Legacies of LIGHT and PhotoNexus 2020

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Photography has every right and every merit to claim our attention as the art of our age
Alexander Rodchenko, Russian artist and photographer

I wanted to write about the LIGHT gallery in NYC in the 1970s because it reminds me a little about what PhotoNexus is all about — a place where people meet, discuss and share ideas about photography. PhotoNexus 2020 will go live in the next few weeks.  This is based on the Center For Creative Photography recent symposium about the LIGHT gallery

Legacies of LIGHT, a pioneering New York City Gallery: Imagine in the 1970s a new gallery devoted to photography opening in the heart of New York City’s gallery district. They call The New York Times to get listed in the arts section and are told photography is not art. Few commercial galleries included photography.

At that time, Fern and Tennyson Schad had a vision to make photography an accessible and collectable art through a gallery devoted to photographers and their photographs. Photographers would be at the center of all they did. They lured Harold Jones away from the Eastman Kodak House to build the gallery — which was premised on modern photographers, monthly exhibits of new work that was matted, framed in standard silver aluminum frames, and hung beautifully in the gallery. Exhibit openings became parties and part of the evolving New York Art scene. It was a place where both staff and visitors learned about photography from the photographers. The gallery was known for the flat file cabinets which made the gallery inventory accessible for visitors to peruse.

LIGHT became more than a gallery. It became the epicenter for the photography community. It was a place where people could meet, discuss ideas and feel a sense of camaraderie. Its impact touched artists, institutions, curators, writers and critics and existing and future photography galleries, such as Peter MacGill, Robert Mann, Laurence Miller and Rick Wester.

The early Market: LIGHT was also at the center of building the market to make photographs collectible. Staff often filled boxes with photographs and went across the country to meet museum directors and private collectors – encouraging them to buy prints or complete portfolios from the photographers LIGHT represented. When LIGHT opened, Harry Callahan’s pictures were sold for $75.00 – $150.00. In the late 1970s his photographs started selling for $750, following his exhibit at MOMA. “Young people started buying photographs” – 10 photos at $300.00 paid off monthly through LIGHT’s installment program (see the 1:56 minute point of this video). Today, in one gallery Callahan’s work starts at $15,000.00. At auction he has commanded $25,000,00.

For more context, you can check out this video from the live stream of The “Legacies of LIGHT” symposium at the Center for Creative Photography (CCP) at the University of Arizona which I was thrilled to attend earlier this month. More videos here)

Image of Light Gallery via Charles H. Traub

Explore Photography at PhotoNexus 2020
One of the reasons I was excited to attend the LIGHT symposium at the Center For Creative Photography at the University of Arizona was because in its own very small way, PhotoNexus is a little bit like LIGHT, without the gallery component. PhotoNexus brings together people interested in exploring the art of photography and those who want to buy photographs with the people behind the art — including curators, educators, galleries and photographers. It is an opportunity for photography enthusiasts to learn and share about photography while taking advantage of the small group setting to gain insights and personal perspectives from the people behind the art.

PhotoNexus 2020 will include several new components including:

Collecting American Snapshots: It is all about the Image an evening with a well known collector discussing his collection and what makes for powerful photographs. His collection has been part of exhibits at the National Gallery and other galleries across the country;
Ansel Adams and Advocacy for American Photography a lecture from a person who worked with Ansel Adams and is a prominent consultant in the marketplace today. This session will look at the impact of Ansel Adams on the growth of the fine photographic print market and its evolution to new buyers and new paths to purchasing collectible art;
Photo Books a visit and discussion with the pioneering book store in this field

PhotoNexus also includes salon-like discussions and experiences, such as: a photo walk with photographers to gain insight into what they are shooting; gallery and studio visits with discussions about how they choose to mount shows and work with photographers; a photographers panel; a look at trends in photography; and, a panel about the photographic print.

PhotoNexus 2020: The Art of Photography
Behind the camera. Behind the print. Behind the art.
Save the dates and plan to join us in Santa Fe, NM, July 23-25, 2020.

You can see last years program online. The PhotoNexus 2020 webpage will replace the current page in the next few weeks.

