Looking Back To Go Forward #001

Being a bit reflective over these last few weeks, I started looking at my past work. It has been fun looking at things from life before COVID, nostalgic I guess. It also reminds me how much I love the act of creating things. Here is a photo series I did when I was in college..

Criminal Intent

This was the first series using studio images I ever attempted, my goal was to explore modern-day myths using archetypes from crime films. The series of images also relied heavily on religious iconography from my childhood and the work of Carl Jung and Joseph Campbell.

I shot individual close-up images of each part of the person in order to create very large images. Then I stitched together the portraits seamlessly and left the backgrounds rough to reference the technique. I relied heavily on propping and colour to help reinforce my theme and concept.

Criminal Intent by jason machinski

Capturing the light a true story of genius, rivalry, and the birth of photography

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I have taught the history of photography for over a decade and have brushed over the lives and achievements of the two “inventors” of photography many times. This book delved deeper into the lives of Daguerre and Talbot than any text I have ever read. It also humanized these two figures and offered a in-depth look at the society before photography was invented and after. A great read for those really interested in the birth of photography.

It is amazing how far photography has evolved and how much of the art of it has remained the same. What an amazing invention.

Capturing The Light A true story of genius, rivalry, and the birth of photography.
Book written by Roger Watson & Helen Rappaport

Stephen shore the selected works 1973-1981

Photo books are mixed, some you read and others, the really good ones, you are in the presence of, you experience.  This book is a really good one. 

Stephen Shore The Selected Works 1973-1981

Stephen Shore The Selected Works 1973-1981

The book is big, but the images are well framed floating in a sea of white. Each one is engrossing and the curator’s comments nicely frame the selection of images. If you are a fan of Shore you will already want or own this book. If you are curious about Shore’s work this book offers a good intro and some unique perspectives on his work. For me I enjoyed every minute I spent with the book.

Stephen Shore Selected Works 1973-1981

Published by Aperture

Street Photography - 19/12

It has been a long time since I picked up a camera, as my time is occupied with other things. However, it is nice to fall back into things you miss.

Photographs are fragments plucked from time, their context left up to the viewer. It is strange to see these images floating on a backlit screen frozen in time. That is the power and draw of photography I guess, a strange craft invented in 1839.

MA Done!!! & New Projects

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I found out today that I have completed my MA in Visual Communication. It has been two years of hard work and I am happy it is over but a little sad to see it go too. My daughter was starting pre-school when I began and now she is in junior kindergarten, so weird.

Now that my studies are over I am dusting off a project idea from two years ago, the History of Photo Podcast. Researching and interviewing subjects for my MA studies was one fo the highlight of my studies, a good skill set to apply to podcasting. Currently, I am unsure what the focus of the podcast’s first season will be, I was thinking about the history of New York photography or the birth of photography. I am starting to research first by reading and rereading some books that will give me an overview of the history of photography. A little nugget of history might jump out at me and give me something else to run with, here is my list:

  1. Photography: A Cultural History: A Cultural History

  2. The History of Photography

  3. A New History of Photography

  4. Photography: A Concise History

  5. A World History of Photography

  6. A History of Photography. From 1839 to the Present

  7. A History of Photography in 50 Cameras

These are some awesome reads, the first five I use in the History of Photography course I teach. They are excellent reads and great bookshelf ornaments to flip though every now and again. The last two are great coffee-table books and great gifts for those in your life who love photography.

I will be posting some highlights, research and deets on the podcast as things unfold. This is not going to be a short project but I am definitely looking forward to the challenge and what I will learn along the way.

There is also a new photo project I am kicking about but for now I am keeping it under wraps. This will be another long term interview and photo project. I like the format and enjoy how longer projects develop and I am looking forward to not having the constraints and deadlines of the MA to content with. This project, like the Migrant Narrative book will examine migration, but from a different angle.

Paper: MA Major Study Development

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One thing I am not prepared to do at this point in my practice is develop film or paper. I do not have the time or the facilities to properly process either. Also it has been my observation through my years in the industry that, as far as gelatin silver prints, digital printing and editing has far surpassed the quality and control of darkroom printing. Another reason is size, I would like to produce large scale images and anything beyond 48” inches digital onto inkjet (PetaPixel, 2017) is the best option. The quality is better, it is cheaper, and you have more control in the digital editing process. The people within the images are going to be printed near live size, I want them to be engaging and confront the viewer.

