pcc photo

Opening Exhibition THIS Friday!

2012-01-30T13:19:00.001-08:00

PCC Sylvania Cell Phone Photo Show

2012-01-26T14:32:00.000-08:00

The Woman Behind the Screen, The New Yorker by Lauren Collins

2011-04-29T08:44:00.000-07:00

From The New Yorker - Online Only / Slide Show

The Woman Behind the Screen

In this issue of the magazine, Lauren Collins writes about the artist Shirin Neshat, who works primarily in video. “The vagaries of biography and recent history have meant that her concerns have often coincided with those of the evening news,” Collins writes, and, because of the sexual and political content of her videos, Neshat cannot work in Iran, where she was born. The portfolio below includes images from Neshat’s “Women of Allah” series and photographs of scenes from her video-and-sound installations.

Trip to the Portland Art Museum

2011-03-27T17:25:00.000-07:00

Thursday and Fridays of this week I'll be gone to the FATE conference in St. Louis. I will be presenting and leading a workshop along with printmaking and design instructor, Angela Batchelor on collaborative, cross-disciplinary projects. You can find out more about this project by following this link here.

Instead of class you will be heading out to the Portland Art Museum to view their permanent Photography collection. It is primarily portraits and there are a number of photographers, genres as well as techniques that are good to check out as we will be looking at some of these images and artists this term. You should use class time in which to go to the museum but can also opt to go during the weekend. You will be expected to go before we meet the second week of the term.

Information about the Portland Art Museum is here.
It will cost you $10. to get a student pass (bring your ID card). This lasts you for the academic year - so through the summer and it will need to be renewed in the Fall. If you choose not to purchase the pass your admission is $9. with the ID as well. So you can see that it's a pretty good deal.

For my digital photo II students, this will count as one of your museum visits. Please bring back a name of an artist or print you would like to share with us, research a little info on them/it and be prepared to discuss information in class.

Should you wish to do more you can always check Newspace and Push Dot for First Fridays in SE Portland. There are always great openings going on then. Another great gallery is Blue Sky which is located downtown.

All of these places have links here on the blog and you can get directions and specifics from their websites.

Have a great time and I'll be sure to keep y'all posted.

Carolee Schneemann will give a perfomative lecture at Portland Community College’s Sylvania Performing Arts Center

2011-02-10T15:06:00.000-08:00

Portrait Partials

http://www.caroleeschneemann.com/bio.html

On Thursday, February 17 at 7:00 PM, renowned artist Carolee Schneemann will give a perfomative lecture at Portland Community College’s Sylvania Performing Arts Center, 12000 SW 49th Avenue, Portland, Oregon.

In Mysteries of the Iconographies, Schneemann will travel backward and forward in time through her five decades of artmaking to explore some of the themes and imagery that have informed her explorations of sensuality, the cultural mind-body divide and personal freedom in works as varied as film and video, drawing, painting, performance and photography.

Carolee Schneemann is a multidisciplinary artist. Her video, film, painting, photography, performance art and installation works have been shown at such institutions as the Los Angeles County Museum of Contemporary Art, at New York’s New Museum of Contemporary Art, Museum of Modern Art and the Whitney Museum of American Art; the Reina Sofia Museum in Madrid; the Moderna Museet, Stockholm; and the Centre Georges Pompidou in Paris. “Precarious,” Schneemann’s multichannel video installation was presented at the Tate Liverpool “Abandon Normal Devices” festival in September 2009. In 2010, the Dorsky Museum at SUNY New Paltz presented a major retrospective encompassing the full range of Schneemann’s visual work. A catalogue, Carolee Schneemann: Within and Beyond the Premises accompanied the exhibition.

Interior Scroll

Schneeman is the author of several books, including Imaging her Erotics—Essays, Interviews, Projects (2002), and Correspondence Course: An Epistolatory History of Carolee Schneemann and her Circle (2010), edited by Kristine Stiles. She has taught at such institutions as New York University, Bard College, California Institute of the Arts and the School of the Art Institute of Chicago.

This is Schneemann’s first visit to Portland. Her trip is sponsored by Portland Community College Art Department, The Associated Students of Portland Community College and the Women’s Resource Center.

