One of the truly significant changes digital photography has brought us is the simplicity of shooting infrared (IR). Old School analog IR shooters had a series of steps that required best guesses to be made and correspondingly has a rather high hit or miss result. First of all, you had to be careful loading the camera since the film could fog in bright outdoor conditions. Then, focus and exposure issues had to be addressed.
The Infrared weekend kicked off on Friday evening with a free lecture by Neil Miller and Siegfried Rempel, shooting started at the Gilbert Riparian on Saturday morning, followed by process in the Digital Lab in the afternoon. Sunday we printed images and reviewed the work on the Crit Wall.
Siegfried printed an image from a digital negative on to hand coated printing out paper, and demonstrated digital infrared capture, to digital negative, to an alternative photographic process. This could have also been printed using cyanotype, platinum, gum bichromate, etc.
Here is a link to the original workshop information.
So what is the visual difference with infrared? The primary difference is that the camera is photographing in response to living plants in an area of the light spectrum the human eye cannot see. Plants will often reflect greater proportions of infra-red and appear to be lighter in value. The sky, devoid of reflected infra-red will appear a dark value similar to the effect of shooting black and white film through a dark red filter. Clouds tend to show greater modulation and gradation and often “pop” in the image.
The following infrared images are by Margaret Wright
The following infrared images are by Richard Fee
The following infrared images are by Neil Miller, and the featured image for this post is by Neil Miller
The opening of Eternal Platinum marks Art Intersection’s third anniversary. Our first exhibition on January 17, 2011 was Out of the Blue: Contemporary Cyanotype Invitational. Once again we went to a traditional process that offers a unique, and distinctive presentation of an image. On exhibition in the North and South Galleries are exquisite works from artists that have not been shown before at Art Intersection.
A platinum print is an exceptionally beautiful and everlasting image presented through a wide range of subtle tones. The creation of a contemporary platinum print, whether from film or digital camera, remains an intimate, handcrafted process. The artist begins by hand coating an art paper with a platinum or platinum/palladium solution, exposing the sensitized paper to ultra-violet light, and then hand processing the exposed paper to create the final, permanent print. No two prints are ever identical.
This exhibition is in conjunction with PhotoTapas, celebrating the art of photography in Arizona during the month of February.
EXHIBITING ARTISTS
Dick Arentz
Scott B. Davis, courtesy of Etherton Gallery
Joy Goldkind, courtesy of Tilt Gallery
Charles Grogg, courtesy of Etherton Gallery
David Johndrow
Stan Klimek
Andrea Modica, courtesy of Tilt Gallery
Jean-Claude Mougin, courtesy of Tilt Gallery
Keith Schreiber
RYAN GALLERY
This year begins an expansion of our gallery program to include the representation of artists who will be shown in Ryan Gallery. The East Gallery has been renamed the Ryan Gallery and will serve as the space for presentation of works by the represented artists. During Eternal Platinum in the Ryan Gallery, with platinum prints, are the following artists:
Michael T. Puff
Ryuijie
Terry Towery
In the future we will show the works of additional represented artists with prints produced in the darkroom using processes including cyanotype, gelatin silver, kallitype, etc.
IMAGES FROM THE OPENING
Below are the incredibly nice parents of Charles Grogg, standing in front of one of four images by Charles.
Jim and Carol standing in front of work by Dick Arentz. Carol worked through much of last year to curate this show. She worked directly with the artists, as well as two Arizona galleries to bring this work to Art Intersection. Thank you Carol for a great job. Also, thank you to Tilt Gallery and Etherton Gallery for making this work available to Art Intersection.
Two close friends of Art Intersection, David Emitt Adams and Rosie Shipley. Rosie will be the juror for our upcoming student photography exhibition, Emerge. Thank you Rosie. David was the juror for last year’s Emerge exhibition.
Randy Efros, well know photographer and arts patron joined us. One of his images hangs permanently at Art Intersection.
Mark and Becky Godfrey and Chris Palmer and Tammy Cowden never miss an opening. Mark’s company Parker Madison is the marketing firm for Art Intersection. Both Chris and Tammy have had their work on exhibition at Art Intersection in the past.
Jamie Fitzgerald, Debra Wilson, and Alan Fitzgerald in the Ryan Gallery. Debra works behind the scene at Art Intersection making sure the bills are paid and the business pieces stay organized. Jamie practices acupuncture nearby at The Healing Point. Alan, well we’re not sure what he does, but he drinks most of the coffee.
