this is it!
Well, here is the beast — set-up and ready to go. Thanks to Todd and Justin for the big heave to get the 200-pound top unit off the delivery palette and onto to wheeled base! I’ve made a few 8×10 prints, but am waiting a bit to generate a wider range of images so that I can proceed without wasting any paper/ink. More musings on the digital process flow shortly…
kickstart :: on the verge
Printer scheduled to arrive on Tuesday. Along with a lot of paper. And ink. And I have yet to send out any pledge prints. Still mulling how to proceed so that everybody’s happy with their silver prints!
kickstart :: the backers
Following is a list of folks pledging to support the campaign: THANKS EVERYBODY!!!
Wendy Calvin (US), Anne Hopkins Watts (US), John Walker (US), Gary McFaddin (US), Shar Adams (AU), Erica Mitchell (US), Scharmin Dorostkar (US), Sally Williamson (US), Bridget Klauber (US), Loki Hopkins (US/IS), William Abranowicz (US), Marisa & Collin Fay (US), Nancy Haan (US), John Krolikowski (US), Chris Oglesby (US/TH), Amy DeLeva (US), EJ Meade (US), Randall Rabenhorst (US), Peter Kaczkowski (US), Annmaree Dupriez (AU), Andrew Jakubowicz (AU), Kaisu Koivisto (FI), William J. Wuest (US), Chris Walker (US), Orri Jonsson (US/IS), Jeff Stanat (US), Antoinette LaFarge (US), Joe Grenawalt (US), Gary Johnson (US), JC Graham (CA), Dede Fay (US), Mark Addison (US), Casey MacKenzie Johnson (US/UK), Pam Taylor (AU), Karen Wester Newton (US), Josephine Bosma (NL), Alexander Rishaug (NO), Monique Stauder (CH/CD), Nicholas Butler (US), Ian Kennedy (US), Valgerdur Hauksdottir (IS), John Cranford (US), Diana Pisani (US), Mark Werner (US), Dora Campbell (US), James Johnson (US), Conor King (US), Kate Glahn (US), Suzon Fuks (AU/BE), Lawren Richards (CA), Rayna Tedford (US), Jane Crayton (US), Mark McCoin (US), Grace Twain (US), Magnea Björg Jónsdóttir (IS), Hannes Brunner (CH/DE), Homare Ikeda (US), Rebecca Cummins (US), Jon Stein (US), Elsa Vieira (CZ/PT), Alex Klinger (US), Erik Fisher (US), and Mindaugas Gapsevicius (DE/LT)
kickstart :: the printer
Willy forwards a link to a big printer sale happening now at Pro Imaging Supplies in Phoenix. The sale dovetails with the research accumulated over the last couple months: an Epson 7890 or a 7900 are the best options. A conversation with the company owner, Ted Williams, yields more attractive info (papers & supplies are discounted as well). He posts a package of Epson and Hannemühle paper samples — the crucial choice for ink-jet printing. Research topics call for plowing through volumes of data online — the learning curve is ahead. Unlike wet photo printing where chemistry is a crucial issue, digital printing has a different set of variables to play with, along with the typical passel of geeks who obsess over how to get the most color gamut from the RIP software. I’ve long since moved beyond this search for the perfect representation of reality. Why people fool themselves about this issue, I don’t know. Photography is merely another way of putting a mark on paper. And marks on paper are legion. ‘Quality’ is essentially subjective.
kickstart :: the Campaign is a succcess!
Well, there’s still 63 hours left, but Sally pledged $293 (oh those engineers ;-) and hit the goal. She made the 55th pledge, but since the campaign is not technically over yet, I’ll wait to post some of the statistics regarding the effort. Maybe I’ll have time to write some observations on best-practices, but it looks likely that I’ll be slammed with the task of fulfilling the pledge perks — silver gelatin prints of a variety of sizes that will have to be selected, carefully packed, and posted out.
I haven’t yet made any final decisions about the exact printer to buy either. I’ve gotten advice that adds up to essentially “I like the one that I have” from a number of people, which is fine, and points to simply selecting one of the 5-6 models available and go with it.
the slavish shore
Some chapters back, one Bulkington was spoken of, a tall, new-landed mariner, encountered in New Bedford at the inn.