Perimeter: We Live Here Now @ The Art Gym

2011-01-20T08:27:00.000-08:00

Motoya Nakamura, Being Pulled, 2009. Archival pigment print.

January 10 - March 20, 2011

Perimeter: We Live Here Now
Organized by The Art Gym in collaboration with four community college galleries, Perimeter: We Live Here Now is an exhibition of the work of eleven artists who were born and raised outside of the United States, all of whom now live and work in Oregon.

The Art Gym, Marylhurst University
Sang-ah Choi (Korea), Horatio Law (Hong Kong), Akihiko Miyoshi (Japan), Motoya Nakamura (Japan), and Ying Tan (China)

Archer Gallery, Clark College
Yoshihiro Kitai (Japan) and Kartz Ucci (Canada)
January 11 - February 5

The Cascade Gallery, Portland Community College, Cascade Campus
Yuji Hiratsuka, Figures: Dialogue/Monlogue
February 24 - March 31

Helzer Art Gallery, Portland Community College, Rock Creek Campus
Una Kim (Korea)
January 6 – February 4
Petra Sairanen (Lapland)
February 7 – March 4

Northview Gallery, Portland Community College, Sylvania Campus
Baba Wagué Diakité (Mali) — Balancing Moon and Earth
January 6 – February 4

go to the Website

Gallery Hours

Tuesday through Sunday
12 noon to 4 pm

Admission

Free. Open to the public.

Preview Reception

Sunday, January 9, 3 to 5 pm

Gallery Talks

Thursday, January 27, 12 noon
Sunday, March 6, 3:30 pm

Please join us for conversation with the artists. If you teach, bring your students. RSVPs appreciated so we can estimate seating.

The Art Gym

BP John Administration Building
17600 Pacific Highway (Hwy 43)
PO Box 261
Marylhurst, OR 97036-0261
Phone: 503.699.6243
Toll-free: 800.634.9982, ext. 6243

TTH Classes will be attending the Artist Talk at The Art Gym, Thursday, January 27th at 12 noon.

Society for Photographic Education NW conference held at Newspace Center for Photography this year!!

2010-10-07T14:14:00.000-07:00

About SPE
The Society for Photographic Education is a nonprofit membership organization that
provides a forum for the discussion of photography and related media as a means of
creative expression and cultural insight. Through our interdisciplinary programs, services
and publications, the Society seeks to promote a broader understanding of the medium in
all its forms, and to foster the development of its practice, teaching, scholarship and
criticism. The Northwest region of SPE represents Alaska, Washington state, Oregon, Idaho,
Wyoming, and Montana.
To learn more about SPE, visit www.spenational.org
About Newspace Center for Photography
Newspace Center for Photography is a nonprofit photography resource center and
community hub for students, working artists, professional photographers, educators, and
photo-enthusiasts of all types. Through a full roster of course offerings, gallery exhibits,
digital lab, darkroom and lighting studio access, artists’ lectures, portfolio reviews, and
more, Newspace makes a wide spectrum of enriching photographic opportunities available
to the Portland/Vancouver community.
To learn more about Newspace, visit www.newspacephoto.org

LOCATION
Newspace Center for Photography
1632 SE 10th Avene
Portland, Oregon
97214
Telephone: 503-963-1935
Web: www.newspacephoto.org

REGISTRATION DETAILS
Registration to be postmarked by October 30, 2010
Student – $20 in advance, $30 the day of
SPE/Newspace Member – $35 in advance, $50 the day of
Non Member – $45 in advance, $60 the day of
Volunteer – admission is free with volunteer service
REGISTRATION FORM
Download the SPENW 2010 Registration Form here or contact Newspace at 503-963-1935.

If you are interested in volunteering during the conference, please contact Kristy Hruska, Operations Assistant at Newspace Center for Photography (kristy@newspacephoto.org). Volunteers are eligible for reduced conference fees, or free admission to one or more days of the conference.