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The Print: Bringing Photographs to Life

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“When you look at a photograph that is printed, you are free of distraction allowing you to really engage and experience all that it has to offer. The experience triggers an emotional response very different from simply seeing an image for a fleeting moment on a screen. The print is a finished product that engages the viewer. People want to move closer and even touch a print. Viewing a print encourages the viewer to travel into the frame imagining the experience of being in that place.” – Seth Resnick

Whether it is the social feeds and stories on Instagram or Facebook, the unorganized photo album on our phones, flipping a page in a magazine or book or the onslaught of visually enticing advertisements that we see every day, we are awash in a world of images.

However, photographic prints are not the same kind of fleeting and temporary experiences. Prints are tangible.  Prints bring scale to the image. A small print forces us to look more closely and a large print creates an immersive experience.  Prints bring details in the photograph to life.  Prints encourage us to view images in different ways — to reflect and to see more.

Photographers make lots of photographs. But we print the ones we think are best and most important. Prints bring our work out of the camera and digital work flow or dark room into the world where the image can be shared and experienced in a more complete way.

Prints are a demanding part of the process that take a photographer’s vision and bring it to completion.  Determining what kind of print to make is one part of the complexity. For example, prints can be made using processes like dye-sublimation on aluminum or pigment ink printing on archival paper or in traditional dark room processes or by making a negative of a digital photo in order to make platinum/palladium print.  Take a look at all the options.

Whatever process and size of print is chosen, the photographer then works hard to ensure that the light, tone, color and composition are coming to life the way they want.  For example, a print I wanted to do on clear aluminum did not work and so I had to change the media it was printed on.  Ansel Adams worked on printing “Moonrise, Hernandez, New Mexico” for 40 years making adjustments along the way.  Making prints is a complex part of bringing the vision of an image to realization.

Prints offer viewers the chance to consider not only what the photographers saw and how they saw it, but also the way it has been printed to be shared. The final print is the object and the carrier of the story.

 “A print is much more than a mere reproduction of an image.  It is the culmination of the inspiration and vision of the photographer.  It is the clearest, most direct and powerful form of the image and has the ability to move beyond words, ideas and concepts to touch and move the viewer”  — Christopher Burkett

or, as noted here, just start printing

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The Showmepodcast: Robert Frank’s The Americans, Roadside America and PhotoNexus

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My friend Geoff Livingston, who was featured here in a photography showcase, has a podcast (also available as video) called the “Show me podcast” where he chats with folks about iconic photos and why they work (or not).

We caught up to talk about Robert Frank’s book, The Americans.  And then we talked about the Roadside America project, Infrared photography and some of the thoughts behind PhotoNexus (at the 27 minute point) which I am organizing in Santa Fe, July 26 & 27.

Hope you can find the time to check out the podcast…and yes, a saxophone walks through it.

Robert Frank’s The Americans and Roadside America with Richard Binhammer – Episode 1.5

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The People Behind PhotoNexus

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One of the aspects of PhotoNexus that excites me is the talented group of people who have come together to share their knowledge, insights and inspiration with the small group of people attending the event.  We have brought together an outstanding group of independent curators, galleries, photographers, and photography educators who will offer a broad perspective on the art of photography, as well as take you behind-the-scenes with their own personal experiences and commentary.  Among the people behind the art, who PhotoNexus attendees will meet and engage with, are:

  • a person who apprenticed under Ansel Adams and was selected to print his Yosemite series.
  • among the photographers we have people whose work is in the National Portrait Gallery, the Fort Wayne Museum of Art, the San Francisco Museum of Modern Art and Center for Creative Photography, Tucson AZ– to name just a few
  • we have a person world renown for his platinum palladium prints
  • the galleries who are involved work with museums and private collectors. They also manage estates of some famous photographers
  • an expert on the historical development of photography and how it has influenced the contemporary artistic medium
  • the person who leads one of the world’s most prestigious and significant photography education programs, as well as a former member of the faculty of Art Center College of Design
  • a leader in the world of fine art photography and today’s digital world who has developed new approaches to fine art printing, book making and exhibiting
  • a pioneer in the photo books segment

On Saturday afternoon, we will make a special field trip to visit David Michael Kennedy’s studio and dark rooms.  Here is a preview

Meet the Talented People: here is a little more information about the distinguished and talented people who will share their insights and inspiration at PhotoNexus:

 

