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One of my all time favourite subjects for last year's 52-Sheet Project was the Dreadnought Era Battleship USS Texas, now a museum ship. So what better way to revisit a project than to work on making prints from the negatives.
Original Negative
Pacemaker Crown Graphic - Schneider-Kruznack Symmar-S 1:5.6/210 - Kodak Tri-X Pan @ ASA-250
PMK Pyro (1+2+100) 10:30 @ 20C
Paper: Ilford MGIV RC Satin
Exposure: 24" - f/11
Developing: Dektol (1+2) 1:00
Tone: Selenium (1+4) 2:30
Jane Hammond
"October First (Mom’s Birthday)" 2005
Selenium toned silver gelatin print, 14 x 11 inches
Jane Hammond
"Little Country Doctor" 2006
Selenium toned silver gelatin print, 11 x 14 inches
Chema Madoz
"Dreaming of Images" n.d.
Gelatin silver print, 23 5/8 x 19 5/8 inches
Marcel Duchamp
"Female Fig Leaf" 1951
Hand=painted plaster, 3 1/2 x 5 1/2 x 4 7/8 inches
Man Ray
"Female Abstraction" 1941
Pen and ink on paper, 12 x 10 ¾ inches
Man Ray
"The Bicycle" 1950
Watercolor, pen and india ink over pencil on paper
30 1/3 x 40 1/3 cm
Tom Wesselmann
"Study for Helen" 1966
Liquitex on paper, 18 x 25 ½ inches
www.francisnaumann.com/EXHIBITIONS/VV/index.html
“THE VISIBLE VAGINA”
FRANCIS M. NAUMANN FINE ART
and DAVID NOLAN GALLERY
January 28 – March 20, 2010
Wednesday, January 27, 2010, 6-8 pm at Francis M. Naumann Fine Art
Thursday, January 28, 2010, 6-8 pm at David Nolan Gallery
THE VISIBLE VAGINA is an exhibition jointly organized by Francis M. Naumann and David Nolan. It is scheduled to open at Francis M. Naumann Fine Art (24 West 57th Street) and at David Nolan Gallery (527 West 29th Street) on January 28, 2010. Both shows will run concurrently, ending on March 20, 2010.
As the title of the exhibition suggests, the show is designed to make visible a portion of the female anatomy that is generally considered taboo―too private and intimate for public display. If shown at all, this part of a woman’s body is usually presented in an abject fashion, generally within the context of pornography, intended, in almost all cases, for the exclusive pleasure of men. The goal of this exhibition is to remove these prurient connotations, implicit even in works of art, ever since the pudendum was prudishly covered by a fig leaf. This gesture of false modesty, it should be noted, was devised and enforced entirely by men (not only in the case of classical sculpture, but also in the Bible, in which, immediately after their disobedience in the Garden of Eden, Adam and Eve cover their genitalia with fig leaves). Indeed, until recently, virtually all depictions of the frontal nude female figure were made by men, but as this exhibition will demonstrate, that has changed dramatically in recent years.
The catalogue for THE VISIBLE VAGINA will trace this motif in art history from prehistoric to modern times. It includes an introduction by the exhibition organizers, as well as a highly informative and provocative essay by Anna C. Chave, Professor of Contemporary Art and Theory at the Graduate Center of the City University of New York. Inspiration for both the show and its catalogue came from Eve Ensler’s The Vagina Monologues, a stage play that premiered off-Broadway in 1996, and was followed by various productions throughout the world (it appeared as a book in 1998). Ensler gave voice to countless women worldwide, honoring the complexity and mystery of their sexuality, basically encouraging them to consider their vaginas as powerful and expressive components of their physical selves, something not to be ashamed of, but to be proudly protected as an assertive and positive manifestation of their being. The idea for this show came from realizing that there was no better group to give vision to this goal than artists, many of whom had already incorporated imagery of the vagina in their works. Because of Ensler’s pioneering work in this field, the catalogue is dedicated to her, and proceeds from its sale shall be donated to V-Day, the organization she founded to end violence against women and girls throughout the world.
