Sneak Peek

 

I've been back in my darkroom working on new photographs for an upcoming solo show in Frankfort, KY. I'll be showing in the Jane Chancellor Moore Gallery through January and February. The space is in a bank, so it's only fitting to exhibit this work. In fact it was my previous Currency portfolio that landed me the invitation.

I believe this will be the last time I'll be in the darkroom during my sabbatical so I made the most of it, creating 38 new prints. Although each photographs is unique, I have run into a bit of an issue because I have a limited number of different source images. For example, I have four Grants, six Jacksons, three Hamiltons, etc. I'll have to do some major editing to find uniquely singular prints.

As with my Botanical Studies, I continued to explored the mordançage process, and again faced new challenges and revelations with my results. All in all I'm very happy with what turned out and I'm excited to have an opportunity to put them on display.

Variations on a Theme

This week's post is a follow up to last week's. Since then I've been able to finish off this current set of prints, press and flatten them, and scan them on my antique flatbed scanner setup (as evidenced on my Instagram blog). In the end I produced multiples of 12 different photograms with a final total of 39 unique prints. The results have been quite nice in a number of the pieces. I've mentioned before that the mordançage process can be a bit unpredictable (although with more and more practice I'm developing a better feel on how to create certain results). As evidence I wanted show you four variations stemming from the same original photogram. With specific timings, manipulation, and chemistry combinations, a wide range of final prints can be achieved.

In the coming months I will be continuing to work in the darkroom to extend on a series of mordançage photographs in anticipation for a show at the Jane Chancellor Moore Gallery in Frankfort, KY in December.

Back to the Darkroom

New prints hanging to dry in the darkroom.

In the middle of October I will be participating in my first art fair of sorts. It will be in Louisville at Sojourn Community Church as part of their Affordable Art Show. Daniel Graham and I will be sharing a booth. With this deadline in mind I'm producing more new work along the lines of what I did for the Lexington Art League CSA project.

A wet print in which the veils were not popped. Too bad it didn't look this interesting once it dried.

I have been back in the darkroom experimenting with more botanical mordançage prints. I've learned a number of things since I made the Silver Dollars print. For starters, my enlarger was totally set up wrong, from the condenser lenses to the lamp height. It's a wonder the print even worked. After some quick adjustments and tests, those issues were worked out.

Some very unusual results in the background, although I'm not too crazy abut the final image.

The other part of the workflow that I've been able to explore more is the mordançage process itself. After making so many prints in a row (and now experimenting with a whole new batch of photograms) I've been able to find ways of controlling the tones and finished image. That said, there are still many results that seem unexplainable and random. But sometimes that bit of surprise is a boost that encourages me to keep exploring and finding something new.

This one turned out a little more predictable/traditional.

For the Affordable Art Show I am planning again to finish my prints with 11"x14" mat boards. In addition I'll be making digital reproductions, probably 5"x7" and/or 8"x10" prints on watercolor paper, to sell at a much lower price.

So far so good. Next thing on my list is to find a 10'x10' white tent.