For some time I have been keeping the pulse of various companies that are of interest here. I do this primarily for my own capitalist gain but also to try to divine the direction of the film-related industries.
Here is a quick stock bulletin: there are some encouraging signs of rapid recovery at Eastman Kodak (EK). I am not quite sure what's up but the company has apparently recaptured the attention of the private investor... see the attached stock data.
We photographers use all manner of format sizes, and the scale at which we print our photographs is also highly variable. These days, the mural sizes seem to be ever more common, with some photographers apparently compelled to display their work on the largest scale possible. At the same time, some of us print at relatively small sizes and even avoid enlargement altogether, by contact printing.
So what underlies the photographer's decision of how small or large to print a photograph?
Updated 09-17-2009 at 11:10 AM by keithwms
Recently I found some old negatives stuffed in a box stuffed in another box stuffed in an old suitcase. For some, these may not seem old at all- but they were my first attempts to record, in a meaningful way, what I had seen- so that my family could see it too.
In 1992, at the age of 19, I went to Germany on a stipendium. Arriving in Heidelberg, I discovered that the housing situation that had been promised me had also been promised to a few hundred other students. There was no place
Updated 07-31-2009 at 12:14 AM by keithwms
Recently I was persuaded by my good friend and co-experimentalist, Diwan Bhathal, to try some metal-plate ink printing, which produces results resembling intaglio.
The process is simple: you lay out a print, sketch it roughly onto a metal plate with a wax pencil, add ink, flip the inked plate onto some paper and brayer it. The ink partially transfers to the paper, and you get a print.
Faced with the task of drawing my image onto the plate and inking it, I conjured
Do you hear music when you compose a photograph?
For those with the condition of sound-colour synesthesia, the association between the visible and auditory experience can feel quite literal: colours can be experienced as sounds and vice versa. My own favourite synesthete, Russian composer Alexander Scriabin, developed quite a rigorous theory around his own associations of sound with sight, complete with a coloured keyboard to confound his contemporaries.
Updated 04-02-2009 at 01:15 PM by keithwms