i just got back from a carbon printing workshop in Yosemite, where I shot in color but mainly bw. there are a coupke of local photographers locally who are documenting fire damage through artistic photography. perhaps you already know David Bayles who has a photo book Urban Foresy
David Paul Bayles, Urban Forest. Follow his fire aftermath project on Instagram--I learn a lot about photographing fire from him. Sara Silks and Michael Taylor I know both have their own unique vision on projects similar to this. I had a show called "Fire on the River." It has become a necessary genre. It's important to keep these images in the public eye.
Hmm. Hand-colored, you say. But then, presumably photographed digitally (again) for digital presentation in the post to which I am replying. I would be sorely tempted to try coloring digitally so that the images could be presented in their native format. And, given that, to address the coloration more to the composition and message than to fidelity. … or to do both and present them as image pairs. You are on an interesting trip.
Your story reminds me of my darkroom days. I always enjoyed the magic of the image appearing in the tray or unwinding the film from the reel to see the negative images for the first time. Good memories.
Gary -- Darkroom work really *is* magic -- or perhaps alchemy. You can be (and should be, up to a point) rational and scientific about the chemical processes and exposure times and so on, but ultimately it's black magic that makes pictures appear like that. Plus, when you're in the darkroom by yourself, you can play all the bad rock and roll you want!
i just got back from a carbon printing workshop in Yosemite, where I shot in color but mainly bw. there are a coupke of local photographers locally who are documenting fire damage through artistic photography. perhaps you already know David Bayles who has a photo book Urban Foresy
David Paul Bayles, Urban Forest. Follow his fire aftermath project on Instagram--I learn a lot about photographing fire from him. Sara Silks and Michael Taylor I know both have their own unique vision on projects similar to this. I had a show called "Fire on the River." It has become a necessary genre. It's important to keep these images in the public eye.
Thanks, Sandy. I know David, but not familiar with the other two. I'll be catching up with them!
Hmm. Hand-colored, you say. But then, presumably photographed digitally (again) for digital presentation in the post to which I am replying. I would be sorely tempted to try coloring digitally so that the images could be presented in their native format. And, given that, to address the coloration more to the composition and message than to fidelity. … or to do both and present them as image pairs. You are on an interesting trip.
Interesting idea. I like the idea of stating in the "native format." The thing is, I really love paint!
Stunning. I like the black and white. To me, it emphasizes the carnage.
Your story reminds me of my darkroom days. I always enjoyed the magic of the image appearing in the tray or unwinding the film from the reel to see the negative images for the first time. Good memories.
Gary -- Darkroom work really *is* magic -- or perhaps alchemy. You can be (and should be, up to a point) rational and scientific about the chemical processes and exposure times and so on, but ultimately it's black magic that makes pictures appear like that. Plus, when you're in the darkroom by yourself, you can play all the bad rock and roll you want!