Some of you might recall that post that I did some time ago on the Miles Mausoleum. Anyway, here are the first prints from that session (these are from the 35mm that I shot that day). Definitely more to come on these…
All Nikon 8008s with Nikkor 50mm f/1.8D lens and Kodak T-Max 100 film.
What’s up, Darteboard? Here are a couple of examples from a photographic experiment that I have been working on.
As promised several weeks ago, here are some of the shots that I took on a visit to a nearby abandoned mausoleum. All photos were shot with a Bronica ETRSi and 75mm f/2.8 lens on Kodak T-Max 100 film. Images were scanned, which contributed to the funky color-cast, and appear completely unedited (save the watermark). I’ll include some scans from the final prints at a later time.
From Wikipedia:
Stephen Miles, a veteran of the War of 1812, was buried here by his son Stephen W. Miles. The mausoleum is located atop Eagle Cliff midway between Columbia and Valmeyer in what is known variously as Eagle Cliff Cemetery or Miles Cemetery. Due to its size and position on the bluff, the mausoleum is visible from several miles away, and has thus gained a prominent position in local legend. It has been a frequent target for vandals, and as a result all bodies were removed and reburied elsewhere; the fifty-six crypts are now empty and open, and the door to the mausoleum is gone.
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Last week, I posted a pic from a new series of photographs that I am working on. This week, I am showing off more shots of some of the men from the series, and next week, I hope to have some of the women ready to put on display. It is interesting to me to observe how differently the women versus the men approached posing for this; the women had a sort of default “pose-face” whereas the men kind of let their guard down a bit more. I guess that’s culture….
All Nikon N80 with the Nikkor 105mm f/2.8G lens and Kodak T-Max 400 film. Prints are on Adorama-branded, variable-contrast, fiber paper. Please excuse my dusty and orientation-moody scanner.
I am back to working on the subject of identity. This time, I have photographed portraits of 47 strangers, 23 men and 24 women, and hope to show the degree of visible variation between people of a certain place (I staked out a spot at a local community college). More to come on this.
Nikon N80 with Nikkor 105mm f/2.8G lens and Kodak T-Max 400 film, printed on Adorama-branded, variable contrast, fiber paper.
Last weekend, I visited my mother-in-law in Springfield, Illinois, and she drove me around looking for abandoned buildings for me to photograph (who else has that kind of a relationship with their in-laws?). We found a couple of barns and a slaughterhouse, which made for a nice little outing.
All Nikon D300 with Nikkor 17-55mm f/2.8G lens.
So I was walking through the Saint Louis Zoo the other day, and I turned around to witness the strange Arbusian scene of a little girl trying to coax a small flock of exotic birds to be her friend. After taking the picture above, I started to think about how really strange the whole zoo environment is, with all of the animals tidily on display for their (often disgusting) human counterparts to look at, all wild-eyed. The zoo is a fantastically odd place, and I tried to snap a few photos that relayed this feeling that I was having at the time. Enjoy.
All Nikon D50 with Tokina 11-16mm f/2.8 AT-x pro lens.
I don’t have a lot new to share despite the fact that I have been really busy. Does that make any sense? I didn’t think so.
Anyway, here are a few examples of some recent portraits that I have been taking. If you read One Round Jack, expect to find a few of these faces popping up again soon.
All Nikon D300 with either a Nikkor 17-55mm f/2.8G, 105mm f/2.8G, or 50mm f/1.8E lens.
This former Unilever plant in Pagedale, Missouri sits on 20+ acres and features over 320,000 square feet of existing, interior space. It was built in 1953, and ceased operating in 2001. The Terminal Railroad runs nearby and once serviced the commercial giant at this former manufacturing center. There had been plans in 2003 to renovate the site, but as far as I can tell, all that is happening now has to do with a large paved area northwest of the central building being used as a school bus parking lot. It is a unique and interesting site that once supplied over 200 jobs to the region.
All photos Nikon D300 with Nikkor 17-55mm f/2.8G lens.
