Shrimp Boats, Biloxi, Mississippi, September, 2005

In September of 2005 the shrimp boats of this marina near Biloxi, Mississippi, survived the wrath of hurricane Katrina. Will they now survive the hand of man?

Context

Recently I received a call from a friend here at the Smithsonian Institution who happened to be looking at a photograph of mine, which happens to be in the Photo History collection at the Museum of American History. He remarked, “ I saw your photograph in the RISD portfolio of the chauffer and the lady and I really like it.”

This got me thinking of the context of photographs, or is it content, I wonder. Herein, the back story.

The photograph appears in the Rhode Island School of Design Photographic Education Society Portfolio of 1971. At that time I was an undergraduate student in the Photography department . Submissions were made to the faculty of the Photo department at the school and a selection was made to be included in a portfolio of student and faculty work. A signed edition of 28 prints was made.

The photograph itself was taken in Washington, DC in 1970, as I recall. At the time I had a Leica M3 with one lens, a 35mm 2.8. The film was, of course, Tri-X. The print was printed on Dupont Varigam double weight fiber base paper and was toned with selenium. I recall we had to print and mount an edition of 128, 28 of which were signed. Looking at the print now, it seems a bit murky, but at the time we liked to print “deep”.

The photograph is of my Grandmother, Frances Rust, and her friend Gen. William Cowgill, who I called “Uncle Bill”. They are photographed in front of the apartment building where I lived with my Grandmother, 2205 California Street.

This is not the first time that questions of context about this photograph have arisen.

In the past when I have shown people the picture the comment often has been, “Is this where you LIVED!!!!” Context, Rolls Royce, ergo, owns and lives in the entire building. Which is not to exclude whatever conclusions the viewer may arrive at from Rolls Royce, etc. But I hope you can appreciate the complication of context.

I offer these observations without any solution in mind to the complex subject of content, only the privilege of being there and knowing the people and the place. Without the context of captions or conversation a photograph is always open to a multitude of interpretations and that does not even begin to address the wonderfully murky area of intent. On that score I can only relate that these were two important people in my life and I loved them both.

The Next Generation

Two Richmond photographers,
Thomas (on the left) and Joseph
(on the right).

What I do

This a sampling of the sorts of things I do as a
museum photographer: Reproduction: Meade Bros.
Daguerreotype of Daguerre, Objects: Third base from
World Series Champion Boston Red Sox, and Glass, Geissler Tube, Event: Boston Red Sox presentation. Ah the endless variety!

Necessary things from the past

How to load a 4X5 film holder.
Remembering to go between the rollers on a Rollei 2.8 TLR
How to load a Hasselblad back.
How to load and process film hangers
How to load a 35mm or 120/220 stainless film reel
How to load a Leica M film camera ( although that does not seem to have changed)
Am I showing my age?
Feel free to add to the list, this is just the beginning, I am sure.

High Dynamic Range (HDR) Photography in Photoshop CS2

High Dynamic Range (HDR) Photography in Photoshop CS2

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Converting a Digital Color Photo into Black and White

Converting a Digital Color Photo into Black and White

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My Day Job

This is where I work and this is an example of the work I do.
Digital photography has greatly shortened the time between concept and and final work. The assignment was to photograph Lincoln's coat. I thought it would be great to include the hat. Having "floated" a gazillion hats, caps, and helmets, for another exhibit I had a good idea how to do it. Two photos, one of the coat, the second of the hat on a stand beside the coat, a little Photoshop
(LEARN LAYERS!!!), and it's done, all in about an hour. Of course what you don't see is four pairs of very nervous hands outside camera view on guard for the hat.
Tech stuff: (The Hat/Coat)Hasselblad H1 80mm lens, H101 P25 back ,1/125th, f22. This shot, Canon G5,of course.

Commuting

A portion of our days is spent going from point A to point B

Setting up a View Camera

I had the opportunity to photograph this camera and it got me thinking about how different it is to work with a view camera. There is a deliberation that takes place long before a picture is even taken. Pick your spot, take meter readings, set up the tripod (this one was a bear by the way) and get ready to unpack the camera. Unpack, unfold, (monorail camera users results may vary), check groundglass (not broken I hope,did I pack an extra?) select lens, mount lens, and mount on tripod,attach cable release. I walk around the camera check the levels, zero the front and rear standards, open the lens and get ready to go under the darkcloth to compose the picture. How many film holders did I bring?
Not a single picture taken yet.
There is something abou this that is soothing in a way, an air of "Wax On Wax Off."

PS You will probably point out some step I missed, feel free to let me know.