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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.

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So John Divola said in the beginning of the interview that he only started going into abandoned houses when he was in graduate school and already seriously making photographs. Ever since around the beginning of my sophomore year of high school, i’ve tried to explore the forgotten areas of my home area around Long Island by venturing in to abandoned places. A group of no more than 3 of my friends and I would go out into places like the Kings Park Psychiatric Center, Pilgrim State Mental Facility, as well as the abandoned Veterans Hospital and Clinic near my house. Something has always fascinated me about walking through the buildings and on the grounds of these abandoned places, about being able to observe the amount of time that has passed, and how much it must have changed since it was left to the elements. I’ve always had an urge to go to dangerous or exhilarating places for the sake of making photographs, but it interests me as to why I am more interested in it as a young person versus why John Divola would pursue that much later in his photographic career.

I’ve never really stopped photographing my own work or only made photographs for an assignment in class, but I have been feeling a bit of difficulty figuring out what I’d like to photograph. Recently, when I’ve been out and discovered some place or something that I’d like to photograph, I bring my camera and focus on that thing for an extended time, and often returned several more times to take more images. And I feel like this is a result of me having difficulty form ideas behind my work or having them be expressed through my photographs.

It feels a bit claustrophobic in terms of subject matter. I used to photograph many different things frequently, but now my choice of subject stays in one place for a longer time.

Maybe this is because of the nature of the view camera. Maybe the camera is changing the way I think about photos.

Now who can forget the amazing photographs of Hiroshi Sugimoto

I’ve been really interested in him and his work lately. Several books on him are at Scholes Library, and his series of movie theater images are quite stunning. He stands in the back of empty cinemas and drive-in movie theaters and places the camera in the very back, with the shutter open for the entire length of the film. The screens therefore look completely white and have a glowing aura to them, which is all part of his concept behind the project: representing the religion of Hollywood but also pointing out the fading of the former glory of films and how they were regarded in the industries infancy.

What a nice surprise to open up the NY Times Lens blog and see that one of my favorite contemporary photojournalists, Eugene Richards, has won a grant from Getty Images to expand his project entitled ” War is Personal”. In this work he photographs with vivid imagery; war veterans after returning home and suffering from post traumatic stress.¬†

I found by mistake a Eugene Richards book in Scholes Library one day, and was truly impressed by the power of the mans images. He is widely known for his many great books filled with powerful black and white photographs. He spends extended periods of time with his subjects, photographing them with a shorter lens and getting up close. Many of his books are in Scholes Library, my favorite of which is his series called¬†Cocaine True, Cocaine Blue. Its a horrifying look at life in New York and Philadelphia’s slums and impoverished communities, but it is an incredibly powerful book.