I don’t have any new art to share this week, so I will take a moment to remind anyone local to head on over to my studio and see me on the 30th.
Here’s your friday night music video:
Every year, the Contemporary Art Museum, St. Louis sponsors an event that brings the art viewing public directly to local artists. The premise behind City-Wide Open Studios is for St. Louis’ artists to open their studio doors in an organized fashion, choreographed by CAMSTL, so that art viewers, art buyers and art interlopers have the chance to peruse the local talent at hand.
This is the first year that I will be participating, so come out and show me some support. I will have dozens of paintings, drawings, and photographs on display. I will be showing on Saturday, July 30th, and my studio is located at 3434 Magnolia Avenue in Tower Grove East.
The event kicks off with a reception for the artists at “the Contemporary” (information from CAMSTL’s site below).
JULY 26TH. 6:00-9:00 PM.
FREE AND OPEN TO THE PUBLIC, NO RSVP REQUIRED. CASH BAR. 3750 WASHINGTON BLVD.
To kick-off the week-long celebration of local art, CAM will be hosting an Open Studios Preview Party where visitors can visit CAM’s Main Galleries to see one piece of artwork by each participating artist. For that night, and the entire following week, each piece of art will be displayed with a label of the artists name and number that corresponds with the printed map – allowing the public to see the artwork beforehand and map out their weekend studio visits. Join CAM and over one hundred local artists for a night of celebrating the local art scene and all that it has to offer. Pi on the Spot – Pi’s mobile pizza truck – will be selling mini pizzas all night!
Here in the midwest, July brings with it scorching temperatures combined with stifling humidity. Here are a few of my offerings to this special time of year.
Some of you might recall a series that I started several years ago, and that was somewhat erroneously referred to as “Photo-Impressionism”. In any case, here is a slight expansion on that old, abandoned project; picked back up in the city where it began. Enjoy.
All Nikon D50 with Nikkor 35mm f/1.8G lens.
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I am experimenting with trying to get a look that is close to the film series that I posted several weeks ago using digital equipment. The film prints were all hand-toned to get the color, which has been more difficult to match digitally than I would have expected.
What do you guys think; if you squint, can you tell the difference? I will be working a bit to try and get this closer (including trying to work in the film grain and getting rid of the bad, specular highlights which are a digital token).
Nikon D50 with Nikkor 35mm f/1.8G lens.
Please enjoy this interview with the inimitable Duane Michals.
Well, maybe not quite, but I did use copper to tone these. This is a short series (meaning these may be it; let me know what you think) in which I attempted to reduce real birds to 2D “cutouts”. I have been playing with the illusion of the real lately, in my photography, and I think that these are a good example of that.
“In painting, the curve is a hill; in photography, the hill is a curve.” -Arnaud Claass
All Nikon N80 with Nikkor 50mm f/1.8D lens and Kodak T-Max 3200 BW film.
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The Armour Meatpacking Plant in National City, Illinois rests its hulking, decayed mass on the former site of the National Stockyards. This complex, formerly consisting of crisscrossing train tracks, bellowing pigs, and the rhythmic clang of industrial machinery, represented the second largest hog processing center in the world (behind Chicago’s Union Stockyards). If you were wondering, it was Chicago’s Armour Meatpacking Plant location that inspired the colorful tale, “The Jungle”, by Upton Sinclair; one can only surmise that the conditions probably weren’t much different at this location.
In any case, the plant was abandoned in the 1950′s and it certainly looks that way. More information on this site can be read at Built St. Louis and at my friend’s site St. Louis Patina (if you haven’t checked out his site, definitely do!).
All shot with Nikon N80 and Nikkor 50mm f/1.8D lens on Ilford HP5+ 400 ISO film.
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Agora Gallery - the proud sponsor of the Chelsea International Fine Art Competition, which offers contemporary artists the opportunity to show their original art at one the most acclaimed juried art shows in Chelsea, New York’s art galleries district.
darteboard
jdhastings
ssstephg
Tom Bennett
Toni Tiller
Jason Gray
probrucer
laelia e. mitchell