(Update) Nathan Benn: Over the past fifty years, Nathan Benn has worn many professional hats related to photographic arts, including National Geographic Magazine photographer, Director of Magnum Photos, curator, Internet entrepreneur, and museum Trustee. He is currently vice-president of CENTER for Photography in Santa Fe and is working on a sixth solo museum exhibition of his photographs. Nathan’s photographs can be found in the permanent collections of the National Portrait Gallery, the Rijksmuseum, Museum of Fine Arts Boston, Museum of Fine Arts Houston, Harvard Art Museums, and George Eastman Museum.  In parallel to his career of making and managing photographs, Nathan has been a serious collector of photography and early American decorative arts.  He will talk about the homes and collections in New York and Santa Fe that he shares with his wife, Rebecca Abrams, a fine arts photographer.  His presentation will be about their evolution as collectors, what inspires them to live with photographs, and personal concerns and strategies regarding photography collecting and preserving one’s photographic legacy  https://www.apeculiarparadise.com/   https://www.kodachromememory.com/

Mark Berndt: Mark Berndt is a photographer whose work celebrates people and the circumstance of life. He brings the experience of a long and varied career in the visual arts, offering a select set of services in photography, filmmaking, design and teaching to professional and emerging imaging artists in Santa Fe and worldwide. With more than 20 years of teaching experience, he brings considerable knowledge about, and experience in, the art and business of visual image-making and communications. http://markberndt.com/

Reid Callanan has spent his entire adult life focused on photographic education — the past twenty-eight years as Director of the world renown Santa Fe Photographic Workshops and before that working at Maine Photographic Workshops. In addition to his role as director, Reid has taught a workshop named “Cameras Don’t Take Pictures.” While his business career is mostly all consuming, he also makes time to photograph every day and for his ongoing projects.  Reid also founded the non-profit Santa Fe Center for Photography, now known as Center, and is currently an officer on its Board of Director. https://www.santafeworkshops.com https://www.reidcallanan.com/about

Natalie Christensen is a photographer based in Santa Fe, New Mexico and has shown work in the U.S. and internationally including London, Dusseldorf, New York and Los Angeles. She was one of five invited photographers for the exhibition The National 2018: Best of Contemporary Photography at the Fort Wayne Museum of Art and has recently been named one of “Ten Photographers to Watch” by the Los Angeles Center of Digital Art. Her photographs are in the permanent collections of the Fort Wayne Museum of Art and the University of Texas at Tyler.  In addition to pursuing her interests in art and design, Natalie has worked as a psychotherapist for over 25 years and has been particularly influenced by the work of depth psychologist Carl Jung. This influence is evidenced in her photographs, as shadows and psychological metaphors are favored subjects.  https://nataliechristensenphoto.com

David Michael Kennedy. His body of work spans over 40 years and is held in both private and museum collections including The National Portrait Gallery, The Smithsonian Institution and The Harwood Museum, among many others.  His impressive and vast body of work includes iconic portraits of musicians, actors and artists. Visitors often find themselves stumbling onto recognizable pictures of Bob Dylan, Debbie Harry or Willie Nelson –pictures that they have known well and for years-but now have the opportunity to meet the artist and hear the stories behind the famous images.  Leaving New York and commercial photography in 1986 David Michael Kennedy moved to New Mexico and began to focus on his fine art photography. His name quickly became synonymous with New Mexican Landscapes and we are fortunate to see it through his eyes. Kennedy’s images are materialized through the traditional analogue technique of Platinum/Palladium printing, of which he is widely considered to be one of the best in the world. https://www.davidmichaelkennedy.com

Pilar Law has been in the business of photography and a photographer’s advocate for 14 years. She’s worked with photo stock agencies, technology companies and photo labs to bring them online and to develop new approaches to fine art printing, book making and exhibiting, social media marketing and sales. During the course of her work, she studied with photographers who encouraged her to hone her own skill and pursue fine art photography. http://www.pilarlaw.com/about.html.  Edition ONE is a unique contemporary photography gallery specializing in editions of one. Edition ONE collectors will find exclusive access to new photographic works both from emerging and established photographers in Santa Fe and around the world.