Suggestions of a Life Being Lived at SF Camerawork

2010-09-27T13:54:00.000-07:00

Suggestions of a Life Being Lived is a bold presentation of contemporary work that looks at queerness as a set of political alliances and possibilities. The exhibition features 16 artists working in photography, film, video, activism and education, and was organized for SF Camerawork by guest curators Danny Orendorff and Adrienne Skye Roberts. Untethered to institutions of sexual or gender normativity and in pursuit of greater freedoms, the work in this exhibition represents queer activism, intentional and imagined communities, self-determinism, and DIY alternative world-making.

Featuring work by: Steven Miller, Tara Mateik, Killer Banshee, Gay Shame, Kirstyn Russell, Jeannie Simms, Lenn Keller, Mercury Vapor Studios, Chris Vargas, Greg Youmans, Jason Fritz Michael, Aay Preson-Myint, Allyson Mitchell, Eric Stanley, Torsten Zenas Burns, and Darrin Martin.

link to page

the curve: at newspace

2010-09-22T08:00:00.000-07:00

Jamey Stillings

The Curve: Choice Award Winners

September 3rd through 26th, 2010

Opening Reception: Friday, September 3rd 6-9pm

Newspace Center for Photography is pleased to announce The Curve, a photographic exhibition showcasing the recipients of the 2010 CENTER (Santa Fe) Choice Awards.

Visit their website

An exhibition highlighting the works of some of the most talented photographers working today will be held at the Newspace from September 3-26, 2010. This year, over 6,000 images were submitted to the prestigious CENTER Choice Awards representing 24 different countries including Denmark, Iceland, Iran, Portugal and Singapore. The Choice Awards are judged in three distinct categories: Curator's Choice, Editor's Choice and Director's Choice.

All good Photographers go to Heaven or some airbrushed version of it

2010-09-06T14:55:00.001-07:00

Afganistan, Iraq, and other Assorted Captures

2010-01-21T20:52:00.000-08:00

I spent a couple of years deployed overseas with the US Army, and spent my free time with my camera. If you are interested in checking out some of the pictures I've taken, I'm happy to share them. They can be found on my Flickr page.

Celine Clanet at Blue Sky Gallery Opens jan7th

2010-01-07T16:43:00.000-08:00

If you are in the Portland area, please join us for Céline's Clanet's opening tonight (Thursday, 7th) at Blue Sky Gallery (122 NW 8th Ave). Céline will also give a talk about her work on Saturday the 9th at 3pm, also at Blue Sky Gallery.

Céline's Clanet's series Máze is a look at the Sámi people, who historically are spread out from the extreme northwest of Scandinavia as far as the Kola peninsula in Russia, surviving for thousands of years in extreme climatic conditions. Their existence is often precarious, as they have lived through periods of colonization and the gradual erosion of their culture. The Máze series of photographs touches upon the environmental, political and economic aspects of the Sámi, but the pictures are also concerned with broader contemporary issues such as globalization and the preservation of individual identity.

Tour: Photography Collection

2009-12-28T11:32:00.000-08:00

Tour: Photography Collection

All Photography students should make plans to attend this Tour at the Portland Art Museum:
We will be meeting inside at the member's entrance at 5:45pm. Bring a small notebook and pencil. Laptop bags and large backpacks are not allowed and must be checked in.
It is FREE if you have your student museum membership: it costs $10 for the academic year, forms are avail at the membership counter - allow an extra 20 - 30 minutes to fill it out and get it processed.

Docent tour of the Photography Collection
Thursday, January 28
6:00 P - 7:00 P

Explore the Museum with a docent skilled in bringing art to life.

Tours are free for Members or with Museum admission, and free for children age 17 and younger.

