Not Light Fast

The Anthotype project is slowly progressing. The majority of the pokeberry coat has been exposed and is now in the hands of local artist and seamstress for the project, Charmaine Griffith. That’s her in the picture with David Crowell who is allowing me to expose the three last pieces on the roof of Custom Frame Services.

The blackberry / mulberry coat continues to expose in the backyard. I’ll start another coat in the gallery space of the Dayton Visual Art Centrr once the installation for “In Vivo” begins.


It’s always humid in Houston


At the start, let just get this out of the way: I do things the hard way.

I am basically carrying a chunk of what I consider my studio. For Houston, I brought 5 large anthotypes, rolled up in a tall plastic tube as well as  two smaller ones. Next is the hard case, a too large to carry-on suitcase which has my  clothes, two larger portfolio boxes and toiletries. Addtionally I have my messenger bag with lap top, an Agfa 11×14  box with some extra prints to exchange or sell, chargers for the computer and cell phone, a hard drive, etc. etc. etc.

Here’s the narrative of my travels today: lug this stuff to the check in counter at the Columbus airport after an hour drive at four in the morning. Did I mention that my flight departs from a city different from my final return trip city of Dayton?)Retrieve the luggage after a turbulent re-route of my Houston flight (an extra two hours in the air). Forget the large tube of anthotypes while retrieving the hard suitcase from a locked cage near the baggage carrousel ( I evidently took my time going wee, eating a Tampico burrito form Papasitas). Not realizing I had forgotten my tube until I was handing my luggage to the Super Shuttle driver. Running back to locate the tube, finding it and running back to the shuttle.

Checking in at the Meeting Place office. Did I mention I liked to do things the hard way. Instead of going directly to my off-site hotel, I decided to lug all of the luggage through the Double Tree (three bags full, sir) and then track down my hotel.

Going out Dallas street to Main (maybe five city blocks) to pick up the light rail. Buying a ticket on the correct side of the tracks to go to my hotel. Thinking it was the wrong direction and walking up a block to board the light rail going in the wrong direction. Taking it in the wrong direction for one stop. Exiting and re-boarding the correct direction.

Taking the train down towards Reliant Park and the Medical Center while talking to a suspiciously friendly dude who was telling me he inherited a Houston Pedicab company. He technically didn’t call it a pedicab. He described it as a three wheeled bike that has two seats in the back and was a business.

Exiting the train at the correct stop but walking the wrong direction (away from the hotel) and then back again.

I should have checked in first. BTW, I think this room is half the size of our house and it has two flat screen TV’s in it. Thank you Margie and Ray! I think I will watch cable and avoid tomorrow’s portfolio reviews. After all, it’s always humid in Houston for a gent carrying too much of his studio on foot.



Anthotypists in the New Year (part II)

Malin Fabbi’s book, Anthotypes – Explore the darkroom in your garden and make photographs using plants, has been published. This is a book that I was able to proof read and offer suggestions. Additionally, two of the pre-Boston Anthotypes included the faded and rained upon Clem Wolford Pajama Top in pokeberry (p. 83, 85), are included within the book.

Here’s a link to the Amazon page (and my review):

and the web page:

a spectacle if you know where to look

Emmanuel administration building

Emmanuel administration building, closer

Emmanuel administration building, even closer

Emmanuel administration building, closer still

Continuing with the “more pictures in the blog” strategy. I was reminded from talking with  Darien Johnson about the spectacle of the act of photographing. He was being interviewed for a video documenting our residency here at Emmanuel. He was accompanied by Nick Pizzolato while he photographed outside the college for a future ceramic piece. Darien mentioned the conspicuous nature of pointing the camera at ordinary objects. His specific example was photographing a fire hydrant and thinking that the pedestrians on the sidewalk must be asking themselves why this man is photographing a fire hydrant and why is he being video taped photographing it.

The performance and act of photographing was the inspiration for “Sibling Rivalries” and it is playing a sneaky role in the pajama anthotypes. Except this time it is much more related to act of printing a photograph. Still making a photograph but over a very long period of time. How does 1/250 of a second compare with 150 hours? 1/250th of a second vs. 180,000 seconds. It’s 45 million times longer.

Sneaky in that, if you know where to look, you can see everyday for the next three weeks the spectacle of making a photograph.

two windows on the world

dripped on iris emulsion on unsized kozo paper

Danger looms ahead. My sleepwear project has descended to the level of cuteness and smallness. Children’s pajamas. Once I begin using onesies, I risk becoming the Anne Geddes of the alternative photography world. But not yet.

The unaltered pajama on top of the iris coated kozo paper

Today’s trip through the thrift store revealed a summary of consumer pop culture. Transformers, Tony the Tiger, Barbie, various Nickelodeon programs, Thomas the Train, Ariel the Mermaid as Ariel the Princess. I really don’t want to go down that road with this project. It is a little too locked into the late twentieth and early twenty first century.

pajama cut into a single layer on top of the coated paper

Two windows today, the world tomorrow. There are three of these south facing 40″ x 40″ windows on the fifth floor. Now two are occupied with anthotypes. The act of photographing and making photographs always has had a public spectacle component. A public exhibition of process. Maybe someone will notice.

The second anthotype waiting for some direct sunlight.

Afterwards, on the way to a late lunch (lunner), I walked past the Harvard School of Medicine Research Building along Louis Pasteur Avenue. I spotted a young woman photographing two of her friends pointed to signage on the glass windows near the entrance. I had to look. I had to see what she was photographing and how she adjusted her height to achieve the desired frame. I paid attention to the symmetrical finger gestures of her friends and their  “tourists of the biomedical research world” smiles. I had to look. The act of every photograph being taken is a spectacle.