From Far Away
Solo Exhibition Vermont Governors Gallery
I am very excited to announce that I have been selected by the Vermont Governors Gallery for a solo exhibition at the State Capitol form January 4 – March 31st, 2017.
The show title is “From Far Away” and represents selected works from 2004 till present. There will be an opening reception on January 12th from 4-7PM, (please note a photo ID is required to enter the gallery.) Click on the link below to read the full press release!
Most pinhole images are made using a pinhole that is very close to- or at the optimum size for- the chosen focal length and in most cases this is a good choice for general photography: it lets you get the best quality image a pinhole can produce. That being said, while testing the PinZonie I have been experimenting using pinholes that are in some cases up to 2 stops more open or closed than the optimum setting and really liking the creative options it gives me.
As I always say… experimentation is key!
Trees in Afternoon Light, Massachussettes. 2009
From the Negative Series
28mm PinZonie, Pinhole Setting, -2 stops from optimum
Kodak BW400CN, Scanned on an Imacon Scanner
d’Vinci Noir Print on Hand-made Bhutan Mitsumata Thick White
Copyright Stephen Schaub 2009
In this audioblog I present a philosophy of scanning film based on the understanding that in the end photographers make prints and our entire process from film capture to scan to Photoshop to printer is all based on making prints. I outline in detail techniques and settings which will apply to most scanners and will help you get the most of your film and scanner combination. This is a very long audioblog- 27 minutes- and as such have paper and pencil ready, as you won’t want to listen to my voice for this long twice!
Full Process Example Image
Yellow Spring, Vermont. 2009
This recent artwork of mine is a good example of the process outlined in the audioblog. I started with Kodak Ektar 100 film (35mm)- I’ve tested this film and understand how to get the most out of it in a variety of different lighting situations. The camera was my Leica M7 with a 28mm Zone Plate, and the image was made using my Overlapping Frame Panoramic Technique outlined here on FR. After processing (C41) the negative was scanned dry on my Imacon at 4000 optical dpi, 16 bit as an RGB positive, with miminal sharpening and dust removal. All other editing and contrast adjustments were done in Photoshop. My chosen Photoshop color working space as well as the scanning color space?sRGB. Final thought
Knowing the real limits of your workflow, technology and skill level and having a clear understanding/ feeling for your visualized final print helps make the entire process a very fluid and creative endeavour. Test first and remember: experimentation is key!
I’ve been working for some time now with the Overlapping Frame Panoramic Technique I have outlined here on Figital Revolution for my A New Eden Series and I have recently adapted this creative method/ technique to my Leica M7. One beauty of this technique lies in the editive creative possibilities the overlapping frames afford and now with the M7 and my two lenses- the 90mm F2.8 Elmarit and the new 28mm F2.8 Elmarit ASPH- I not only have the option of different focal lengths (something I did not have with the previous cameras I used for these artworks) but now I also have the option of mixing lenses between shots for a Multi Lens Overlapping Frame Panoramic Technique. The artwork below was just made using the 28 / 90 / 28 and results in a sense of space I really like.
Spring Trees, Vermont. 2009
Multi Lens Overlapping Frame Panoramic Technique (28/90/28)
Leica M7, Kodak Ektar 100
Scanned on an Imacon Scanner, Oil Mount
Image Size: 25″ x 10″
Printed on the d’Vinci Fine Art Printing Platform (12 Color) at Indian Hill Imageworks
Paper: Hand-coated Fabriano 640 GSM Rough (22″ x 30″)
Edition Size: One