Beyond Place: Recent Photography Acquisitions:

2009-12-28T07:55:00.000-08:00

Beyond Place: Recent Photography Acquisitions:
Beyond Place: Recent Photography Acquisitions
DEC 5, 2009 – MAR 14, 2010

Beyond Place: Recent Photography Acquisitions explores place as a subject in photographs by an international roster of artists. The selected works are mostly free of the human figure and focus instead on the power of the photograph to imaginatively transport the viewer, to inspire emotional musings, and to reveal the unknown.

panorama planets

2009-11-24T14:49:00.001-08:00

check it out here

atta kim - new book

2009-11-24T12:07:00.000-08:00

go to see images here

Panographies

2009-05-18T10:06:00.000-07:00

go to the 'how to' here

Cool stuff - stand in one place, take a lot of shots - don't leave any holes - get the boring stuff too! - and assemble!

women of the photo league

2009-05-05T18:26:00.001-07:00

site here
From 1936 through 1951, the Photo League offered classes, exhibitions, lectures, and
friendship to New Yorkers united by an interest in photography and, as Erika Stone recalled, an
idealistic desire to “make the world a better place.” Teachers such as Paul Strand, Aaron
Siskind and Sid Grossman insisted that strong documents also had to be excellent pictures, a
philosophy nurtured by lecturers Beaumont Newhall, Ansel Adams, and W. Eugene Smith. At
the Photo League, professionals and amateurs alike joined to use the darkroom and enjoyed
lively discussions at every gathering. Their monthly journal, Photo Notes, was filled with gossip
and jokes along with serious criticism and reviews. The League sponsored exhibitions when no
museum (including MoMA) had galleries devoted to photography.

In 1947, the Photo League appeared on a long list of organizations identified with the
Communist Party. Efforts to counter the allegation included a large exhibition, This Is the Photo
League, with photographs by members and supporters such as Rudy Burckhardt, Nancy
Newhall, and Lisette Model. But in 1949, Angela Calomiris, a League member and F.B.I.
informant, publicly testified that members of the organization were Communist. The League
disbanded in 1951, a casualty of the Red Scare.

wide angle pinhole pics

2009-04-27T06:11:00.000-07:00

- from make magazine

diy softbox from instructibles

2009-04-27T06:06:00.000-07:00

Alexis Pike at Blue Sky

2009-04-06T16:26:00.001-07:00

As a sixth generation Idahoan, the landscape of the West influences Alexis Pike's work. In Claimed: Landscape, Pike explores the way communities and individuals stake claims on the picturesque landscape and place it within the conventional structures of the community. Pike says, "by making a photograph of these claimed territories, I am staking my own claim to my heritage, the landscape.

making a pinhole camera - the basics

2009-03-29T14:58:00.001-07:00

A pinhole camera is, at the most basic level, a eensy weensy camera obscura. It is a light-tight container in which you place your negative material - that can be either your film or your paper - and you record the image that is focused by the pinhole upon that material.

Kodak has a basic 'how to' here

But part of your reading and research about pinhole cameras will start here.

I've been telling people instant coffee will rot yer gut for years now....

2009-03-29T13:12:00.000-07:00

This link on Photojojo is where you will find complete instructions.
quoted text:
"Seriously, Coffee?!

Okay, first things first: using coffee to develop film is not something Ansel Adams would do. But it works, it gives your film a distinctive look, and it has a certain MacGuyver-ish flair. Think of it like using a plastic camera- it’s more about having fun than getting technically flawless results.

With most film types, the results will be more contrasty and grainy than regular developer. If you do this with color film (negatives or transparencies), you’ll end up with black-and-white negatives.

Here’s the thing, though: different films will have different results. Some will develop perfectly in 12 minutes, others will take up to 20 minutes. Shoot a test roll of your favorite film, develop it for 12 minutes and see how it turns out. If it’s too thin, it needs more time. If the negatives come out opaque, it needs less time."

encore presentation - drawing with light

2009-01-02T22:28:00.001-08:00

You need to check this out HERE

Wild Beauty: Photographs of the Columbia River Gorge

2009-01-02T17:08:00.000-08:00

Wild Beauty: Photographs of the Columbia River Gorge, 1867-1957
OCT 4, 2008 – JAN 11, 2009

From rock formations to waterfalls, vast curves and bends to massive mountain views, the Columbia River Gorge’s beauty has been an inspiration to professional and amateur photographers alike for nearly 150 years. The images in Wild Beauty, a 90-year photographic survey of the Columbia River Gorge, comprise some of the most striking and poignant pictures taken of the area from 1867 to 1957.

