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]

Scanning: MA Major Study Research

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Initial Calculations

While using film within your photographic practice you inevitably get to the question, what do I do with the film once it is processed? The two options I contemplated were printing them in a darkroom using a traditional gelatin silver based process or scan the film and print digitally. I decided on the latter option, digital printing, as the cost to setting up a darkroom is expensive and there are no longer any darkroom rental facilities available in my area. Also having taught both print and digital printing I appreciate the advantages of the digital editing process. Scanning on the other hand is something I have done very infrequently and have never given much thought too. As such this was an area of the process that I wanted to explore as I have never been completely satisfied with the result I have obtained previously.

There are many ways to scan or digitize film, you can scan it using an assortment of different devices or photograph the film with a digital camera. The two methods of digitizing my negatives I have been exploring are scanning the negatives with an Epson V750 flatbed scanner and photographing them with a Canon 5D Mark III digital camera. The reason I decided on these two processes was they are commonly used, from a monetary perspective they are not expensive, and they are purported to give excellent results. This write up will look at my calculations for scanning on the Epson V750 flatbed scanner.

PRINT SIZE

Before I began digitizing the negatives I decided on a print output size, the film I am scanning is 4x5 black and white negative film. There is an art to scanning but simple formulas can help you decide how much resolution you need for different types of images (Fraser, 2009). So I am going to use a number of different formulas below that I have used for years to figure out, viewing distance of the print, and resolution.

I am going to print on two different devices an Epson Pro 9900 printer which has a maximum width of 44 inches. The second is the HP Latex 110 printer that has a maximum width of 54 inches, but the RIP software will allow me to tile and print the images on multiple vinyl wall wraps. So for the Epson I am going to print images 44x54 inches wide and on the HP I plan to double the size of the image and print on two vinyl panels, 88x108 inches wide. I want to make sure that the dimensions of the potential gallery space will allow for such a large print (See Print Viewing Distance below).

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PRINT VIEWING DISTANCE

There is two different sizes that I would like to print 44"x54" and 88"x108" prints.

88"x108" prints have an optimal viewing distance of 17.41' feet

44"x54" prints have an optimal viewing distance of 8.7' feet

The formula below is my calculations to determine the optimal viewing distance for the prints. The formula calculates the diagonal length of the print, then the diagonal length allows me to calculate the optimal viewing distance.

44"x54" Print

44 squared is 1936 x 54 squared is 2916

(1936 + 2916) = 4852

Square root of 4852 = 69.66" which is the diagonal length of the print.

Formula For Optimal Viewing Distance Of Print

69.66" x 1.5 = 104.5" or 8.7 feet

88"x108" Print

88 squared is 7744 x 108 squared is 11664

(7744 + 11664) = 19408

Square root of 19408 = 139.31" which is the diagonal length of the print.

Formula For Optimal Viewing Distance Of Print

139.31" x 1.5 = 208.97" or 17.41 feet

The gallery space, Studio Sixty Six, will only support two image at 88"x108" inches as there is only two spaces with that viewing distance depth. The space will also allow for proper viewing of the 44”x54” prints. My other concern is the resolution needed to scan the image. I know that at 24" inches the minimum print resolution needed is 143 dpi to provide the illusion of continuous tone to an observer with 20/20 vision (Fraser Image Sharpening). This is a base level of dots per inch needed but I would like the image to be appear to be a continuous tone at a closer range (see Image Resolution and Resolution For Scanning below for the calculations).

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IMAGE RESOLUTION

The Epson printers maximum dpi (dots per inch) is 1440 (Epson, 2019) and the HP is 1200 (HP, 2019). The ppi (pixels per inch) resolution of images printer print at can be no better than half the specified dpi of the printer (Clarkvision, 2013). This translates into a maximum ppi of 720 and 600 respectively for each printer. From years of testing I know I can print all my images at half of that so I use 360 ppi half of Epson's pixels per inch.


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RESOLUTION FOR SCANNING

Knowing that I plan to print at 360 ppi and output at 88x108 inches, I use this formula to figure out my scanning resolution.