Figure 1: Paper Choices (Source: Machinski, 2019)

Figure 1: Paper Choices (Source: Machinski, 2019)

The one paper I do want to work with is a fibre based paper as it is thicker and it reminds me of fibre based silver gelatin paper I used to use in the darkroom. I recently did some testing printing on a assortment of fibre rag papers, Canson Platine Fibre Rag, Epson Exhibition Fibre, Hahnemuhle Baryta Glossy, and Hahnemuhle Baryta Satin they all have gsm of about 300 a nice thicker paper stock.

I decided on the Hahnemuhle Baryta Glossy I like the finish and this like fibre based papers silver gelatin papers it has a barium-sulphate gelatin applied to the paper ground to produce purer whites and richer blacks and is archival, The Getty Conservation Institute (2018).

Figure 2; 44x54 Baryta Glossy Print for the Migrant Narrative Show (Source; Machinski, 2019)

Figure 2; 44x54 Baryta Glossy Print for the Migrant Narrative Show (Source; Machinski, 2019)


Citations

The Getty Conservation Institute (2018) The Atlas of. Available at: https://www.getty.edu/conservation/publications_resources/pdf_publications/pdf/atlas_silver_gelatin.pdf [Accessed on: 17 Aug, 2019]

Parallax Photographic Coop. (2016) The Difference Between Resin Coated And Fibre Based Paper. Available at: https://parallaxphotographic.coop/the-difference-between-resin-coated-and-fibre-based-paper/ [Accessed on: 17 Aug, 2019]

Machinski, J (2019) 44x54 Baryta Glossy Print for the Migrant Narrative Show (Unpublished).

Machinski, j (2019) Paper Choices (Unpublished).

Nickelson, J. 2017, Fine Art Inkjet Printing, Rocky Nook.

PetaPixel (2017). An Interview with Edward Burtynsky. Available at: https://petapixel.com/2017/04/13/interview-edward-burtynsky/ [Accessed on: 17 Aug, 2019]



Hanging Prints: MA Major Study Development

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The video below is process video on how to hand a large scan vinyl image along with my rationale for going with large format output for this particular series. Along with a comparison of the quality of a Howtek vs. an Epson scanner.

This is a video of my process for scanning and printing large format negatives. This video is a follow up to the Howtek Scan Master 4500 drum scanner and Epson V750 scanner video. Within the video I critique the prints from the Epson 9900 printer and the HP 110 Latex printer.

Gallery: MA Major Study Research

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Initially I did not want to show the work in a gallery space opting for a more street level performance style presentation of the work.  I have always been fascinated by the work of photographer JR and the way he has fused street art and graffiti into his practice.   He calls himself a “photograffeur," (NPR, 2010) a photo graffiti artist as he uses wheat paste and inexpensive prints to post his photographs onto buildings and walls.

Figure 1: JR 28 Millimeters, Women Are Heroes, Rio de Janeiro, Brésil, (Source: JR, 2008).

In previous modules I have used wheat paste and vinyl to post my images onto structures and buildings in Ottawa. Eventually ending up using a combination of vinyl prints on wood to allow me to place the images quickly onto the street, the images were also not permanent. Ottawa has an anti-graffiti law making it the owner of buildings responsibility to remove graffiti in a timely manner or they will get fined.

“The By-law requires that property owners remove graffiti from their property within a minimum of 7 days after receiving notice from the City. If a property owner chooses not to remove the graffiti within the specified time frame, contractors may be hired by the city to remove the graffiti. Associated costs will be added to the property owners’ municipal tax bill.” City Of Ottawa 2019

This is not something that I wanted to burden property owners with so any large scale display of my work would have to be in collaboration with property owners or I would be limited to smaller scale work.

Figure 2: Examples of Pasted Street Portrait (Source: Machinski J., 2018).

Figure 2: Examples of Pasted Street Portrait (Source: Machinski J., 2018).

Creating street art pieces of my work I like impermanence of the media the work get removed within a few days and was wondering if there was a way to create pop shows of my work. That is when I stumbled upon projection and projection mapping, this uses LCD projectors to digitally display images onto building and structures. Since this form of display is not permanent and it does not conflict with the City By-Law and my work could be displayed in a very large format, see Figure 3 & 4 for an example. Most recently I have been experimenting with VPT 8 software which does projection mapping, which would allow me adapt a projection to a particular space/surface (HC Gilje blog, 2019). This would also allow me vertically correct the images and produce complex displays of my work using multiple images and text. I like this idea of doing pop up shows of my work but I think that I might use this as a promotion for an actual showing of the work. So I began to look for venues in town for a possible showing of the work.

