Re: Learning a new process

All points well taken, no real argument here.
kt

D. Mark Andrews wrote:
>
> Katherine,
>
> I concur with your observations about the lack of gum workshops. It's odd
> really since it seems to be an amazing process. I was equally dumfounded
> last weekend at the SF Moma show on early photography. Unless I counted
> incorrectly, I only saw ONE gum print. Since this was a personal collection
> I can understand how the collector may have been biased, but seems to me
> that even an astute collector focusing on early photographic history
> wouldn't haven't ignored a major piece of history,or would he?
>
> My suggestion to Bill was geared more to learning the cyanotype process
> which I and others hopes he will start with instead of gum. I know you may
> disagree, but seems to me there is a lot to learn about enlarged negatives,
> papers, uv sources/exposure, etc., etc. before jumping into the cult of gum.
>
> I and 8 other wet plate artists have been trying to work with 2 newbies to
> this process via email and discussion lists. After several months they are
> both frustrated, don't have more then one or two salvageable images, and
> have wasted a lot of time and chemistry (money). We couldn't convince either
> of them to wait for a workshop :-( In contrast, I just took 7 students
> through a one-day workshop and all of them have the basic skills to move
> forward and most left with 2 good images. Perhaps I'm wrong, but seems to me
> that gum has a technical side that requires some higher level cognitive
> skills and technical competences. From a learning perspective, neither are
> easily garnished from reading. Experimenting will work if they have a lot of
> time and persistence, but not always the most rewarding.
>
> Mark
>
> -----Original Message-----
> From: Katharine Thayer [mailto:kthayer@pacifier.com]
> Sent: Monday, August 15, 2005 3:17 AM
> To: alt-photo-process-l@sask.usask.ca
> Subject: Re: Learning a new process
>
> Good advice Mark, except unless you know something I don't know, there
> aren't a lot of workshops available in gum, which is the process Bill
> expressed interested in. Photographers' Formulary's workshop is over
> for this year, and if Bill gets some materials and starts working on his
> own, he could have mastered gum and be teaching his own workshops by the
> time the next one comes around.
>
> I know there's interest, because I'm always being asked if I will do gum
> workshops, but I sure don't see a lot of announcements or ads for gum
> workshops coming across my desk.
>
> Katharine
>
> D. Mark Andrews wrote:
> >
> > Bill,
> >
> > You no doubt have received many postings about your question, but I'm a
> bit
> > surprised that no one has pushed the advantages of a workshop. Many on
> this
> > list will tell you that you can teach yourself most processes, and I
> suspect
> > that is true to some degree, but you will most likely meet your goals much
> > faster, with less frustration, and with a lot less money if you gain some
> > first-hand guidance. Here are three good reasons:
> >
> > 1. Analytically, there are a lot of variables to monitor with alt
> processes
> > which usually comes into play when something isn't going right. Having
> some
> > base of guided learning will accelerate these capabilities. Basically, you
> > learn from you own mistakes and those of others in the workshop with
> someone
> > to explain what's going on (e.g. why are my cyanotype images mottled)
> >
> > 2. Most "techniques" are best learned by seeing and doing. Most folks can
> > learn to coat pretty well with a glass rod after a few observations,
> tries,
> > and remediation. I can't imagine it that it takes anyone less than 30
> > minutes on their own.
> >
> > 3. Many of your early decisions, especially about equipment, will have an
> > significant impact on your future success. For example, you mention
> > purchasing a Nu-Arc. Hmm, is this right for you? How do you know? You can
> > build you own light box or buy one from Edwards or Photographer's
> Formulary.
> > Workshops often have different pieces of equipment to try out. My platinum
> > workshop had both a Nu-Arc and Edwards box. But even if they don't, you
> have
> > other participants to talk with about their experiences which will help to
> > guide your decisions.
> >
> > In short, look initially for a one-day workshop to introduce you to a
> > process. This is usually enough time to get you started. You can continue
> > then to work on your own.
> >
> > Mark
> >
> > -----Original Message-----
> > From: Bill King [mailto:bill@billkingphoto.com]
> > Sent: Saturday, August 13, 2005 7:34 PM
> > To: alt-photo-process-l@usask.ca
> > Subject: Learning a new process
> >
> > I've been struggling with my notions of photography, art, and craft over
> the
> > past few years, and I would love to ask the list for some advice.
> >
> > Looking over the pictures I've taken over the past ten years, I can see an
> > evolution of style and technique. My early photographs showed glimmers of
> > originality, but those glimmers were usually overcome by technical issues
> > (learning how film sees differently from my eyes) and too heavy an
> influence
> > of David Muench. Many pictures were well-lit, well-composed, perhaps even
> > lovely, but they were not art. They were all-too-often copies of others'
> > art or style.
> >
> > Since 2002, I've really struggled to take pictures; I've been doing battle
> > with the dreaded Block. My photos have felt emptier and emptier. I have
> > felt like I wasn't expressing myself, my own vision, my own sense of
> > emotion. I have felt too removed from the final product - as though I was
> > capturing something rather than creating it. I guess I've felt distanced
> > from both art (expressing my personal vision) and craft (the process of
> > creation).
> >
> > And so I basically began reading in place of creating. I read books about
> > philosophy, art, photography, woodworking, ceramics, pottery, the craft of
> > writing, etc., etc. Perhaps the break from shooting cliches and the
> > exposure to so many different sources helped further my notions of art and
> > craft. Certainly, I feel now that I have a much better idea of what I'm
> > trying to accomplish - I have a much better sense of what I'm trying to
> > communicate and display in my work now.
> >
> > So over the past few months, I've had the camera out a little more often,
> > and I'm feeling much better about what I'm capturing. Artistically, I'm
> > feeling like I've been making some progress. But yet it still seems a bit
> > on the empty side. I guess I still feel like I'm missing the notion of
> > craft in my photography. I want to shape and knead these captured images
> > into beautiful prints that have the essence, and texture, and richness of
> my
> > imagination, but I do not have the skills or training to do this. I want
> to
> > put my imprint on the final product, and I'm feeling wholly unsatisfied
> > watching the final product roll off an inkjet printer.
> >
> > So my rather simplistic sounding question is this: how do you recommend
> > learning an alt-photo process from scratch? From what I can tell, gum
> > printing looks like it would be a great way to begin realizing the visions
> > in my head. I have lots of reading material about gums, and certainly
> this
> > list is a great resource, and I have a decent intellectual notion about
> how
> > to accomplish it, but I'm wondering where to make the next step - the step
> > to take action.
> >
> > Unlike learning to draw, it's hard to run over to the local community
> > college and take a class on gum printing. I'm not aware of anyone in my
> > area doing gum printing. So, it's a big outlay, but do I just buy a
> Nu-Arc,
> > nice scale, good paints, paper, chemicals, gum, etc. and go at it on my
> own?
> > Would this be a little too risky, a little too unsupported? Or might it
> be
> > the most rewarding way to go about it? Would I be best served by
> traveling
> > to a workshop or two to get me started? Are there mentors to be found?
> (I
> > live in Northern Arizona.) Should I find a BFA/MFA program, where I could
> a
> > find a mentor and immerse myself in art and craft for a few years?
> >
> > I know that this is a rather personal question, and I apologize if it's
> > unanswerable. I've been feeling a bit stuck and I thought perhaps
> throwing
> > my question out to a wider audience might help. Thanks for helping the
> > artist and craftsperson in me emerge.
> >
> > Bill
Received on Mon Aug 15 12:51:36 2005