The exhibition, consisting of more than 200 photographs, is a historical journey through unique geography, advancing technology, and abundant talent, chronicling the beauty and changing character of this dramatic passage of river.

folding bellows

2008-11-12T13:37:00.000-08:00

folding bellows video here

this link will show you how to fold a folding bellows
it won't show you how to make it - but that can be researched. I suggest paying attention and taking notes. there is no sound - besides, it's in French....so there.

printing - an introduction to color management

2008-11-08T07:47:00.000-08:00

Printing – an introduction

LIST OF TERMS

Dpi: dots per inch

Ppi: pixels or points per inch

Resolution: defines the depth of detail an image can reproduce and is measured in dpi or ppi – dots or pixels per inch.

Saturation: defines the purity of color

Metemerism: The phenomenon that two color samples composed of a different mix of primary colors may look the same with some lighting and may produce different color sensations (look different) when viewed under a different lighting.

Primary Colors: those colors of a color model used to construct the colors of the pixels. For example, we use RGB – red, green and blue

ICC profile: A standardized data format to describe the color behavior of a specific device. ICC profiles allow your devices (monitor, camera, printer, scanner) to speak the same color ‘language’.

Gamut : the total range of colors (and densities) that a particular device can reproduce or capture.

Dynamic Range: is the total range of densities that a particular device can reproduce or capture.

Clipping: loss of certain tonal values usually found in the color or tonal limits of a color space. Usually some saturated colors are clipped to become less saturated colors.

Calibration: Adjusting the behavior of a device to a pre-defined state.

Profiling: Usually a two-step process, whereby the first step s to linearize the device (calibrate). The second step measures color behavior of the device and describes it with an ICC profile.

Soft-Proof: Usage of the monitor as a proofing device. For soft-proofing, Photoshop simulates colors an image will have with different outputs and will use the ICC profile assigned to show approx. how the image will print.

PRINTER

How many pixels or dots per inch do you really need?
Depends on a few factors
Type of technique (printer) used
PPI values you need will be roughly the same
However….
The DPI values of the printers will change
Example:
• The resolution of your image may be 360ppi
• Epson brags that our 4800’s resolution can go to 2880 x 1440 dpi
What this means?
- You should not print an image at a higher ppi than the available resolution (dpi capability) of your printer.
- We print our files at anywhere between 300 – 360 dpi on the Epson 4800

Type of Paper used
• Rough, absorptive paper like newsprint will allow the ink to bleed a little (called dot-gain) and you must reduce the dots per inch (the resolution)
• If you use a good, smooth-coated paper you may increase your resolution and get a finer, more detailed image.
• Glossy or Luster paper will allow you reproduce even mor details than with matte paper or canvas.

Viewing distance:
o Viewing distance is important as the human eye tends to blend things at a distance and can only deliniate a certain amount of detail up to a certain viewing angle.
- If a photo is ledger or A3 size viewing distance is usually greater than that of letter sized images. Posters and banners – billboards and building sized images (if you were able to get close enough) would reveal that the resolution might have
- even dropped to 10 – 20 ppi.
-
Type of Printer Driver, Driver Settings and interpolation Used:
- For best results you should use a ppi value close to or even exactly that of the printer’s native resolution. Epson inkjet printers usually have a ‘native resolution’ of 720 ppi and a second native resolution of 360ppi.
o If you have an image with resolution that is close to either 720 or 360 ppi than you may not want to worry about the algorithm that Photoshop will have to apply to the image in order to make it bigger or smaller.
However…..
o If the in question is significantly larger/smaller you will want to choose (IN Photoshop – in the Image Size dialog box) to tell it how to best interpolate (resize) the image.
Your choices:
Bicubic Smoother: for Up-sizing or Bicubic Sharper:for down-sizing

PAPER

Matching Paper with Subject and Inkjet Technology:

It’s recommended that you use paper that:
Matches the type of printing method used – inkjet printer
Works smoothly together with the ink and final print resolution
Suits the image subject
Suits your personal preferences

Paper Handling

Before printing:
Keep paper dry, in its original container if possible
Keep paper out of light, keep it clean and check any expiration dates on the box

Preparing for Printing:
Inkjet paper is sensitive to the oils on your skin so use cotton gloves when possible
Wipe the paper with a soft brush when you are working on your final prints – or use a blow brush intended for photographic film cleaning – be careful not to scratch the surface.

