - my question would be - "is this the point from which you'd
wanted to launch your investigation" - ?
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"fine art" is a label we apply to photographs of naked women - and unchallenging
subject matter in order to validate them, or at least make them seem less like porn or
(uncreative) subject matter, respectively. The term creeps me out.
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what would you all think of this; "only the unimaginative think it's all been done
before - because it's all that's occurred to them". Nothing's been done yet - think
about it THAT way. The amount of territory that we've covered,culturally, as a species
- is MINISCULE. Run with it.
Now HERE'S a question for you: "is there such a thing as intelligence?" I've been
wondering this lately. I kind of have doubts. Or at least - that what we think of as
'intelligence' is not quite what we'd expected.
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Well - you CAN side-project on a Beseler 45 - but I wouldn't really recommend it. It
doesn't really help the alignment issues, for one - and the sketchy film carrier
clamping coupled with the fact that students are going to need to learn to REALLY
tape their negs in the enlargers (which, until that happens, is going to create some
stepped-on negs) would make this a bit of a questionable route. I vote for drop
tables. A drop-table is pretty easy to design. Set it up so that the largest prints are
printed on the floor (Careful of dust!!). Prints from, say 60%, of this size up to full size
will print on the floor by dint of lowering the head on the track. Then you make your
drop table to around this 60% dimension. You may only need one accessory position
apart from the default table height depending on how you choose your break-
points... it'll be a bit of a trial and error process with pen and paper - but shouldn't
take all that long.
lots of luck.
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These new proposals of yours still do nothing (it appears) to get rid of your single
biggest performance bottleneck. Esp. for image editing... which is disk performance. I
would throw $500 or $1000 at a SCSI or SATA array/setup that will likely give you
better performance with your existing machine than with your proposed upgrade. The
benefit is - when you DO go on to newer machines you can take the drive(s) with you.
I'd strongly recommend having a look at the forums over at macgurus.com. There are
some pretty savvy folk over there who'd be happy to answer your questions.
good luck.
J.
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Just my own 2 cents... but I've had nothing but horrors with changing tents (light
leaks, dust, you name it. What I've done in the past and find WAY better is to carry
around a few rolls of black gaffer's tape with me - hit the local gas station or denny's,
tape yourself in, set up your holders on a board (also supplied by you - though
optional) across the sink or on the floor or else on a toilet back) and kill the light. It
works great! No fussing. At all.
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I found that initially puzzling as well- until you realize he's probably
approaching the problem coming from smaller formats with fixed focal
distances, where shorter than average designs requiring retrofocus - DO
actually cost a GREAT deal more.
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They are REALLY overrated in my opinion. Really. I'd stick with DeVere and
then Durst if you can.
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Having been in and out of the academic world - it strikes me that there are
those 'academic' books and those for others... yes perhaps the academic
books and essays seem a lot drier - perhaps more pretentious - I'm guessing
that it's because it tends to draw on a lot of others' work and a lot of theory
that people in the field would be more familiar with (the french
neo-freudian Lacan, etc...). It would be nice if that weren't needed - and
concepts could be gotten across without it. Whatcha gonna do, I guess...
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Well - here are my thoughts. The original tends to be very funky
electronically speaking - unreliable perhaps. Though I think they tend to be
either semi-reliable - or outright dead by this day and age. Get a SLX 2 or
else 6002 or 6006 for much less than the more current models.
You will be taken to the cleaners on accessories. Extension rings - for
example will cost you MANY times more what the hassy stuff will ($250 vs.
$50 as an average price perhaps - for a SINGLE ring). Second hand hassy
lenses are cheaper and in far greater supply (coincidence? I think not.)
But there's something I just LOVE about the rollei SLRs. I don't know what it
is. They have chutzpah - or something. I can make really spontaneous
GREAT images with those in a way that I cannot with a hassy. There's really
something special about them that I cannot put my finger on. I have a 6002
setup that I just cannot bring myself to sell - even if it's redundant. Ack.
That's all I can say on the matter.
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I'm just curious... have you people done any serious studying? (BFA, MFA,
etc...) I'm just wondering because perhaps it's more of an 'academic' sort of
book.
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Hell - I have a LOT of time, money, effort and whatever else you can think of
invested in 4x5 - I DON'T shoot 8x10. But you can tell the difference a mile
away. The subtelty is simply jaw dropping. Once you see enough of both - or
start getting really used to one - believe me... the other is quite a different
animal!
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Sorry If I seemed like a big fascist. It just seemed to me that you were
suggesting the lens was incapable of forming an image unless the
lensboard was properly aligned.
Tha's all.
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I QUITE understand what you are talking about. However - for the simple
sake of argument (am I feeling argumentative?) would you not agree that
the only condition (all other things being equal) under which no focussed
image could form on the film would be if the lens were placed
SIGNIFICANTLY behind the point of infinity focus?? The only thing that
would do this would be a baseball bat and QUITE a lot of force involved - at
which point the camera would be QUITE deformed. The lens carrier could
be off by as much as 1,5cm and still be able to form an acceptably sharp
image of SOMETHING SOMEWHERE. I mean - we could place some money
on this if you felt so inclined. I have absolutely no problem with that.
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I'll be the iconoclast of the group - and say that this is NOT mildew (that
would be irregular in pattern anyway) - but simple magenta shift. You'll
have to venture into your "curves" command in photoshop and reset the
'toe' (shoulder in the case of negs) to eliminate the magenta cast. Get
yourself a good book - highly recommended is "real world photoshop" by
blatner & fraser. None better. It will take you through the EXACT process
you need to deal with. Anyway - this is REALLY REALLY common with older
negs. Luckily it's easy to deal with digitally.
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John, unless there's a gross error in my understanding of the situation (and
sometimes this HAS happened!) - Joachim is saying that there is NOTHING
sharp in the resulting neg. Nothing in FRONT of the point he's focussing on -
and nothing BEHIND. If there were a misalignment - the zone of sharp focus
would simply shift - the lens is still capable of focussing as sharply (or nearly
so) as the day it was made... but one's ABILITY to position it in the desired
place is now hampered by the fact that the viewing lens is not in alignment
with it. So - that's why I'm thinking that it's NOT a misalignment.
tha's all.
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Well, I think the BIG problem - and the key to the Weston quote that you
inquired about (that WAS you, right?) - is simply that rules applied blindly
result in somewhat blind pictures. I think, for example, that a 'rule of thirds'
is only useful to those who have no good feel for any sort of composition
whatever. And if you're paying heed to such things - then you're very likely
to miss out on some far better possibilities that may be around. And, in fact,
I think that any such rules, formalized or personal WILL CHANGE according
to the tonal and SEMANTIC content of the potential image. I think this says
a lot! But don't be bummed. We all have an amazing eye inside us
somewhere. If you're capable of choosing any given image as being BETTER
than another - then you can compose. Just move around the camera and
treat it as a large selection of possible shots and choose the one that speaks
to you the loudest. Or the softest. Depending on your inclination. Good luck.
Reticulation?
in Black & White Practice
Posted