88"x108" Print

(88x360) = 31680

(108x360) = 38880

Using the longest dimension of the negative to determine the scanning resolution:

38880/5 = 7776 dpi


44"x54" Print

(44x360) = 15840

(54x360) = 19440

Using the longest dimension of the negative to determine the scanning resolution:

38880/5 = 3888 dpi


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The Epson V750 Flatbed Scanner has a maximum resolution of 4800 dpi (Epson Scan, 2019) it will not scan at 7776 dpi for the 88"x108" prints. So I will have to interpolate the image, which will add information that does not exsist in the orignial image (Fraser, 2003) or decrease the resolution of the image to get a print of that size. This I will have to test and see if it will work or I can scan for the 44"x54" print size.

Citations

Burke, A. (2017) Drum vs Flatbed Scanner - Side by Side Comparison. Available at: https://www.alexburkephoto.com/blog/2017/12/15/drum-vs-flatbed-scanner-side-by-side-comparison [Accessed 04 August 2019]  

Clark Vision. (2013) ppi of Printer . Available at: https://clarkvision.com/articles/printer-ppi/ [Accessed 04 August 2019]

Kennedy, S. (2018) Epson V750 for 4×5 or Drumscan?. Available at: http://www.simonkennedy.net/blog/architectural-photography-2/4x5-flatbed-vs-drum-scan/ [Accessed 04 August 2019]  

Epson (2019) Epson 9900 Printer Specs. Available at: https://files.support.epson.com/pdf/pro79_/pro79_ug.pdf [Accessed 01 August 2019]

Epson Scan (2019) Epson V750 Specs. Available at: https://www.filmscanner.info/en/EpsonPerfectionV750Pro.html [Accessed 03 August 2019]  

HP (2019) HP 110 Latex Printer Specs. Available at: http://h10032.www1.hp.com/ctg/Manual/c04721790 [Accessed 01 August 2019]   

Fraser, B. (2009) Real World Image Sharpening with Adobe Photoshop, Camera Raw, and Lightroom [Online] Available at: https://bookshelf.vitalsource.com/#/books/9780321679369/cfi/6/8!/4/704/2@0:0 [Accessed 01 August 2019]

Watson, K. W., (2019) All About Scanning Photos. Available at: http://www.rideau-info.com/photos/scanning.html [Accessed 03 August 2019]  

Photographing Negs: MA Major Study Research

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Another way of digitizing your film is using a digital camera, this technique I discovered while taking an online class Douglas Kirkland on Photography: Shooting with an 8x10 Camera. Kirkland explains his process, he uses a copy board stand to mount the DSLR camera pointing down, the negative is laying on a daylight corrected lightbox, and he uses a 50mm macro lens.

Douglas Kirkland on Photography: Shooting with an 8x10 Camera (Source: LinkedIn Learning, 2019)

Douglas Kirkland on Photography: Shooting with an 8x10 Camera (Source: LinkedIn Learning, 2019)

My initial calculation is that printing at 1440 dpi (Epson Manual), the resolution of the Epson 9900, my maximum print size would be 4"x2.6". The formula for this calculation is:

22.3 effective megapixels 5760x3840 of Canon 5D MK III Sensor (Canon, 2019), divided by maximum resolution of Epson 9900 printer 1440.

5760 / 1440 = 4

3840 / 1440 = 2.6

______________

This is a concern bout I thought I would try and see for myself. At the time I was photographing 8x10 film. The equipment I used to photograph the film:

  • -Tripod with horizontal camera mount

  • Canon 100mm Micro Lens

  • Canon 5D MK III

  • Cable Release

  • Colour Meter

  • Daylight 5500 Colour Correct Lightbox

  • Sandbag

  • Bubble Level

I mounted the camera on the tripod pointing down, with the lightbox below and levelled the camera using the bubble level. I used a cable release so I would not be touching the camera, reducing camera shake. I taped the negative film down on the lightbox and focused the camera, I set my white balance to 5500, set the camera setting to RAW and neutral, and took a shot. The images were very blue green so I used a colour meter to measure the lightbox and got a reading of 3630 and shift of 1 magenta. I set the camera's white balance to these settings and compensated for the colour shift by adding the digital colour shift to the camera. Took a shot and the image colour turn out neutral. The reason I compensated for the colour was because it has been my Another way of digitizing your film is using a digital camera, this technique I discovered while taking an online class Douglas Kirkland on Photography: Shooting with an 8x10 Camera. Kirkland explains his process, he uses a copy board stand to mount the DSLR camera pointing down, the negative is laying on a daylight corrected lightbox, and he uses a 50mm macro lens.