Handling for Printing:
Make certain you print on the coated side
Check if the printer you are using can handle the thickness or type of paper you intend to use – you can always look online to see what the manufacturer recommends. It is wise to do this BEFORE you purchase the paper.

After Printing:
Avoid contact with the freshly printed surface until it is completely dry,
Place a fresh print on a clean, flat surface avoiding bright light or/and sunlight
Drying time depends on the kind of inks used and on the media/paper you use.
Most inks dry within a few hours but you can leave it overnight just to be sure.
If you intend to frame or put your prints behind glass be sure to let them gas out or dry for at least 12 – 24 hours before doing so.
You could even wait a week….but really – do you ever have that much time?

Storing your prints:
Storing digital prints is much the same as for storing silver-based or other
photographic prints
Keep them clean, dry and when not on display in the dark.
Isolate the prints using buffered tissue papers that are acid free – good sources for this can be found on www.lightroom,com

Color Management for Printing

Different Color Models:
A Color Model defines the way colors are described in a technical way according the the Primary Colors.
Color Depth: this refers to how many bits you can work in. A 16-bit depth is able to differentiate between twice as many values as an 8-bit depth – which takes up more space (larger file) but also gives you more headroom when it comes to differentiating btwn color values.
It is recommended to use 16-bit depth when possible – it is a manageable place to work.
Most of the time when you output your image (print) you will have to do so in an 8-bit mode – but that doesn’t mean you have to work there.

16-bit mode – for working on files & 8-bit mode – for printing
sure, you can keep the image at a 16-bit depth – but that’s overkill as most printers can only output about 256 colors anyway.

RGB color Model:
All colors in RGB color model are created from the primary colors RED, GREEN, & BLUE.
This is the model most commonly used today in digital photography.
RGB is an additive color model – meaning that the sum of all three colors at 100% will add up to pure white….this is based on light, not pigment.

CMYK color Model:
This uses the four primary colors: Cyan, Magenta, Yellow and Black (K) is thrown in.
CMYK is a subtractive color model – all the colors absorb (subtract) a certain spectrum of light.
This is based on a pigment or ink model so it’s dealing with the colors that are reflected or absorbed by the primaries. If you actually added together cyan magenta and yellow it would not produce black with is where K steps in – it’s black added to the mix.

We do not use CMYK in digital photography – even though most printers are actually CMYK printers they convert to CMYK automatically from RGB so if you were to actually send or convert your RGB file to CMYK manually – you’d be doing some extra converting and lose some image – it’s just not a good idea.

Color Management – why is it important?
Color correction and color management are really where it all comes together – all of that hard work you’ve done can be undone if your CM (color management) is inefficient or not working for you – and believe me, you feel as though sometimes it actually is working against you…

The goal of color management is to ensure that the photo you view on your monitor accurately matches the print produced by your printer.

The challenge: to get your devices to speak the same ‘language’ – to match your camera to what you saw when you shot the picture, to get the monitor to match your camera and to get your printer (your final print) to match your monitor so that each time you print you don’t have to spend all of your time tweaking settings and wasting paper. That’s the goal anyway.

The solution: you need to determine the color characteristics of a device and to incorporate them when reading colors from an input device, or when sending color to an output device. Essentially, you put a ‘tag’ on color images that defines how the color values of the image are to be interpreted most accurately.*

Again with the language metaphor: you not only need to know what language your device is speaking but more accurately, what dialect so that the nuances, slang and colloquialisms are all understood and clear.

*The very nature of how the human eye (and we, the individual artists) understands, perceives and experiences color is subjective and so color management can never really be perfect or absolute – but you can control the amount of effort that goes into making each print…and that is valuable.

ICC profiles:
- An ICC profile describes a device’s color characteristics – the colors it can record or reproduce.
With the help of profiles, the color values required to produce a specific color on device A – like a monitor, can be translated to values that will reproduce that specific color on device B – the printer, as accurately as possible. A device’s color profile also describes the color gamut of
the device.

