Loading ...
Sorry, an error occurred while loading the content.

Re: PF members exhibit June 1, 2013

Expand Messages
  • John Palcewski
    Andrew Sharpe - Bing Concert Hall, Stanford University This doesn t look much like a concert hall, but I ll take your word for it. The double exposure of
    Message 1 of 72 , Jun 1, 2013
    • 0 Attachment

      Andrew Sharpe - Bing Concert Hall, Stanford University   This doesn't look much like a concert hall, but I'll take your word for it.   The double exposure of the chairs evokes the atonality of  Schoenberg,  Scriabin,  Stravinsky, Bartók, or Ruggles.  Which is to say it might take some getting used to.   Nice shot overall.

      Art Faul - Fire Starters, nr Honrnbaek 1984.  Where there's fire, there's SMOKE.  A lot of it.  

      Marilyn Dalrymple - Striking a Pose at Apollo Park  This fellow looks like he doesn't know if he's coming or going.   He's likely ready to fly off.   I have mixed feelings about the blob of white to the left of the bird.  Would the image be as interesting if it were cloned out?  Probablly not. 

      Bob McCulloch - Ogunquit Beach  I'm always partial to beach shots, but this one seems somehow too remote, too distant, the figures too small.  Breaking this up into individual shots getting a closer look at those people might work better.  

      Randy Little - WALL    The power of this shot comes from first thinking the red wall is of a certain size, and then the relative smallness of the people below reveal it to be much, much more massive.  And the people are intriguing, individually and in groups in relation to each other.  Excellent!

      Yoram Gelman - Huangshan Peak No 2   Filters and application of vignettes are merely tools and like all tools they may be either used skillfully or not.  In this instance if you hadn't mentioned vignette I wouldn't have seen it as such.  It's a well-done, striking image.
    • Jan Faul
      ... Sometime in the late-1960’s, a LIFE magazine photographer named Charlie Phillips taught me about black velvet. He was shooting an electronic art show at
      Message 72 of 72 , Jun 7, 2013
      • 0 Attachment

        On Jun 7, 2013, at 10:39 AM, Randy Little wrote:

        How did you ever get that moon in there without photoshop.  (kidding)   Was it vacuum plate dark room or Multiple exposure? flapper back?  

        Sometime in the late-1960’s, a LIFE magazine photographer named Charlie Phillips taught me about black velvet. He was shooting an electronic art show at the Smithsonian and he had me as an assistant. The show was mainly about lights, and Charlie used black velvet to hide things he wanted to not show while a lighted section was pumping out colored strobe light.

        Sometime after 1980 I discovered (I didn’t invent this, but I discovered it for myself to use) that I could put a dark slide in the film holder and simply remove the camera back and take the whole assembly to another camera set up to see another view in a much more precise move than by simply moving the film holder. I was using an Arca-Swiss and I had two of them - a 4x5 and an 8x10 with a reducing back. Moving the film from the boom-box to the background was a moderately stress-free task, especially after pulling about 20 sheets of Polaroid. For this shoot I had a great assistant who flew in to visit (on the way to Israel with 300 rolls of Kodachrome) just prior to the shoot. Steve Epstein had a sixth sense about bringing Polaroids at the right time. Without his expertise and care I would have gone crazier. 

        The half-round moon was on a dowel put through a sheet of white translucent Plexi and artfully draped with black velvet during various exposures. Someplace I have the production shots and I will try to find one and post it in the gallery. The moon was multi-popped, as was the plexi sheet with the multi-colored filters on another sheet five inches behind the first for maximum blur and color covered with large cut filters on the back. All told it was more than 48 pops complete with moving film into two different cameras. One saw the road and boom-box/boots combo and the other saw the black velvet and the moon-sky setup. It was shot on Fuji Velveeta, which meant along with the other shots, we had to bracket on every combination. It took 30 sheets to get it right.

        Art Faul

        The Artist Formerly Known as Prints
        Stills That Move: http://www.artfaul.com
        Camera Works - The Washington Post
        art for cars: panowraps.com

      Your message has been successfully submitted and would be delivered to recipients shortly.