relaxed happenings of a photographic and mixed media sort

Other Works

Two Thousand What?

Here is the deal. I love hand-drawn type — my skills are not refined. I am literally quite elementary at it.

You have to start somewhere to improve, though. Right? And in such cases, someone has to be on the receiving end of another’s creativity. The following images are from a hand-drawn 2015 calendar that I made for my brother-in-law and sister-in-law for Christmas. It’s nothing fancy, but I enjoyed the final result. I hope they do as well.

Two thousand what


Unwritten Future — The Tale of the Unfortunate Fly

I made a peculiar discovery today. A gross but comical and intriguing discovery. A discovery that involves a normal unimpressive red grading pen and a normal unimpressive housefly.

 

 

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While on the computer earlier, something about the pen caught my attention out of the corner of my eye. At first I thought one of my children punched a hole into an eraser with the end of the pen. Then, I thought that somehow some thread ended up in the tip. I stopped just short of picking the thread out with my fingernails when I realized what was in the end of the pen! (*shiver)

A fly!

A fly?!?

No way!

Well that couldn’t happen if you tried!

I recall the pen getting separated from the cap. I’ve had the cap on my dresser for awhile, waiting to find it’s missing mate. I found the pen the other day and capped it.

We have been remodeling our living room, dining room and kitchen. And with the remodel … flies make their way in through open doors and windows. I suppose this guy found his way into inside the cap. And when I capped the pen. Well, unfortunately, the fly was trapped unknowingly. (*yuck!) He apparently attempted an escape, but to no avail.

 

 

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Jellyfish

Video selection from my video installation, “Playing with Process”
 

 
 


Thaumatrope

Video selection from my video installation, “Playing with Process”
 

 
 


thaumatrope stills screen capture

 

 
 

From August through December, I worked on a semester-long project for an advanced Scultpture class that was to become a video installation that I felt was a success. I’ll share some footage from it soon. … Meanwhile, here is a video that didn’t make the cut, but it is one that I still enjoy.

 
 

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Cyanotype Development and Toning

This first set of Cyanotype prints are developed in a water bath for five minutes, water and a couple capfuls of peroxide for 2-5 minutes, and a wash for five minutes.

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The two sets of Cyanotpye prints below are developed in vinegar for 1 minute and washed in water for about 20 minutes.   Iit takes a lot longer for the water to clear with this method, but the vinegar  brings out the mid-tones and intensifies the prussian blue beautifully.   (5% glacial acetic acid to 95% water yields identical results).

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The following two sets are toned with tea.   Note: I have not yet toned any cyanotpe prints that have been developed with vinegar.

This set was wet, bleached with Arm & Hammer sodium carbonate, washed, toned with black tea (8 bags of Lipton tea to 2 quarts of water, boiled and cooled to room temperature) and washed again until water ran clear.   The second image was coated again with Cyanotype, exposed and developed with the water/peroxide method.

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The next two images were wet, bleached with Arm & Hammer sodium charbonate, washed, toned with black tea (8 bags of Lipton boiled in 2 quarts of water and cooled to room temperature), washed until water ran clear, placed in bleach bath for a second time and washed, back into the tea for a second time as well, and a final wash until water ran clear.   The second image was coated with cyanotype again, exposed and washed with the water/peroxide method.

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Finally, here is a set that I toned in coffee.   The steps were the same as the tea tone.   I wet, the cyanotypes, bleached in sodium carbonate, washed, toned in coffee (1/2 cup of cheap black coffee brewed to 12 cups of water and cooled to room temperature) and a final wash until water ran clear.

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8008_coffee tone

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Excellent sources worth noting (I didn’t follow any exactly, but researched and gleaned information from each before setting out to work on my own prints):

http://www.trollop.com/cyanotype-toning.html

http://mpaulphotography.wordpress.com/2011/04/01/cyanotype-toning-the-basics/

http://www.alternativephotography.com/wp/processes/cyanotype/vinegar-developed-cyanotypes-non-toxic-midtone-contrast-control

http://www.flickr.com/photos/fbfotografie/7110895809


Must have resource! —–> The Book of Alternative Photographic Processes by Christoper James <—–

 

 

 

 

Thank you very much for visiting my photo blog!

 

 


Novice Bronze Patina

While on facebook today, I came across a discussion of interest regarding a metal patina process (salt and vinegar). I thought I would share some photographs from a project I worked on this past Spring for a Sculpture Class.

Please excuse the quality of some of the images. I used my iphone in a dusty environment.

The first images are the wax carrots from a mold I made from a plastic toy and then carved into a desired sequence.

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Here the carrots are prepared for investment (sprueing and venting).

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The investments went into a kiln where the wax was melted out (lost wax method) and the forms were heated in preparation for the metal pour.

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Sadly, I did not get any images of the bronze after it was cooled and released from the investment. Here are the bronze carrots after grinding, sanding and shining them up real pretty.

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I set the carrots in a vinegar/salt bath, removed them and rubbed more salt directly onto the wet surface. (I should note that I wore gloves).
Outside, I created a little containment module … a heavy-duty trash bag. Within the bag, I placed a couple of little tubs of straight ammonia. I then placed a little cage that held the still wet bronze carrots directly on top of the tubs. I closed up the trash bag and let it set to fume overnight. In the morning I rotated the carrots and let them fume a few hours longer, because the bottoms were still a little shiny compared to the tops.

I rinsed the carrots off gently and and allowed them to sunbathe to dry. I have not finished the surface with a top coat of any kind. I believe that you can leave the surface to continue to age if so desired. (There are different ways to go about it as can be researched on the world wide web).

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Here is a finished piece next to the plastic carrot (snagged from my daughter’s play kitchen) used to create the mold for the wax.

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