Color Management System (CMS):
- Is a set of program modules that mediate color translation among different devices.
- The ICC profiles (through the Color Management Module or CMM) will allow for translation between devices.
When a warning comes up that the destination of a particular image does not match the embedded color profile it’s telling you that the interpretation of color does not match and you will not get what you saw with one file with the next if you choose to convert it to the new color profile. While this is inconvenient at times it’s still best to allow your images to have embedded profiles – think of it this way – it allows you to at least identify what the ‘language’ is – even if you don’t speak it.

Color Space:
This can be very complicated – to be brief – we work in RGB 1998 because it’s considered best for digital photography and gives us a wide gamut for our images while working within the confines of the papers we usually will use.

For more detailed information please don’t hesitate to purchase or check out:
Fine Art Printing for Photographers by Uwe Steinmueller and Juergen Gulbins a publication of O’Reilly books and rockynook press, published in 2007-2008

kurt kemp at Northview Gallery - opening this Thursday

2008-09-30T06:48:00.000-07:00

His show, “When a Black Heart Bleeds,” will showcase his artwork from Thursday, Sept. 25 through Oct. 23 in the gallery, Room 212, CT Building, Sylvania Campus, 12000 S.W. 49th Ave. Also at the gallery, Kemp will host an artist’s talk at 11:30 a.m. followed by a reception at 12:30 p.m. on Thursday, Oct. 2. The gallery is open from 8 a.m. to 4 p.m., Monday through Friday.

Vicki Lynn Wilson and John Larsen as part of TBA Artists in Residence - COME ONE COME ALL!

2008-09-10T12:55:00.001-07:00

TBA-Goodwill Residency administered by Laurel Kurtz, the Office of Inclusion and Parallel University in association with the PSU MFA Program's Neighborhood Projects. Artists in residence: Vicki Lynn Wilson and John Larsen

Using only our laptop, camera, and materials and sounds that can be found at the Goodwill Super store on SE Sixth Ave, we will create a stop motion animation of approximately 4 minutes. The following evening we will have a reception and screening of the animation at a Café near the Goodwill site.

Friday, September 12 10am-8pm Artists in Residence working at the Goodwill Superstore at 1943 SE Sixth Ave

CALL FOR STAGE HANDS, EXTRAS, GRIPS AND FOLEY ASSISTANTS

NOTE: WE WILL BE ASKING VOLUNTEERS FOR VERY SMALL TIME COMMITMENTS SO THAT THE SET AND PARKING LOT DO NOT BECOME CROWDED.

This is an open call for volunteer assistance in the making of a stop motion animation movie at 1943 SE Sixth Ave on Friday September 12th from 10am to 8pm. (Shooting will take place in the parking lot of the Goodwill Super store). Assistants will be assigned work on a first come basis and tasks will range from creating Foley and speaking dialogue to moving characters in the set and assisting in set/character creation. (Some assistants may be asked to get us coffee or lunch. All participants will be acknowledged by name and neighborhood in the movie credits.

MoMA New Photography 2008

2008-09-10T12:31:00.000-07:00

New Photography 2008: Josephine Meckseper and Mikhael Subotzky
Through January 5
Third floor

MoMA's annual photography showcase features Meckseper's subversive use of the visual codes of advertising and Subotzky's stirring visions of post-apartheid South Africa.here

Articulated Bicycle Camera Mount With Quick-Release

2008-09-06T20:31:00.000-07:00

for more info go here

drawing with light

2008-09-06T20:30:00.001-07:00

Cenci Goepel and Jens Warnecke's Lightmark photo series is bit like a highly refined version of LED light pen projects we've covered here. The incorporation of picturesque scenery with silvery light-born objects seems to reference a feeling of alien presence in our world - beautiful work. - Lightmark [via Neatorama]

for more info go here

Upcoming Exhibition Beyond Green: Toward a Sustainable Art

2008-09-05T13:38:00.000-07:00

September 11-December 7, 2008
Opening reception: 5 p.m.-7 p.m., Thursday, September 11
Reception and exhibition are free.