Monroe Gallery of Photography specializes in classic black & white photography with an emphasis on humanist and photojournalist imagery. The gallery features work by more than 50 renowned photographers and also represents a select group of contemporary and emerging photographers,  some of the best photography the 20th and 21st century have to offer.  Sidney and Michelle Monroe maintain extensive personal connections with important photographers, clients, collectors, dealers, estates, auction houses, and archives world-wide. They have consulted with photographers, estates, and archives to curate and organize programs and exhibitions. They advise private collectors, museums and corporations with an emphasis on building significant collections with a variety of prudent focuses. They are acknowledged experts on the life and work of numerous important photographers, including several famed LIFE Magazine photojournalists, such as Margaret Bourke-White, Carl Mydans, and Alfred Eisenstaedt. http://www.monroegallery.com/

Photo-Eye  was founded in 1979 by Rixon Reed. It is the world’s foremost online photography bookstore featuring over 30000 fine-art photography books.  It has since grown to also become one of the world’s foremost website devoted to contemporary photography and the photo-eye Gallery was established in Santa Fe New Mexico in 1991 as a division of photo-eye and has been selling prints online since 1996.  https://www.photoeye.com

Alan Ross is an internationally respected master photographer and educator who worked side-by-side with Ansel Adams. He continues to be the exclusive printer of the Yosemite Special Edition negatives, an assignment Adams selected him for personally in 1975.  Alan makes each print by hand from Adams’ original negatives using traditional darkroom techniques. As an artist, Alan is known for his tonally exquisite black-and-white photographs of the American west. His photographs are in collections and galleries around the world including Houston’s Museum of fine Arts, The Yale Museum of Art and the Center for Creative Photography in Tucson.  He teaches about the art of seeing and is also a master printer. https://www.alanrossphotography.com/

Scheinbaum & Russek, are celebrating 38 years in business and they specialize in 20th century vintage and contemporary photography as well as representing the Estates of Beaumont and Nancy Newhall and Eliot Porter. Scheinbaum & Russek have approached the gallery world through their roles as educators, artists, and collectors and bring to their gallery an appreciation of photographers, the fine print and the history of photography.  http://www.photographydealers.com

Jennifer Schlesinger, Owner and Director of Obscura Gallery, is a Curator, Gallerist, Educator, and Artist. Schlesinger has approached her fine art photography with an interest in how the historical development of photography has influenced the contemporary artistic medium – mostly exploring the 19th century albumen and 20th century gelatin silver printing processes and combining them with contemporary landscape surrealism. Obscura Gallery represents the finest contributions to the history of photography both through contemporary and vintage works.  https://www.jenniferschlesinger.com/ https://www.obscuragallery.net

 

Come join us.  More information and registration at: https://binhammerphotographs.com/photonexus

 

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PhotoNexus 2019: The Art of Photography as Art

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Behind PhotoNexus 2019

PhotoNexus 2019 launched today.  It is a new, distinct and immersive weekend experience about the art of photography. PhotoNexus brings together curators, gallerists, photography educators and photographers to share their personal perspectives and behind-the-scenes insights with a small group of people who are curious and/or passionate about photography as art.  Whether you are considering or already collecting photographs, or you want to understand more about the art form, the PhotoNexus weekend is an experience for you.

When I started BinhammerPhotographs, PhotoNexus was the idea and dream of doing something to support understanding and insights about the art of photography and the photograph as art.  More than just sell small batch limited and personal exclusive edition prints, I thought it would be fun to create an experience where a small group of people could come together to explore the creation and realization of the photograph as art.  It was first referenced and foreshadowed here. I’m excited that this idea and dream is now a reality.

Details and Registration are here.

The Idea of PhotoNexus and the Path to Reality: The thinking behind PhotoNexus was that I was a self taught photographer.  Once I started down that path, I also became a self taught lover of photography as art.  To understand photography as art (beyond making the photographs) I read books, such as: Why People Photograph; Core Curriculum; At the Edge of the Light; The Nature of Photographs; and, The Photographer’s Eye.  I went to museum exhibits, read the wall plaques and looked at the photos on my own. Many of those (and the gallery visits) were focused on individual artists or thematic shows.  You learned from them but not necessarily about the art itself in a more general way.

I went to galleries to see photography exhibits but not having the thousands of dollars to buy any, I never really asked the gallerist too much — thinking it would be kind of embarrassing to me, and since I wasn’t buying, sort of a waste of time to the gallery.  One exception to that was a visit to the Andrew Smith Gallery (when it was in Santa Fe) years ago.  The staff person welcomed me and my dog with open arms.  I explained I was not in a position to buy an Ansel Adams worth tens of thousands of dollars. He said it didn’t matter, said he would show me around and after a little highlights tour, took me into the back room where the drawers of pictures are that are not on display opened them up and said, “OK who would you like to see” and what else can I answer.

