So if you have never heard Emmet Gowin talk, then you are probably missing out. Anyway, here is an Emmet Gowin interview in which he is being especially beautiful, but you should skip the intro. What a man.


So, as a reminder, here is a list of things you need to bring to your final crit of the term:

1. Selection of works from throughout the term
2. Completed final project
3. 20×24 print(s)
4. Ink jet prints
5. Paper and developer tests
6. Split filtering
7. 1-2 page book report


I have been practicing and experiment a lot with double exposures this semester and it is something I really like. I would like my final project to really push the idea of double exposure. I have also really want to print on glass for a really long time. I was thinking of combining the two for the final project. Instead of just taking one already double exposed photograph, I was thinking of taking several photos and taking them apart and combining them in photoshop. Then printing on transparencies and sticking them the transparencies to the glass to get a combined 3d layered look.  It would be cool to start thinking of photography as not just something that is 2d, but something that can become 3d as well and I think this project will help start thinking that way.

For my final project, I am thinking of focusing on close-ups, working within my apartment.  On the technical side, I am interested in investigating the compensation for the bellows extension, I am part engineer so I am really interested in exploring those mechanics and maths.  On the conceptual or idea side, I am going to be looking at and investigating everyday objects or places that we see/use everyday but overlook; things that we will forget in 1, 5, 10 years.  These small things can affect our lives in minor or major ways, yet we overlook them on a daily basis; like, I drink my tea every morning but I don’t pay close attention to my tea kettle or the knob on the stove that I turn to light the burner.  I am not sure if I want to photograph the things as they are, just left in their spaces, or if I am going to manipulate them to get a point across; this is one of the things that I am going to play and experiment with.  But overall, the project is going to be dealing with memory and documentation of passing moments and things.

Here is a list of the books you can use for your final book reports:

Photography Changes Everything, by Marvin Heiferman

The Setting Sun:  Writings by Japanese Photographers

Thoughts on Landscape, by Frank Gohlke

Texts, by Lewis Baltz

I would like to make a book, although I haven’t decided what method to use. My options would be to do a Japanese stab binding of loose pages, an appropriation of a book that I incorporate images onto, or a binding with a signature (folded pages) and have the photo prints matted onto the pages.

Japanese stab binding

As per the content, I would like to work with text, images, and maybe drawing. I am experiencing a profound state of boredom, therefore my project will be about nothingness. I will incorporate a super-subjective language of images, similar to this book by Marten Lange.

Marten Lange, Another Language

If I worked in appropriating a book, I would think about this book by Adam Broomberg & Oliver Chanarin in which they appropriate the bible.

Between the three studios I am taking this semester, I have narrowed down my most current and ongoing interest or theme.  I believe I am interested in places that are inherently spiritual, supernatural, or in any way uncanny.  I have been particularly interested in cemeteries and how they function as places or containment, organization, nostalgia, spirituality, etc.  I am interested in how people attempt to memorialize those who have passed. The fake flowers, lamps, crosses, cherubs, candles, benches and all the numerous other things that people so lovingly place and usually soon forget are of interest to me, and I would like to create a series of close-ups of these tiny monuments and experiment with double exposure, or layering images to suggest a narrative about the passing of time.  I am not interested in death or memory as broad topics but rather the very physical and futile way that we attempt to preserve the physical things we have lost. Hopefully I will be able to print these on a large scale to place emphasis on detail and to exaggerate the scale of these items relative to their personal importance.

This idea was brought about by a multitude of things, one being the fact that I wanted to use my brother as a victim of my photography. I love working with the figure and I love showing my personal opinions about the body and human life within my work, not just my photography. Also recently I have been looking into sort of a spiritual side of the world, which is something not everyone believes in. Along with this belief is the idea that everyone has an animal that they relate very closely to, from centaurs to rabbits. For this project I am combining the animalistic side of life with the everyday hustle and bustle of life. The people I will be photographing will be half nude while wearing suit pants or formal skirts covering their entire bottom half. Now thats just of the appearance of the figure within the print; out side of the print there will be colored images of animal faces that will be sewn onto the prints like a mask, which the viewer will be able to lift up and see the face underneath. 


I’ve been very interested in taking these textured, natural images, and especially printing them on 20×24 paper.

For my final project I intend to print more of these high-contrast pictures on large paper and bleaching/toning them with selenium.

I would like to use different toning processes in order to slightly change the color of the tones in my prints.

I have in the past experimented with toning and I would like to find a way to tone different value ranges different colors.

I have seen Divola’s color work with the abandoned buildings, “Vandalism” or “Zuma” , but I don’t think I really understood the point of them before.  I think we build up the idea that there needs to be a concept behind our photographs or work, yet that is not always how we work, or how I personally work.  I like how Divola describes how things in his environment and his own photographs can influence his work, such as the dogs chasing his car in the desert.  He didn’t go out looking for these dogs, they just kind of found him and his camera.  I think with “Zuma”, I was trying to build up a concept behind the work, yet it was just Divola playing and experimenting with texture and color.  I sometimes find it difficult to come up with a concept and to act on and photograph that particular subject or idea. I photograph through a response to my environment; although, most photographers would probably say they work in this manner, its just a different sort of response for everyone.