Exploring intersections of art and sustainability

Balancing environmental, social, economic, and aesthetic concerns, sustainable design has the potential to transform everyday life and is reshaping the fields of architecture and product design. Beyond Green: Toward a Sustainable Art explores the influence of this design philosophy on artists who combine a fresh aesthetic sensibility with a constructively critical approach to the production, dissemination, and display of art. The exhibition includes existing works, commissions, and previously presented work that has been “recycled,” spotlighting ways in which artists are building paths to new forms of practice. Many of the artists work collaboratively and leaven serious social aims with playful, off-the-grid spark. Their approaches range from the metaphorical to the pragmatic, sometimes serving as models for audience activism.

(from the Hoffman Gallery website)

omg - these are awesome

2008-06-26T07:47:00.000-07:00

okay - talk about a great way to show your work this website called Moo is pretty neat-o.

check it out here

Worst Case Senario I suppose

2008-06-20T22:43:00.001-07:00

"Plastic and goop go in one end, and camera film comes out the other end. This is not a trivial undertaking."

silk screening - photo emulsion style 101

2008-06-20T22:23:00.000-07:00

For those of you who were interested in silk screening - here is a great step by step method - totally garage/bathroom friendly - we did digital negatives dang-it - this is a cinch!!!

check it out here

2008-05-17T19:53:00.000-07:00

Fresh Air Interview with Paul Watson

2007-09-22T15:01:00.000-07:00

This interview with Terri Gross and Paul Watson is a perfect example of how a photograph functions as an artifact of poltical, social, cultural and personal experience and consequences.

I do not expect you to view the images he speaks of, however, you will listen to the entire interview and be prepared to ask/discuss and engage in conversation in class on Monday, October the 8th.

go to:
http://www.npr.org/templates/story/story.php?storyId=13970206

or

You can reach this link on MyPCC website as well.

2007-04-11T17:16:00.000-07:00

Alright, so I might have some household names for you all but just in case I'm throwing them out there. Robert and Shana Parke-Harrison. I have loved their work for years. Yet, their new color work is almost too obviously digitally altered. Their older bag of tricks works really well called, "The Architect's Brother." Multiple medium usage with set design and painting. (even though some digital alterations might have occured) Beautiful work.
-Adrian

history of pinhole photo per photo.net

2007-04-09T07:09:00.000-07:00

I won't copy the whole thing here - but it's a great article on the lengthy history of pinhole photography - illustrious even.

http://photo.net/learn/pinhole/pinhole

virgin blog

2007-04-08T21:16:00.000-07:00

never done a blog before.
kim wanted us to introduce an artist.
I just want to put Charles H. Traub and Shen Wei out there
I don't know how to post images, but when i learn how i will put the ones i like up,
I really enjoy Charles' early works, indecent exposure, and in the still life sections of his website www.charlestraub.com
Shen Wei, i like some but not all, and don't think they work as a series.
sometimes i am bored with her images, but envy her selection of models, check it out www.shenphoto.com

first day of class - Photo II and Portfolio

2007-04-02T07:24:00.000-07:00

hey there - so I attended this conference over break - which is why I'm so bleary eyed this, the first day of Spring term - and of course everyone was talking about how to integrate new technology into the classroom -

Web CT is supposed to handle this for PCC people - but what they've neglected to take into consideration is that we artists need a lot of space and a lot of flexibility as far as what we post, images we post and how fast we want things to show up.

So - that is why I'm trying out the blog rather than using Web CT or even a Wiki which is too text based for me.

I know most of us have access to digital cameras - even those of us who work in film - but don't worry - for those of you who do not, there are two options: the first being that in our class you will learn how to scan your film and digitize it for the web. The second option is that the library has digital cameras available to rent for a 2 day period I belive and it's free.

----
more later ....

Welcome to the experiment

2007-03-20T16:05:00.000-07:00

Welcome Folks~

welcome to the pcc photo blog - as of this moment the blog is open to all photography students who are enrolled in my classes, but I'm hoping that eventually we will expand it to the other photography instructors and the entire photography student community.