The f295 21st Century Opening Weekend!

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The f295 kickoff last weekend was a huge success!  Thanks to the over 150 people who came out to Saturday night’s 21st Century Photography opening!  The work and vibe must have been reminiscent of Stieglitz‘s old Camera Club openings!  Thanks  also to all that helped put the show together:  the artists who shared their work, The Camera Club of NY who gave their 500 square feet, David, Jennifer, and Amy on the B&H organizational end ~ as well as serving up a record amount of kosher wine!  And finally, Tom Persinger, who brought us all together and had one heck of a time trying to make letters stick on walls.

Wondering what camera to document the gallery opening with, I finally settled on using my trusty Panasonic LX-3, which is an advanced digital point and shoot.  The pioneering Panasonic has a little throwback feature, it has a pinhole scene mode!  See, I told you that pinholes were enjoying a renaissance!  For some reason the pinhole mode is limited to 3MP images while applying a vignette and desaturating the image.   I know it would have been better if the lens could have come off to reveal a real pinhole over the digital sensor but hey, I wasn’t going to get everyone to stand still for 5 hours for the group shot! All the images on the left were taken in this “pinhole mode” while the right hand side shows the packed house for Sunday’s presentation at the B&H Event Space.  For the second straight year over 80 people showed up to listen and learn about new ways to use older technology.

We all struggle with keeping our art and life fresh and new.  For photographers the terms wedding, portrait, landscape, pinhole, or even alt process can all pigeonhole and limit our vision.  Tom Persinger asks us to look beyond these stereotypes and empower the 21st Century Photography:

The 21st Century Photographer remains open to the exploration and use of a variety of processes, techniques, and technologies so long as the chosen method(s) most concisely articulate their creative vision. A net result of this paradigm shift is not only complete artistic freedom but also a palpable sense of empowerment. Historically photography has marched down the long path of process obsolescence – one in which new techniques replace old in a continual cycle of progress. In a 21st Century approach, however, control is wrestled from profit driven agencies -corporations, advertisers, and the marketplace all promoting a consumptive photographic model- and given to the artist/photographer. By virtue of taking the responsibility of control, photographers allow themselves to use a pastiche of tools and materials to make pictures. It is this freedom -which is new for many- that empowers and fuels the 21st Century Photographer.

Photography is a toolbox with many means to express your vision.  Some people choose one, others need multiple instruments to complete the vision.  This weekend I saw art that was in jars, painted on, waxed, dyed, and printed on anything from the latest digital technology to handmade emulsions on a variety of surfaces from tin, glass, and paper.  The photograph that I submitted in the show was originally a 6×9 slide.  I was deciding between two basic ways to present my print:
1.  Drop it off at a lab and have them make a negative copy of my positive slide and then a C-print
2.   Scan the slide and print at home on inkjet.
Now, my good friend and constant conscience, David Brommer, stood aghast when I told him that I  I was leaning towards the lab option;  mainly for convenience as I am still not 100% confident in my inkjet printing.  I’m still most at home in the B&W darkroom.  But he reminded me that I had to control the final outcome of my image.

And really, it is all about the process ~ from start to finish.

Now did I enjoy spending close to an hour digitally removing dust from my image?
No.
Is the excitement the same as flipping over the black and white image in the developer under the red light?
Nope.
But, seeing a project from start to finish is still pretty damn fulfilling.

21st Century Photography

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the sea

For those of you in NYC this weekend, make sure you come to the 21st Century Photography Opening Party on Saturday, January 17th, from 7-9pm at the NY Camera Club located at 336 West 37th Street, Suite 206.
The show kick starts a weekend of inspirational activities by the f295 group with a seminar at B&H the next day.  See my previous blog for the list of amazing artists!

In other good news, one of my Holga images made it into the Krappy Kamera contest that will open at the Soho Gallery in NYC on Tuesday March 3rd!  Now in it’s 11th year, the Krappy Kamera contest received over 1500 lo-fi images and mine was one of 50 selected!  The opening party at the Soho gallery is always a blast, so mark your calenders for that fun event!

Looking for a cool night photography workshop?  Interested in abandoned car graveyards?  Night Photographer extraordinaires,  Troy Paiva and Joe Reifer, are hosting their popular Pearsonville Junkyard Workshop on the full moon weekend of March 7th and 8th.  Now it is in California, but I highly recommend it if you are at all interested in Night Photography and especially Light Painting techniques.  Availability is limited to 10 people so sign up quick!

Finally, I’ve been wanting to blog about this one for a while.  Project Tandem is the story of two young people bicycling across the United States in search for the folks who help make the world go round.  Photographing and capturing audio along their journey, Alan and Morgan are already bringing us the incredibly inspirational stories of the day to day people they meet who make a difference.  Follow their blog and check out the tandem trailer and hopefully share in their story as they will probably be visiting a town near you!