Studio Sixty Six in Ottawa is a contemporary art gallery that hosts curated show and allows for  rental of the space for self-hosted shows.  I have been to a number of shows within the space and really like the venue and the location.  It is located in the heart of the Glebe in downtown Ottawa and it has the space to properly display the size of prints that I want to produce, 44x54 inch smaller prints and 88x108 inch wall wraps. There are two areas within the space that would facilitate the display of the 88x108 inch print’s viewing distance of 17 feet. The smaller 44x54 inch prints would also have a proper viewing distance in the remainder of the gallery walls as the distance is 12 feet in depth, see floor plan and 3D renders, Figure 5-7.

Currently I am at the initial stages of planning this and have asked for costing of renting the space and availability. I have produced a number of the smaller prints and a large 88x108 inch wall wrap that would hang in the space.

Citations

Abrishami, A. (2019) Floor Plan Studio Sixty Six. June 2019. Unpublished.

JR. (2008) 28 Millimeters, Women Are Heroes, Rio de Janeiro, Brésil. [Photograph] Available at: https://www.jr-art.net/projects/women-are-heroes-brazil [Accessed 27 July 2019]  

Machinski, J. (2018) Examples of Pasted Street Portrait. December 2018. Unpublished.

Machinski, J. (2018) Studio Sixty Six Floor Plan 3D Render. August 2019. Unpublished.

Machinski, J. (2018) Studio Sixty Six Floor Plan 3D Render. August 2019. Unpublished.

NPR. (2010). Anonymous 'Photograffeur' Wins One Wish To Change The World ... And $100K. [Online] https://www.npr.org/sections/pictureshow/2010/10/21/130727951/tedprize [Accessed 1 July 2019]

City Of Ottawa (2019) Graffiti Program. Available at: https://ottawa.ca/en/residents/water-and-environment/green-living/graffiti-program#graffiti-law [Accessed 12 June 2019]

VPT 8 (2018) Conversations with spaces. Available at: https://hcgilje.wordpress.com/vpt/ [Accessed 12 August 2019]

Wu, M. (2018) Land and Memory. [Photograph] Available at: https://photogmusic.com/landmemory-studiosixtysix/ [Accessed 12 August 2019]

Posing: MA Major Study Development

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While re-reading Heisler’s book I came across this line:

“I couldn't possibly have told him to stand the way he stood, he weight shifted just so, like an artist's model demonstrating contrapposto.” Heisler, G. (2013)

Figure 1: Michelangelo’s David (Source: Academia.org)

I liked the image so my interest was peaked, what was contrapposto was and how I could incorporate that into my posing repertoire.

Conrapposto is a posing style that is used in sculpture, one fo the best examples is Michelangelo’s David, conrapposto make the subject look more natural as if they are taking a step forward. (Khan Academy, 2019). I like the idea of placing my subject on the road or pathway to represent movement. So to further emphasis this I plan on using this technique to make them appear like they are in motion as well. I like that this will also be a metaphor for migration which is movement too.

I also found this great resource, CreativeLive (2019).

  1. Creating separation- Move the subject’s arms and legs to allow for negative space, lines, and triangles around the body. Lines and spaces help the eye move around the frame. In addition to appearing slimmer, the model will look like he or she is in the middle of doing something instead of just standing still.

  2. Tucking the arms in - Move the arms back far enough to hide the upper arm. This allows the elbows to cinch the waist a bit. This position makes the subject look whimsical, like they’re in a fairy tale.

  3. Forcing the chin away from the neck - Lean the head back and push the neck out. This pose creates a straighter line under the neck and helps your subject look alert and purposeful.

  4. Arching the back - Exaggerating an arched back defines the waist, creates negative space, and adds tension and implied motion.

  5. Dropping the shoulders - Ask your model to take a deep breath and relax his or her shoulders. With the shoulders dropped, the neck is elongated. The pose looks elegant and encourages better posture.

  6. Tilting the head back - Define the jawline and elongate the neck by tilting your subject’s head back so he or she is looking up. The viewer is left wondering what the subject is looking at, and the model looks engaged in the scene.

  7. Pulling the arms back - Add tension, alertness, and implied motion to your images by asking your models to thrust their arms back behind them. This results in a more dynamic, storytelling pose.