James Hajicek and Mary Kay Zeeb discussing the platinum process. Jim taught the non-silver curriculum at ASU, and was a professor there for over 30 years. Mary Kay teaches, and is an instructor for the Italy Workshop.
Neil Miller and Marilyn Miller never miss an opening or event at Art Intersection. As always Neil has his camera around his neck, but tonight it’s different, he is shooting with an infra-red flash and filter. He will co-instruct the upcoming infra-red workshop.
North Gallery with Dick Arentz and Keith Schreiber.
South Gallery with Scott B. Davis, Charles Grogg, David Johndrow, Stan Klemick, Andrea Modica, and Jean-Claude Mougin.
Ryan Gallery with Michael T. Puff, Ryuijie, and Terry Towery.
A group of South Mountain High School intermediate and advanced students, along with their teachers, Vivian Spiegelman and Dena Cervantes, came to Art Intersection to participate in a three-session workshop experience. In the workshop the students looked at and discussed contemporary portraiture, learned to use a 4 x 5 camera, created digital negatives from digital files and print them in the Van Dyke 19th century printing process.
They produced some beautiful self-portraits and went back to school with a deeper understanding of the art of photography.
If you, your institution, or group are interested in learning more about how we can customize a photographic experience for you contact us.
Allen Dutton transformed his students into photographers. His name comes into many conversations with visitors to Art Intersection for whom he was a teacher and mentor. Congratulations Allen, and thank you for your contribution to the Arizona photography community.
Following is the press release from INFOCUS.
(PHOENIX, Ariz.) INFOCUS, the photography support organization of Phoenix Art Museum, has named Arizona photographer Allen Dutton the first-ever recipient of its INFOCUS Founders Award. The award honors an individual, business or organization whose efforts have advanced the cause and improved public awareness of fine art photography in Arizona.
“Through his work as an educator, photographer and curator at Phoenix College, Allen Dutton has made many contributions to the field during five decades here in Arizona,” remarked Dr. Rebecca Senf, the Norton Family Curator of Photography at the Center for Creative Photography and Phoenix Art Museum. “We’re pleased to recognize his remarkable achievements.”
Dutton is perhaps best known to Arizonans for his celebrated book, Arizona Then & Now. He also founded the photography program at Phoenix College, the flagship campus of the Maricopa Community Colleges. Dutton joined the art department at Phoenix College in 1960 and eventually became department head and photography program director, retiring in 1982.
While at Phoenix College, Dutton assembled a collection of works by some of the 20th century’s most important photographers, including Nathan Lyons, Brett and Edward Weston, Ansel Adams, Paul Caponigro and Minor White, and began an exhibition program at the College. Few college campuses were teaching photography then, and even fewer collecting the medium, and Dutton quickly created a photography program that at the time was considered the finest in the western United States. His exhibitions gained national recognition and exposed a generation of students to the works of these master photographers.
The photography program at Phoenix College continues today, and in 2010, the Allen A. Dutton Center for Photography, a suite of labs and classroom space, was dedicated in the new Phoenix College Fine Arts Building in recognition of Dutton’s lasting contributions to the program.
A prolific photographer, Dutton has exhibited his work worldwide and published eight books. He is represented in numerous public collections, including the Center for Creative Photography, Yale University Art Gallery and The Museum of Modern Art, to name a few. The Arizona Historical Society houses an archive of more than 25,000 of Dutton’s photographs documenting the state’s people and places.
Dutton will receive the INFOCUS Founders Award at Phoenix Art Museum on Friday, Oct. 18, at the annual INFOCUS PhotoBid Silent Auction, which begins at 5:30 p.m. PhotoBid showcases more than 50 signed limited-edition prints and books by acclaimed photographers throughout Arizona and the United States. Admission to the event is $25, and tickets are available through www.infocus-phxart.org/auction. Proceeds from the event benefit INFOCUS, the Museum’s support organization that fosters the appreciation and advancement of photography through educational programs, exhibitions and publications.
SPONSORS INFOCUS PhotoBid 2013 is made possible by the generous support of Benefactors: David E. Adler Oriental Rugs, PHX Architecture, Mr. and Mrs. Robert J. Ternes II; Supporters: Affiliated Eye Surgeons, John and Naomi Berry, Randy Efros, Fine Art Framing, 422 Framing & Gallery, Jaburg & Wilk, PC, Sassy Glasses; Contributors: Arizona Sinus Center, Meltdown Glass, Randall Bohl Photography.