With the Andrew Smith Gallery exception, all of my learning has been on my own…and sort of compartmentalized.  PhotoNexus was an idea that we could bring together a diverse group of people involved in different aspects of the art of photography to share their insights and passion with a group people who would like to learn more about photography — and do it in a fun, engaging way.

The People and Program: Over the last several months, I have reached out, “cold-calling” and emailing dozens of private collectors, museum curators, private curators, photography and art critics, galleries and photographers. To all of those who replied and gave this event consideration or made referrals, I am extremely appreciative and thankful. Since December I have been reaching out wondering if the idea had merit.  Along the way, there was a lot of encouragement and support, including from many who could not be involved for various reasons.

The result is PhotoNexus brings together an outstanding and diverse community of people across the “sectors” of photography in Santa Fe.  I am excited by the talented and special people who have agreed to contribute to the event and share their talents and expertise.  It is their personal perspectives, passions and talent that will deliver real insights and value to people who love photography and want to learn more about it as art.  To them I say a huge thank you.  To each and every one of them from my heart.  There may be two or three others yet to be announced, but for now, this is an outstanding and generous group:

Mark Berndt is a photographer whose work celebrates people and the circumstance of life. He brings the experience of a long and varied career in the visual arts, including more than 20 years of private teaching.  His commitment to the art and business of professional photography brings considerable knowledge to the art of photographing and photography. http://markberndt.com/

Reid Callanan has a deep passion for photography and has spent his entire adult life focused on it, especially as a photographic educator — the past twenty-eight years as Director of the world-renowned Santa Fe Photographic Workshops and before that working at Maine Photographic Workshops.  Well known for his workshop “Cameras Don’t Take Pictures” he also makes time to photograph every day and for his ongoing projects. https://www.santafeworkshops.com https://www.reidcallanan.com/about

Natalie Christensen is a photographer and has shown work in the U.S. and internationally including London, Dusseldorf, New York and Los Angeles. Her photographs are in the permanent collections of the Fort Wayne Museum of Art and the University of Texas at Tyler.  In addition to pursuing her interests in art and design, Natalie also worked as a psychotherapist for over 25 years. https://nataliechristensenphoto.com

Anne Kelly is the director of the Photo-Eye gallery.  Photo-Eye was founded in 1979 as a mail order photography book source. It is the world’s foremost online photography bookstore featuring more than 30,000 fine-art photography books.  It has grown to include one of the world’s foremost websites devoted to contemporary photography. The Photo-eye gallery was established in Santa Fe in 1991 and has been selling prints online since 1996. https://www.photoeye.com

 David Michael Kennedy has a body of work spanning over 40 years which is held in both private and museum collections including The National Portrait Gallery, The Smithsonian Institution and The Harwood Museum.  His body of work includes iconic portraits of musicians, actors and artists. Leaving New York and commercial photography in 1986, David Michael Kennedy moved to New Mexico and focused on his fine art photography. His images are materialized through the traditional analogue technique of Platinum/Palladium printing, of which he is widely considered to be one of the best in the world. https://www.davidmichaelkennedy.com

Pilar Law has been in the business of photography and a photographer’s advocate for 14 years. She’s worked with photo stock agencies, technology companies and photo labs to bring them online and to develop new approaches to fine art printing, book making and exhibiting, social media marketing and sales.  She is also a curator, gallerist and photographer.  Her Edition One Gallery is a unique contemporary photography gallery specializing in editions of one both from emerging and established photographers. http://www.pilarlaw.com/about.html https://www.editiononegallery.com/

Sidney and Michelle Monroe maintain extensive personal connections with important photographers, clients, collectors, dealers, estates, auction houses, and archives world-wide. They advise private collectors, museums and corporations with an emphasis on building significant collections with a variety of prudent focuses. Their Monroe Gallery of Photography specializes in classic black & white photography with an emphasis on humanist and photojournalist imagery. http://www.monroegallery.com/

Alan Ross is an internationally respected master photographer and educator who worked side-by-side with Ansel Adams. He was personally selected by Ansel to print his Yosemite Special Edition negatives. As an artist, Alan is known for his tonally exquisite black-and-white photographs of the American west; his photographs hang in collections and galleries around the world including Houston’s Museum of Fine Arts, The Yale Museum of Art and the Center for Creative Photography in Tucson.  He teaches the art of seeing and is also a master printer. https://www.alanrossphotography.com/