When on that shivering winter’s night, the Pequod thrust her vindictive bows into the cold malicious waves, who should I see standing at her helm but Bulkington! I looked with sympathetic awe and fearfulness upon the man, who in mid-winter just landed from a four years’ dangerous voyage, could so unrestingly push off again for still another tempestuous term. The land seemed scorching to his feet. Wonderfullest things are ever the unmentionable; deep memories yield no epitaphs; this six-inch chapter is the stoneless grave of Bulkington. Let me only say that it fared with him as with the storm-tossed ship, that miserably drives along the leeward land. The port would fain give succor; the port is pitiful; in the port is safety, comfort, hearthstone, supper, warm blankets, friends, all that’s kind to our mortalities. But in that gale, the port, the land, is that ship’s direst jeopardy; she must fly all hospitality; one touch of land, though it but graze the keel, would make her shudder through and through. With all her might she crowds all sail off shore; in so doing, fights ‘gainst the very winds that fain would blow her homeward; seeks all the lashed sea’s landlessness again; for refuge’s sake forlornly rushing into peril; her only friend her bitterest foe! Know ye, now, Bulkington? Glimpses do ye seem to see of that mortally intolerable truth; that all deep, earnest thinking is but the intrepid effort of the soul to keep the open independence of her sea; while the wildest winds of heaven and earth conspire to cast her on the treacherous, slavish shore? But as in landlessness alone resides the highest truth, shoreless, indefinite as God –so, better is it to perish in that howling infinite, than be ingloriously dashed upon the lee, even if that were safety! For worm-like, then, oh! who would craven crawl to land! Terrors of the terrible! is all this agony so vain? Take heart, take heart, O Bulkington! Bear thee grimly, demigod! Up from the spray of thy ocean-perishing –straight up, leaps thy apotheosis!
Melville, H., 2012. Moby-Dick, or, The Whale, London, England: Penguin.
Striving to keep to that wild, shoreless, and indeterminate sea? The KickStarter gig isn’t doing it for me. I simply do not know how to exist, competitive, within this system. I know of the art I make, and its source is not hidden randomly from my mind. Yet to make the conversion to capitalist cash seems to elude what mental focus I might focus on the task. I can make the imaginative images, observations of the passing world, but what then?
kickstart :: The Campaign
The campaign is OPEN. From today until 12 December 2013 (32 days) to raise USD 10K (KickStarter takes a slice, 5%; and Amazon (as the banking entity) takes a slice 4-5%). So. That’s how it works.
A Return to Roots: From Photographic Vision Back to Print
Been working on it for the last 3-4 weeks, the last week in high gear, getting a video done, and the whole thing out to a few folks for review, responding to those reviews, (always too much, too long. I need an editor, just as with the dissertation). But it’s done, released to the world. We shall see what happens!
kickstart :: bio
A native of Anchorage, Alaska, Dr. Jay (as he is known to some) watches the sky whenever he has the chance. This despite having survived a BSc, an MFA, and a PhD. As an international teacher (or better yet, a learning facilitator) on collaboration, creativity, art, and technology, John has a long history in photography. He is a master printer despite being away from a wet darkroom for awhile: he used to promise his printing students that their eyes would bleed with see-ing by the end of the semester. He made them read “Zen and the Art of Archery.” He made one substantial detour into an education and career in Big Oil and geothermal energy as a geophysical engineer, but cameras were always at hand. John was artist-in-residence at the Sibelius Academy in Helsinki, Finland; at the Center for Land Use Interpretation in Wendover, Utah; and at the Gilfélagið in Akureyri, Iceland.
Finland? Utah? Iceland? For the last 25 years he’s led a peripatetic life that’s oscillated seasonally between Northern Europe and the Western half of the US (with another detour ‘down under’ for his PhD) although he’s also been spotted at many points in between, and sometimes he gets the seasons backwards.
While watching the sky, he witnessed twelve minutes of totality and twenty-six of partiality chasing solar eclipses around the world with his dad, an avid amateur astronomer and photographer who studied with Ansel Adams.
John has worked and played with (and made portraits of) thousands of really cool and creative people f-2-f in 30 countries. He’s been an online facilitator for Transmediale in Berlin, a workshop presenter at Pixelache in Helsinki and at the ADA in Whanganui, NZ; a member of the Icelandic Artists Union and the Society of Exploration Geophysicists; a volunteer at the Broadway Food Coop in Sydney; a net-art curator at the Machida City Museum of Graphic Arts, Tokyo; and has tracked mountain lions in several places in Colorado.
He watches the sky whenever possible. He photographs what he sees. Since 1983 his work falls under the moniker “neoscenes.”