Douglas Kirkland on Photography: Shooting with an 8x10 Camera (Source: LinkedIn Learning, 2019)

My initial calculation is that printing at 1440 dpi (Epson Manual), the resolution of the Epson 9900, my maximum print size would be 4"x2.6". The formula for this calculation is:

22.3 effective megapixels 5760x3840 of Canon 5D MK III Sensor (Canon, 2019), divided by maximum resolution of Epson 9900 printer 1440.

5760 / 1440 = 4

3840 / 1440 = 2.6

______________

This is a concern bout I thought I would try and see for myself. At the time I was photographing 8x10 film. The equipment I used to photograph the film:

  • -Tripod with horizontal camera mount

  • Canon 100mm Micro Lens

  • Canon 5D MK III

  • Cable Release

  • Colour Meter

  • Daylight 5500 Colour Correct Lightbox

  • Sandbag

  • Bubble Level

I mounted the camera on the tripod pointing down, with the lightbox below and levelled the camera using the bubble level. I used a cable release so I would not be touching the camera, reducing camera shake. I taped the negative film down on the lightbox and focused the camera, I set my white balance to 5500, set the camera setting to RAW and neutral, and took a shot. The images were very blue green so I used a colour meter to measure the lightbox and got a reading of 3630 and shift of 1 magenta. I set the camera's white balance to these settings and compensated for the colour shift by adding the digital colour shift to the camera. Took a shot and the image colour turn out neutral. The reason I compensated for the colour was because it has been my expereince that colour shifts, especially blue cyan, can add density to a image when converted to black and white.

Reviewing the images on my computer I found that they were soft and lacked the quality of the Epson V750 scans, which I also found to be soft. The Epson scans lacked contrast but the Canon captures were more contrasty and lacked detail in the shadows. The image sizes matched my calculations above, the images would be very low resolution going to print and would produce a very poor image at the size I needed.

This is a form of digitization that I would not use. The image quality was poorer than a flatbed scan, the contrast was too high and the setup was too much work for the results. I do not plan to print these files as I feel they would be a waste of time at any size.

Citations

LinkedIn Learning, (2019) Douglas Kirkland on Photography: Shooting with an 8x10 Camera. [Online Image]. Available at: https://www.linkedin.com/learning/douglas-kirkland-on-photography-shooting-with-an-8x10-camera/digitizing-negatives?u=2199673 [Accessed 04 August 2019]  

DOF Calculator. (2019) Depth Of Field Calculator. [Online Image]. Available at: https://dofsimulator.net/en/ [Accessed 04 August 2019]  

Machinski, J. (2019) Photographing Negatives, Unpublished.

Canon. (2019) Canon 5D MK III Manual. Available at: http://gdlp01.c-wss.com/gds/8/0300007348/06/eos5d-mk3-im8-en.pdf [Accessed 04 August 2019]   that colour shifts, especially blue cyan, can add density to a image when converted to black and white.

Reviewing the images on my computer I found that they were soft and lacked the quality of the Epson V750 scans, which I also found to be soft. The Epson scans lacked contrast but the Canon captures were more contrasty and lacked detail in the shadows. The image sizes matched my calculations above, the images would be very low resolution going to print and would produce a very poor image at the size I needed.

This is a form of digitization that I would not use. The image quality was poorer than a flatbed scan, the contrast was too high and the setup was too much work for the results. I do not plan to print these files as I feel they would be a waste of time at any size.

______________

LinkedIn Learning, (2019) Douglas Kirkland on Photography: Shooting with an 8x10 Camera. [Online Image]. Available at: https://www.linkedin.com/learning/douglas-kirkland-on-photography-shooting-with-an-8x10-camera/digitizing-negatives?u=2199673 [Accessed 04 August 2019]  

DOF Calculator. (2019) Depth Of Field Calculator. [Online Image]. Available at: https://dofsimulator.net/en/ [Accessed 04 August 2019]  

Machinski, J. (2019) Photographing Negatives, Unpublished.

Canon. (2019) Canon 5D MK III Manual. Available at: http://gdlp01.c-wss.com/gds/8/0300007348/06/eos5d-mk3-im8-en.pdf [Accessed 04 August 2019]  

Lens & Composition: MA Major Study Research

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"The large ground-glass image is an entity in itself, a different experience from using the viewfinder. On the ground glass the image appears upside-down, and we must learn to view it in this position. We soon learn to "understand" the upside-down image, however, and it has a certain abstract quality that makes us more aware of its structure and its borders, as we are not dominated by the obvious dispositions of the subject. In effect the ground glass divorces us from the realistic appearances of the world. The ground-glass image thus exists as a thing in itself, specifically photographic and not merely a simulation of the "view" before the camera."