EVENT LOCATION
Phoenix Art Museum, 1625 N. Central Ave., Phoenix, AZ 85004. Directions and parking information are available at www.phxart.org.
ABOUT PHOENIX ART MUSEUM
Phoenix Art Museum has provided access to visual arts and educational programs in Arizona for more than 50 years and is the largest art museum in the Southwestern United States. Critically acclaimed national and international exhibitions are shown alongside the Museum’s collection of more than 17,000 works of American, Asian, European, Latin American, Western American, modern and contemporary art, and fashion design. The Museum also hosts a comprehensive film program, live performances and educational programs designed to entertain and educate visitors of all ages. Visitors also enjoy vibrant photography exhibitions through the Museum’s landmark partnership with the Center for Creative Photography, University of Arizona. To learn more about Phoenix Art Museum, visit www.phxart.org, or call the 24-hour recorded information line at (602) 257-1222.
This summer at Art Intersection we focused on bringing the spectrum of photography and art to Arizona kids and teens with our summer art program! We were pleasantly surprised at the greater Phoenix area youth turning out for our camps, especially with many of our teens coming from Tucson, North Phoenix, Tempe, Chandler, Mesa, and beyond!
Kids from ages 9-14 came out every Tuesday afternoon for mixed media, drawing, photography, and bookmaking. Art Intersection staff members taught students many new techniques to implement into their art-making and each week kids went home with finished pieces of work.
Our teens did an amazing job learning a lot about all forms of photography in our Introduction to Photography camp. More 14-17 year-olds further developed either their digital or darkroom skills in the Advanced Digital Photography and Advanced Darkroom Photography camps.
The quality of work and the amount each student accomplished during the one-week sessions was amazing! In the intro camp, students focused on the basics of photography and learned digital, darkroom, and alternative processes. In advanced digital, we moved on to outputting our images and making large prints, in addition to handmade books, and stop-motion animations. Teens in Advanced Darkroom heightened their darkroom printing skills, while also learning 4×5 view camera, toning, hand-coloring, and Van Dyke alternative processing. To look at an online gallery of work made by our teens this summer, please visit:
Thanks to our awesome students and replica Watch parents for making our 2013 summer programming a huge success and we can’t wait to make art with you again next year!
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Over five days in June this class explored photography from 19th century cyanotype, to 20th century black and white film, to 21st century digital imaging. They covered three centuries of photographic technology in only five days with each student taking home a collection of their work consisting of cyanotype, gelatin-silver, and digital prints. Below, the class group poses for a fun portrait. During the week long camp, each student demonstrated their passion for photography. Here are some examples and there will be additional work in an online gallery coming at the end of the summer youth classes – stay tuned!
Each student was given a 35mm film camera, a roll of 35mm black and white film, and an assignment. They developed the exposed film in the darkroom using traditional black and white chemistry, and then printed in the darkroom using an enlarger and traditional darkroom processes. Film is very much alive and well, and still capable of making wonderful images as seen by these students’ work.
All the week’s work goes on display for review using the magnetic critique wall in the photo arts lab.
Now we are in the 21st century with this digital image.
Cyanotype printing requires the paper to be coated and dried before exposure in the sun.
Contact printing frames hold the coated paper and objects during sun exposure to create cyanotype pictograms. This easy and simple process can be done at home too; the fun doesn’t need to end.
Like the cyanotype printing, a piece of black and white printing paper can be used to make a pictogram in the darkroom, instead of the sun, under an enlarger light.
This is what happens when nine artists receive flashlights in a dark room with cameras to record their movements. This is Painting with Light at Art Intersection.
Today, everyone created 5 to 6 images and took home an 8×10 print of their favorite image. It was a fun day in a dark room with nine young artists!
It is not difficult to paint with light at home. All you need is a digital camera, tripod, and a flashlight in a dark room or on the garage door at night.
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This past weekend, photography graduate students from the University of Arizona and University of Nebraska-Lincoln made a special trip to Art Intersection to learn wet plate collodion techniques from our resident artist, David Emitt Adams.
Grants furnished by both universities funded the workshop to assist students in learning techniques that are not part of their normal curriculum.
The workshop was a success with several of the students going back to school with a solid foundation of the process so that they can continue to experiment with wet plate collodion at their respective campuses.
If you are interested in learning more about Art Intersection’s unique services of creating customized workshop experiences for your institution or workplace contact us at info@artintersection.com.
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