Jennifer Schlesinger is the owner and director of Obscura Gallery. She is also a curator, educator and artist. Jennifer has approached her fine art photography with an interest in how the historical development of photography has influenced the contemporary artistic medium. Jennifer graduated from the College of Santa Fe in 1998 with a B.A. in Photography and Journalism. Jennifer has exhibited widely. https://www.jenniferschlesinger.com/  https://www.obscuragallery.net

Scheinbaum & Russek, are celebrating 38 years in business and they specialize in 20th century vintage and contemporary photography as well as representing the Estates of Beaumont and Nancy Newhall and Eliot Porter. Scheinbaum & Russek have approached the gallery world through their roles as educators, artists, and collectors and bring to their gallery an appreciation of photographers, the fine print and the history of photography. http://www.photographydealers.com

Join us at PhotoNexus and engage more deeply with the art you love.

  • Discuss the creation of images, their realization in prints and the world of photographic art
  • Meet Santa Fe’s premier gallery owners for professional perspectives about what to look for when viewing photographs
  • Learn about photobooks and the evolution of online photography galleries
  • Understand trends impacting the art, the market and a world awash in imagery with leading photography experts and educators
  • Experience and explore fine art prints with a first-hand look at how they are made at one of the world’s leading platinum/palladium printers
  • Take a photo walk with some of Santa Fe’s finest photographers and go behind the camera to take a look at what they see and why they are shooting. Bring your camera
  • Engage in a dialogue with a panel of contemporary and internationally acclaimed photographers about their visions, fine art work and photography today

As noted in the Collectors Guide,

“New Mexico,” Ansel Adams said, is “the most completely beautiful place I have ever seen.” Everywhere, it seems, there’s a scene just waiting to have its picture taken: horses grazing in the shadow of Shiprock, the bustle of the SantaFe Plaza, the sunlight raking the adobe walls at the Ranchos de Taos church. Then there’s the photo scene itself. Galleries, museums, colleges, even bookstores, continually hang new photographic exhibits and hold openings, book signings, and lectures.

For photographers and those who appreciate their art, Santa Fe may be the most rewarding destination on the planet – and the third largest photo market in the country.”

Hoping you will join us for the experience to explore the art of photography with people behind the art. See the program and register here

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A Quick Intro To Infrared Photography

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The Infrared Image: what makes infrared interesting are the dream like qualities achieved because of the high contrast blacks and whites, such as the deep black sky and water and bright white foliage and clouds as they reflect the Infrared light. In color infrared the false colors result in a equally surreal and dreamy effect.

What is Infrared: People often ask about Infrared photography starting with a question that relates infrared to night-seeing goggles one sees the military using.  In fact, infrared photography and night vision goggles have little in common.  In infrared photography, the film or image sensor is sensitive to infrared light. In the case of photography, that infrared light is part of the spectrum referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. On the other hand, night vision goggles use image enhancement technology to collect all the available light, including infrared light, and amplify it so that you can easily see what’s going on in the dark.

Technical considerations for IR Photography: what makes infrared photography both interesting and challenging is that the near infrared light wavelengths (about 700nm to 900nm) are invisible to the eye, meaning that they are also invisible to the camera light meter. This also impacts focus and the image composition.  Without practice you can never be sure how the image is going to come out in terms exposure.  This also can impact the elements of the composition itself because how the elements of the composition interact with Infrared light on any particular day can be a tad unpredictable.  In using Infrared film, it required bracketing every shot and with practice both the exposure and image composition become more predictable.  Also worth noting that that sometimes the film negatives are going to be a little thin and require additional dark room attention.

 

 

 

 

 

 

 

 

 

Infrared Film: I began shooting the famous and wonderful Kodak High Speed Infrared (HIE) Black and White film (sadly, now discontinued). It featured a beautiful halation effect and glow, largely because of the absence of an anti-halation layer on the back side of Kodak HIE film. The film was susceptible to scratching in post production so negatives had to be handled carefully. The film was was also a tad grainy. It required loading and unloading the film in complete darkness. A piece of black electrical tape over the little film window in the back of the camera to prevent even a tad of light leaking into the camera which would ruin the film. I pushed the film to asa 1500 and used a deep red filter.  Today, Rollei, Efke and Maco and Ilford sell Infrared film. The emulsions do not quite match the Kodak HIE film. If you want more detailed pointers for shooting infrared film check out this link to an Infrared Photography simple guide.

The Digital Era and Infrared
With the advent of the digital era and digital cameras came several issues for infrared photographs.