Adams, A.,& Baker H. R., (1981)

My process through-out my studies has focused only film and photographing with a view camera. Initially I wanted to capture the images digitally but a suggestion by my tutor to look at film and other camera formats lead me to the view camera. I am now fascinated by the process, underneath the black cloth and looking through the back of the camera really does divorce us from the realistic appearance of the world (Adams, Ansel The Negative). Judith Joy Ross said that it is so magnificently beautiful looking through a view camera, it is so mysterious (Judith Joy Ross) and she was right. Besides the amazing image quality there is a tremendous amount of control you have to manipulate the image with the camera movements.

Fig. 1: 360/620mm Technika Symmar Lens On The Right (Source: Machinski, 2019)

Lens

I am using an 8x10 Deardorff camera with a 360mm Technika Symmar lens, Figure 1., this lens is 360mm however it is a convertible lens meaning that by removing a lens element you can get a focal length of 620mm. The lens unconverted has an effective 35mm focal length of 52mm and converted 90mm. To figure out the conversion you multiple the focal length of your 8x10 lenses by .15 and for your 4x5 lenses by .30 (Tim Layton Fine Art). My concern is that the 360mm lens will be too wide, I want to compress the space behind the subject, and have a shallow depth of field.

Fig. 2: DOF Calculator Using 360mm Lens (Source: DOF Calculator, 2019)

Fig. 2: DOF Calculator Using 360mm Lens (Source: DOF Calculator, 2019)

depth of field calculator

Film is expensive so to give me a better understanding of what the final image might look like I began using an online Depth Of Field calculator, see Figure 1. The depth of field calculator allows you to set your aperture, subject distance, background, camera format, etc.. I use this tool to give me a rough estimate of framing and composition of the image and the depth of field. One of the features I like about a view camera is the shallow depth of field that can be achieved, however, it is difficult to focus too. It is my intention to photograph at the widest aperture possible to drop the background out of focus. The depth of field calculator using the 320mm lens was too wide, there was too much background included in the shot and the subject was too small. An option would be to move the subject forward but I know at 25 feet I can focus on my subject and not encounter any exposure compensation with the camera and lens combination I am using. If I did move closer I would need to apply the exposure compensation and I realize that this would affect my shutter speed which might already be very low. This is not an option and pushing my film to 800 ISO is not something I want to do either.

Using a 620mm lens in the calculator gave me the framing and composition that I was looking for, I do want to crop the bottom more so I will use the camera’s front rise to crop the subject below the knees.

Fig. 3: DOF Calculator Using 620mm Lens (Source: DOF Calculator, 2019)

technical concerns

There are two concerns that I have, one that the converted lens will not be as sharp. I can not find any documentation online to support this concern of mine but I can not imagine that removing the back lens element would allow it to maintain a sharp focus. Another concern is shooting wide open at F11, I will not be able to focus the camera precisely, I have about a foot of focus at that aperture. The Deardorff is an older wooden camera so the focus is not as precise as my 4x5 Sinar and the focusing ground glass is not as bright.

Fig. 4: Cropped For Final Composition (Source: DOF Calculator, 2019)

composition thoughts

One of the reasons I want to crop the subject above the knees is I do not want any foreground. The reason for this is I want this to be a metaphor for their journey up to this point, the path forward is unclear. I do want the subjects to appear to be in motion though I do not want them to appear to be statues. In Figure 4, I cropped the depth of field calculator image to compensate for the rise I want to apply. The large amount of space above I want to represent the sense of freedom the migrants feel being in their new country but I do not want the top to be open to the sky completely, not to airy and free. This is because I get a sense from the interviews of the migrants that they will never feel completely comfortable in their new country, their journey has changed them in a way made them more worldly and at the same time they realize their displacement in the world.

Citations

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

DOF Calculator. (2019) Depth Of Field Calculator. Available at: https://dofsimulator.net/en/ [Accessed 04 August 2019]. 

Machinski, J. (2019) 360/620mm Technika Symmar Lens On The Right. August 2019. Unpublished.