    Another great resource for posing is this book:

    Valenzuela, R. 2014, Picture Perfect Posing: Practicing the Art of Posing for Photographers and Models, 1st edn, New Riders.

Citations

Academia.org (2019. Michelangelo’s David Available at: http://www.accademia.org/explore-museum/artworks/michelangelos-david/ [Accessed on: 1 Aug, 2019]

Heisler, G, 2013. 50 Portraits Stories and Techniques From A Photographer's Photographer. 1st ed. New York: Amphoto Books.

Khan Academy. (2019). What is contrapposto Dr. Steven Zucker and Dr. Beth Harris. Available at: https://www.khanacademy.org/humanities/art-history-basics/tools-understanding-art/v/contrapposto [Accessed on: 1 Aug, 2019]

Tobin, R. 1975, "The Canon of Polykleitos", American Journal of Archaeology, vol. 79, no. 4, pp. 307-321. https://www-jstor-org.ezproxy.herts.ac.uk/stable/503064?pq-origsite=summon&seq=2#metadata_info_tab_contents

CreativeLive (2019) 10 Basic Posing Techniques for Fine Art Portraits. Available at:https://www.creativelive.com/blog/10-basic-posing-techniques-fine-art-portraits/ [Accessed on: 1 Aug, 2019]


Lighting: MA Major Study Development

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Figure 1: Without Flash (Source: Machinski, 2019)

Figure 1: Without Flash (Source: Machinski, 2019)

Up to this point I have not used flash with my view camera on location, within my proposal for this module I decided to use flash for this series of images. I use the zone system for ambient exposure, using a spot meter to read and record all the exposure values in a scene and assign a zone to them. Adams, A.,& Baker H. R., (1981). This is used to assess the dynamic and texture range of a scene and to set my exposure, Adams, A.,& Baker H. R., (1981). Through research and experimentation I found using that the zone system could still be applied to my exposure metering formula.

Initially I did a test with a digital camera setting up my Elinchrom Ranger pack with one light. Boosting the output of the flash two stops higher than the ambient light I was able to overpower the flash and gain a correct exposure. I was shooting in a low light situation and wanted to keep my shutter speed low to let in the available light register.

“So your f-stop camera control is like a rheostat for your flash exposure. Again, the shutter speed has no effect, because the flash is just an instanteaneous burst of light. The shutter speed becomes a rheostat for the ambient light, independent of the flash. So if I have f/8 storbe light falling on my subject, the background can be at any of a wide range of shutter-speeds without affecting it.” Heisler, G, (2013)

Figure 2: With Flash (Source: Machinski, 2019)

Figure 2: With Flash (Source: Machinski, 2019)

This was a very harsh light as the flash was too powerful and aimed directly at the subject. So I started to feather the to achieve a softer effect, because in its own way, it causes the light to wrap around and act its own fill. It is also a way to emphasize the subject. Heisler, G, (2013). I was also fighting the available light at first because I was not thinking about where the natural light was coming from, placing the strobe so that it follows the direction of the natural light Leibovitz, A., (2008). Created a more natural light look but emphasizes the direction of the natural light Leibovitz, A., (2008).

One thing I did find funny's about this process was initially I thought the use of flash would let me shoot anywhere but using direct flash in direct sun looks unnatural. The best time to shoot is an overcast day, or at the beginning or the end of the day, when light are low and the tones are most even Leibovitz, A., (2008). This is much like shooting available light but the look is quite a bit different.

Figure 3: Flash Unit Setup (Source: Baylin, 2019)

Figure 3: Flash Unit Setup (Source: Baylin, 2019)

In Figure 4 there is a side by side comparison of a image with flash and without. The image with flash I can adjust the overall contrast without affecting the subject. The image without flash is very much tied to the exposure of the background. So when editing I could hardly change the contrast without drastically effecting the subject. This is another benefit of using flash.




Citations

Figure 4: Sandra No Flash and Flash, (Source: Machinski, 2019)

Figure 4: Sandra No Flash and Flash, (Source: Machinski, 2019)

Adams, A., Baker H. R., 1981. The Negative. 12 th ed., Bulfinch Press.

Heisler, G, 2013. 50 Portraits Stories and Techniques From A Photographer's Photographer. 1st ed. New York: Amphoto Books.

Leibovitz, A., 2008. At Work. 1st ed. New York: Random House.