Happy New Year

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balloons

I hope that everyone’s end of the year festivities were spectacular and wishing you a creative and prosperous 2009!  My year is starting off with a bang!  I’ll be giving my newly revised seminar on The Fine Art of the Long Exposure at B&H’s Event Space this Monday, January 5th.  It will be an inspiring double feature with B&H Maven David Brommer starting off the day with his seminar on Creative Composition at 11am.
I’m also excited to announce that one of my pinhole images will be featured in the f295  group show featuring some of the finest alternative process/techniques photographers of the 21st Century.  The show’s opens at the Camera Club of NY on Saturday, January 17th, from 7-9pm.  So if you are in town, come on down to see some great art.  The show will begin a weekend of amazing education on Historical Photographic techniques and Alternative processes.  On Sunday January 18th, the B&H Events Space will host the 2nd annual f295 seminar on 21st Century Photography.  Featured speakers will be Jo Babcock, Craig Barber, Michelle Bates, Dan Estabrook, Alida Fish, Joy Goldkind, Robert Hirsch, France Scully Osterman, and Tom Persinger.

Matt Hill and the 69th St Transfer Bridge at Night

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photo by: matt hill
photo by: gabriel biderman

You know when you meet someone and right away it seems like you have been friends for years??
Are you sure we haven’t met before? You’re waiting for the deja vu to happen as you’ve chosen the same paths but were maybe a few steps to the left or to the right.
I knew I liked Matt Hill the first time we met a year ago, but when we finally sat down for some damn good bbq at Dinosaur before a night shoot, it all fell into place. In between bites of scrumpdiddlyumptious brisket and chicken that we washed down with dark beer, we bonded. Matt and I are both Photo Industry dudes who share a strong passion for being creative, especially at night. Matt had already blown both Nancy and I away with his Cut Paper Art, which starts out as a blank piece of white paper that he slices into amazing voyages of creativity. It is truly a complete process of discovery for him and yet very accessible for us. You can check him out “in action” here. His website showcases his weekly cut paper art journeys as well as his “On Creativity” podcasts in which he interviews other artists regarding their creative process. For some of us, it comes naturally, others struggle for inspiration. However, listening to Matt’s podcasts On Creativity have made me think and focus more on my photography; the patterns, the inspirations, and the desire that fuels me.
So after feeding our stomachs with bbq and souls with good conversation, we took our tripods and cameras out for a nightshoot. We started out at Ulysses S. Grant’s tomb at Riverside Park on the Upper West Side and then worked our way down to the familiar 69th St Transfer Bridge. Everything was fairly accessible on this May full moon and we had to stop ourselves from shooting by 1am. Matt got some pretty amazing B&W images using his Mamiya 7 camera with the beautiful 43mm lens. I really like the B&W image featured here, the movement of the clouds on top and the calm reflections of the water on the bottom of the image bring a moving calmness to the image.
I was using a Baby Graflex 2×3 camera for the first time at night and had film backs loaded up with color and black and white. My Baby G camera is a miniature version, using medium format film, of the famous Graflex Press cameras that Weegee and all the newsies used back in the 30’s-60’s.
These beautifully utilitarian cameras use 4×5 film and have very basic swing and tilt movements. The baby Graflex uses 6×7 and 6×9 medium format backs and mine is custom fit with an amazingly fast and sharp Rodenstock 90mm 2.8 lens. I hadn’t used it for a while and I was worried about focusing the camera in the dark of the night. In order to selectively focus with this camera you look through the graflok back, which is a 6×9 piece of glass surrounded by a pop up hood. I brought a loupe along to aid in viewing but I didn’t really need it. All I needed to do was use a bright flashlight to light up the area I wanted to focus on and then switch out the glass back for a b&w or color film back and voila! Image created! I was also using my ricoh grd which produced my winning picture of the night featured here, and a Voigtlander Bessa R with a 60 year old leica lens. Matt and I were also testing out our latest gear acquisitions, our Induro carbon fiber c214 tripods with the dm01 ballheads. Though not as silky smooth as a Gitzo, I do highly recommend the Induro line, which offers great value for the price. I especially like the DM01 ballhead, which is rated to hold 17lbs and is very simple and smooth to use.
To see more of Matt’s photos from the nightshoot click here
And more of mine can be seen here
See you in the night!

Renwick Smallpox Hospital

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The year is 1856.
You are huddled with hundreds of sick people on a ferry along the East river.
The distant foghorn blasts 3 times and as you push yourself closer to the edge of the boat, the mist begins to lift and reveal land and a castle…
People are there to greet you, people and crates.
Actually those aren’t crates, they are coffins, they are definitely occupied and there are hundreds of them.

This was the scene at the Renwick Smallpox Hospital, which was located at the southern tip of Blackwell Island, halfway between Manhattan and Queens.

Designed by the architectural genius, James Renwick Jr., the hospital was built for the modest sum of $35,000 from 1854-6. Of course, it’s easy to keep your overhead low when you have free labor from the island’s prison population and a quarry of gray gneiss at your doorstep.