1. First, digital cameras manufacturers had to completely filter out infrared light because it caused a lot of noise. Therefore camera sensors had no capacity to access infrared light.

2. Second, to get around the camera sensor issue, you could use an infrared filter on the lens. However, given its opacity, you must focus before not focus or see through. Therefore, you had to set up the shot on a tripod, then screw on the filter and then take a significantly long exposure. That limited my desire to walk around and shoot from the hand.

3. Third, Lightroom and Photoshop had some work arounds (for example color channel swaps and/or infrared filters or actions). I thought they all did a poor job of approximating what I could get on film.

The Infrared Camera Conversion: So I was late to the digital until I found LifePixel. They, and now another company,Kolarivision, will convert the sensors in a digital camera, so that the camera can record the infrared light as opposed to having it all blocked out. Both companies offer several different kinds of infrared filters attuned to different colors and infrared wavelengths, as you can see here:

Source: Some of the Infrared Filters From Lifepixel

I was excited to begin the new digital infrared adventure when I got my digital camera converted by LifePixel. This did more closely approximate film. I no longer needed to load and unload in darkness. I could shoot on the go and in hand-held mode rather than setting up a tripod with a very opaque filter. I could see the image and histogram immediately after taking one shot and adjust accordingly, rather than wait and wonder how the film had reacted that day to my exposure guesses. I could process and print my own work.

I’m currently in the process of selecting a new camera and conversion to keep moving forward…as you can see the choices are plentiful so working through some of those technical decisions

For Photographers: If you go the converted camera camera route, understand that converted camera can only shoot infrared. Digital infrared photos also require paying careful attention to white balance. Some lenses are better than others for focusing. I also find that the digital darkroom processing works best with a unique camera profile. You might also find these resources helpful

This is just a quick overview. Don’t hesitate to reach out if you have other questions or want additional details.

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What’s on Your Bookshelf?

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a few books about photographers, the photograph and the photographic art forum that are interesting gateways to new learnings & photographic appreciation.

Read more
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The Book: “Photographers on Photography”

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I’ve been reading Henry Carroll’s new book, “Photographers on Photography, How the Masters See, Think & Shoot”.  He takes a look at the influential figures from past and present who pushed photography forward. Through a selection of quotations, photographs and interviews he offers insights into the minds of masters and examines the approach to the craft and what matters.  His U.K. publishers have a blog post with some lovely excerpts which feature a selection of images from the book that serve as brief introductions to the big ideas and collective viewpoints on thought-provoking photography.  The book is a great read.

Rather than a chronological storyline, the book is organized around thoughts about photography by photographers.  It is a sort of an introduction and examination of the philosophical aspects of photography using quotes, iconic images and Carroll’s own commentary.   There is no delineation by chapter of which specific philosophical underpinnings of photography are being explored (rather the book “chapters” are simply a list of the photographers by name).  While Carroll’s selection of quotes and commentary leads you on a path, he leaves the interpretations open to the reader.  In this respect the book is like a series of thought starters for you about how you think about and view photographs. While I am still reading the book and continuing to digest it, here are some of my takeaways on some of the perspectives offered in the book:

  1. The camera as machine…and the linkage between man, emotion, art and a machine
  2. Pictures, photographs, prints and the parameters around each of them
  3. Photographic consumption and the digital world we live in today
  4. The image as a reality, a selected segment of reality, a past or an emotion and how these combinations may inter-relate
  5. The diversity of photographers’ views of their own image making (i.e. photographs are taken as a whim, to feature a subject or to say something more).  Is the photographer driven by the making of a political statement, reporting and/or emotional expression?
  6. What and/or who gives a photograph meaning: the photographer? the subject? and/or the viewer? or the context?  This was discussed for fully in my email newsletter, in case you want to subscribe to future emails for commentary about photography, and even some special offerings that are available to subscribers. Subscribe on my the bottom at the contact page 
  7. The power of photography…or not

Be prepared…the book forces you to think and often raises more questions than answering them.  In some cases you flip a page and the next page contradicts the page before it….it forces you to think about the different perspectives and approaches to photography.

This is a great book. It is an enjoyable, thought-provoking, informative read that takes you into the world of thinking about photography for collectors and photographers.

Here’s a video of Henry Carroll talking about the book…his challenges putting it together and what it is all about.  Enjoy the video.  Enjoy the book.

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