Monthly Archives: September 2014


Critique day is fast approaching, and I just wanted to give people a heads-up about the slight direction change in my project.  As I said during our initial presentation, I really needed to see the images I shot over the summer before I clarified my project direction.  Well, I’ve developed all of the black and white rolls I shot over the summer (about 8), and an additional 4 that I’ve shot in the past few weeks.  I have sent out all the slide and color rolls I shot this summer for processing, but unless there’s something radically different and compelling about those images, I’m pretty well set on black and white.

The most notable change in direction for this year is that I have (at least for now) stepped away from the idea of physically layered images/transparencies in favor of in-camera layering with multiple exposures.  I think my images are compelling without adding other layers.  I’ve also abandoned my focus on transitional states (that left with the idea of physical layering), and I am continuing to follow my interest in poetic image.  I consider the work I am making now to be an invitation to pause.  The abstraction in the photographs makes them more complicated and less easily deciphered.  My mentor calls them, “quiet, but very insistent.”  I think that is an apt description of the qualities that are emerging.

My research is rather broad at the moment, with the understanding that things will narrow and crystalize with continued work and time.  The topics I am currently studying include: latency, affect, Constructivist psychology, temporality, phenomenology, intuition (snapshot), and poetics, as they all relate to photography.  I am reading a lot of Walter Benjamin, Marcel Proust, Rolland Barthes, Susan Sontag, and Minor White.  I am looking at a lot of contemporary Japanese photographers, including Hiroshi Sugimoto (In the Praise of Shadow), Miho Kajioka (As It Is), and Yasuteru Kasano (Zoetrope), as well as Niko Luoma, Alberràn Cabrera (Mouth of Krishna), J.K. Lavin (Standing on the Threshold), Rocky Schenck, Uta Barth, and Ralph Gibson (Somnambulist).


In the Summertime

I was remiss in posting over the summer, but that does not mean I was inactive in art making.  I spent the summer destashing my expired film from the fridge and freezer.  You may be visualizing a handful of film rolls that had been hanging around for a few years, but you would be incorrect.  The film ranged from 9-19 years old, and included a full brick of color slide film, a handful of color rolls, and a large Tupperware container of b&w.  I’m not through it all yet, but I certainly made a sizable dent with my 35mm Holga.  When you work with expired film, it’s impossible to know whether you will get any results, because the film could be fogged, have some gnarly colors, or require more developing time.  I’m an optimist, so I figured it’s good as long as I average 1-5 usable images per roll.  Unfortunately, I have not been able to develop any of the film yet.  Hopefully I will get to at least a chunk of the b&w film this week, but the color and slide film has to be sent out to a lab that works with expired film.  They are willing to give it the little bit of extra TLC that other labs will not.  I’m excited to see what comes out of the film; I was using it as the jumping off point for my thesis, so it will certainly inform the next steps I take in my work.