James Renwick Jr. entered Columbia at the ripe age of 12, and was a major player in the Gothic revival period. His first commission was New York’s Grace Episcopal Church and he continued his amazing career by designing St Patrick’s Cathedral, Corcoran Gallery of Art, and the Smithsonian Institutional Building among others.

The Renwick Smallpox Hospital was the first in the nation to accept patients with this plague or other contagious diseases like scarlet fever, measles, and typhus. It was built to hold a few dozen patients, but from the beginning it was severely overcrowded. Records indicate that it treated 3000-4000 patients in the 1850’s and over 6,000 during the 1860’s. If you were rich and sick, $1 a day would get you onto the top two floors. If you were poor, you were relegated to the first two floors, where several patients would be assigned to one bed in truly appalling conditions. $5 extra a week got you marginally better food, but the percentage of people to walk out Renwick’s doors cured was barely over 60%.

The Renwick Hospital became known as Deadhouse and The Pest House because of the thousands of coffins it ushered out its doors. Even though there was a cure for smallpox in the early 1800’s, it was expensive and 1 out of 100 would die from the vaccine itself. George Washington survived the smallpox disease, and Lincoln battled a mild case 2 days after giving the Gettysburg address.

Over time, and with the decline of this disease, the hospital was expanded and turned into a very respectful nurse’s training facility. However, Renwick’s Hospital was feeling the weight of its years and was seriously antiquated by the 1950’s and starting to crumble in the 60’s. In those years there were very few preservationist groups and few landmarked buildings, but by the 1970’s the Renwick Smallpox Hospital was officially declared a Landmark.

An anonymous donor in 1993 had floodlights installed to cast an eerie evening glow onto the facade of the Hospital. Spectacular views of “Manhattan’s Castle” can be seen at night driving along East side river or flying into LaGuardia Airport.

Since moving here in 2001, I have been fascinated with this building and have tried to shoot it. However, walls and barbed wire fences have been most prohibitive. In late January 2008, a good friend and fellow pinholer, Tom Persinger suggested a Smallpox Hospital Photo Shoot. His father lives on the the former Blackwell Island, now called Roosevelt Island, and said the southern tip was quite accessible. The State is currently in the process of a $12.9 million ‘Phase One’ project to stabilize the Renwick ruins and build a public park and have already landscaped pathways at the southern end of the Island. This project is trying to be sped up due to the collapse of Renwick’s north wall on December 26 of 2007.

So Tom and I ventured out on a cold afternoon with the talented Holga and Zone plate phenom, Erin Malone. There’s a chain-link fence surrounding the Smallpox Hospital and I, of course, quickly found a not so legal way around it. Not much was left inside the Hospital but piles of bricks and plenty of trees. The facade, the framework, was really all that remained. I was having some technical difficulties shooting that day and vowed to come back…at night.

I went on a scouting mission on February 6th, 2008 to see if it was even accessible at night. The sun was setting by the time I arrived at 5:30pm. The main gate to the southern tip of the island was over 10′ tall and had barbed wire, but it was open. With tripod and my new Canon G9 in hand I quickly rushed down the 60+ yards to the Hospital. I didn’t want to break in at night, I just chose to shoot through the fence and test the exposures. The floodlights were bathing the Hospital in what seemed like white light but my camera was reading as eerie shades of blue and green.

An hour later I was still shooting when the cop car drove up beside me, “We closing up bossman” said the driver.
What? Bossman? I wasn’t being arrested?
Technically, I wasn’t trespassing.
I asked the cop what time they shut down the park to which he replied, “Around sunset, or when it starts to get dangerous.”
“Dangerous?!” I replied, “Well, thanks for the warning.” and started to walk back towards the gate.
Unfortunately the gate was now closed and locked.
Uhmmm… I definitely was assessing the situation and it didn’t look good. But then the cop car came back around from doing his loop and thankfully unlocked the gate.

The next week I returned with my fellow Nocturnalist, Andre Costantini, who was featured previously here with our Red Hook Night shoot.
As luck would have it, February 12th, 2008, was one of the few days in which it snowed in the city. Did that deter Andre and me? Hell no! We arrived at 5pm, set up, and witnessed an amazing sunset through the snow clouded night. It was truly spectacular, and the images featured here are the best of both or our work from that evening.
(Click on each of the photographs above to see the artist and larger image size and details.)

It truly was a great shoot under the aura of this ancient castle. Of course the same cop, Ray, came to get us at 7pm, “We are closing up bossman.” he said again from the police car. Because I knew the drill and it was cold outside, I asked Ray if he could give us a lift to the train station which was a 5 minutes drive away. “Come on in, did you get some good shots tonight?” Ray asked as Andre and I jumped into the cop car and headed home.

(Historic information regarding this blog was taken from several of Jami Bernard’s articles from Roosevelt Island’s Independent newspaper, Main St WIRE and from the Roosevelt Island Historic Society.)