Coaster from the series Ruins – platinum palladium 18.5×16″
Next month, Beth Dow will be exhibiting work from her new series Ruins at the Jen Bekman gallery in New York, which opens on April 9th and will continue through to May 16th. In New York this weekend though, you can see some of her work at the Joseph Bellows Gallery booth at AIPAD (the Association of International Photography Art Dealers), being held through Sunday at the Park Avenue Armory (67th Street and Park Avenue).
She has a portfolio of work in the current issue of Black and White magazine too, along with fellow Minnesotans and friends, Tom Arndt and Richard Copley.
On this trip to New York, I’ve been invited to have my portrait taken for a project that I’m really excited about. I’ll explain more later, and although I usually hate being in front of the camera, this is special and I’m actually looking forward to it. I’m also going to find time to visit some galleries and museums, something I rarely get the chance to do usually, given the length and purpose of my visits.
UPDATE I almost forgot Richard Benson’s The Printed Picture at MoMA.
The Printed Picture, a book by Richard Benson that traces the changing technology of picture making from the Renaissance to the present, focusing on the vital role of images in multiple copies. In conjunction with the publication of the book, an educational installation of the material will be presented in the The Edward Steichen Photography Galleries.
Details for this year’s APIS (Alternative Photographic International Symposium) are up on Bostick and Sullivan’s website. Organised and sponsored as usual by the team at B&S, the dates are July 30th through August 1st in Santa Fe.
I’ve been twice now, the last being in 2004 when I spoke on the 3-Colour Gum Dichromate process, and on both occasions I came away having met some wonderful people and having learnt a great deal.
This year’s line up of speakers includes Matthew Magruder (wet plate collodion process), Dick Sullivan (carbon transfer process), Seth Irwin (restoration and preservation of photographs and papers), Luther Gerlach (constructing an ultra-large camera for wet plate collodion), Denise Ross (crafting silver gelatin emulsions for paper and film), Stan Klimek (atelier printing for artists and publishers) and Aurelia D’Amore (the legacy of Richard D’Amore).
Further information can be found on Bostick and Sullivan’s website.
Well, the show has been printed, stamped, signed and now shipped. These two cases, each weighing just under 40lbs, are what I have to show for it all – about 100 three-colour gum dichromate prints. The next time I see them, they’ll be framed and hanging on the gallery walls.
A quick panorama of the studio walls with myself, Cy and Bernie.
A wonderful Kodak documentary from 1958 on how film is was made. The original English soundtrack has been lost due to overdubbing into Dutch, but it’s had English subtitles recently added.
Thanks to Martin and Janice at Silverprint in the UK for bringing this to my attention via their website. The film can be found on Dutch photographer Marco Boeringa’s website.
This is the history of the film from Marco’s website.
Kodak 1958 factory film
This fascinating 1958 documentary titled “How film is made”, that documents the production process and birth of photographic and cinematic film, was initially uncovered as part of a heritage in the Netherlands. Although its exact source and purpose are as of yet still unknown, it may have been an instructional film for new employees at Kodak’s factories world wide, and was probably used as a promotional film for the general public as well. The original 16mm film came into the hands of Frank Bruinsma of the Super 8 Reversal Lab in the Netherlands, who decided to have it digitized in conjunction with CINECO and the help of others, and make it available on the internet.
After a member of the Analog Photography Users Group (APUG) pointed out its existence, a call for a translation was made, as the originally American production was dubbed in Dutch, probably in the beginning of the ’60s, and therefore the original English soundtrack lost. A joint effort was setup, including me, Ray Rogers, Denise and Louis Ross, and others. Frank Bruinsma was contacted, who was kind enough to share the digitized version of the film with the APUG community for the purpose of adding subtitles.
After much work, this is the result. We hope you will enjoy watching this historic document. Although modern day film factories still pretty much operate with the same basic processes, the current highly automated and computerized film factories would probably make it impossible to make a similar film at the present time, as much of the inner workings of the machinery is now hidden. And certainly, we would miss out on the lovely intricate details like the employees manually inspecting parts of the film for defects in (almost) complete darkness. Unfathomable in the light of today’s high efficiency economies and societies…
Creating the film base.
This technician is (casually) sliding ingots of silver into a vat of nitric acid to produce silver nitrate.