The following is a list of the artists whose work will be included in the exhibition (as well as a number whose work is only reproduced in the catalogue): Magdalena Abakanowicz, Ghada Amer, Beth B, Judie Bamber, Tracey Baran, Nancy Becker, Hans Bellmer, Mike Bidlo, Louise Bourgeois, Robert Brinker, Judy Chicago, Carol Cole, Maureen Connor, Gustave Courbet, Tee Corinne, John Currin, Sarah Davis, James Dee, Jay Defeo, Jim Dine, Leo Dohman, Marcel Duchamp, Carroll Dunham, Tracy Emin, India Evans, John Evans, Valie Export, Robert Forman, Neil Gall, Kathleen Gilje, Guerrilla Girls, Nancy Grossman, Barbara Hammer, Jane Hammond, Mona Hatoum, Stanley William Hayter, Sandra Vásquez de la Horra, David Humphrey, Paul Joostens, Pamela Joseph, Mel Kendrick, Elisabeth Kley, Jeff Koons, Mark Kostabi, Shigeko Kubota, Zoe Leonard, Sherrie Levine, Lee Lozano, Henri Maccheroni, Chema Madoz, Réné Magritte, Gerard Malanga, Man Ray, Robert Mapplethorpe, Marcel Mariën, André Masson, Sophie Matisse, Ana Mendieta, Allyson Mitchell, Cathy de Monchaux, Vik Muniz, Wangechi Mutu, Gladys Nilsson, Yoko Ono, Pablo Picasso, Chloe Piene, Richard Prince, Daniel Ranalli, Oona Ratcliffe, Niki de Saint-Phalle, Katia Santibanez, Peter Saul, Naomi Savage, Egon Schiele, Carolee Schneemann, Mira Schor, Michelle Segre, Tom Shannon, Cindy Sherman, James Siena, Laurie Simmons, Kiki Smith, Julie Speed, Nancy Spero, Betty Tompkins, Kiyoshi Tsuchiya, John Tweddle, Tabitha Vevers, Douglas Vogel, Robert Watts, Hannah Wilke, Terry Winters, Beatrice Wood.
PANEL DISCUSSION: David Nolan Gallery will host a panel discussion on the exhibition with the featured artists on Saturday, January 30 from 2-4 pm at 527 West 29th Street.
FRANCIS M. NAUMANN FINE ART
24 West 57th Street, Suite 305
New York, NY, 10019
Telephone: 212.582.3201
LHOOQ@FRANCISNAUMANN.COM
Jane Hammond
"October First (Mom’s Birthday)" 2005
Selenium toned silver gelatin print, 14 x 11 inches
Jane Hammond
"Little Country Doctor" 2006
Selenium toned silver gelatin print, 11 x 14 inches
Chema Madoz
"Dreaming of Images" n.d.
Gelatin silver print, 23 5/8 x 19 5/8 inches
Marcel Duchamp
"Female Fig Leaf" 1951
Hand=painted plaster, 3 1/2 x 5 1/2 x 4 7/8 inches
Man Ray
"Female Abstraction" 1941
Pen and ink on paper, 12 x 10 ¾ inches
www.francisnaumann.com/EXHIBITIONS/VV/index.html
“THE VISIBLE VAGINA”
FRANCIS M. NAUMANN FINE ART
and DAVID NOLAN GALLERY
January 28 – March 20, 2010
Wednesday, January 27, 2010, 6-8 pm at Francis M. Naumann Fine Art
Thursday, January 28, 2010, 6-8 pm at David Nolan Gallery
THE VISIBLE VAGINA is an exhibition jointly organized by Francis M. Naumann and David Nolan. It is scheduled to open at Francis M. Naumann Fine Art (24 West 57th Street) and at David Nolan Gallery (527 West 29th Street) on January 28, 2010. Both shows will run concurrently, ending on March 20, 2010.
As the title of the exhibition suggests, the show is designed to make visible a portion of the female anatomy that is generally considered taboo―too private and intimate for public display. If shown at all, this part of a woman’s body is usually presented in an abject fashion, generally within the context of pornography, intended, in almost all cases, for the exclusive pleasure of men. The goal of this exhibition is to remove these prurient connotations, implicit even in works of art, ever since the pudendum was prudishly covered by a fig leaf. This gesture of false modesty, it should be noted, was devised and enforced entirely by men (not only in the case of classical sculpture, but also in the Bible, in which, immediately after their disobedience in the Garden of Eden, Adam and Eve cover their genitalia with fig leaves). Indeed, until recently, virtually all depictions of the frontal nude female figure were made by men, but as this exhibition will demonstrate, that has changed dramatically in recent years.
The catalogue for THE VISIBLE VAGINA will trace this motif in art history from prehistoric to modern times. It includes an introduction by the exhibition organizers, as well as a highly informative and provocative essay by Anna C. Chave, Professor of Contemporary Art and Theory at the Graduate Center of the City University of New York. Inspiration for both the show and its catalogue came from Eve Ensler’s The Vagina Monologues, a stage play that premiered off-Broadway in 1996, and was followed by various productions throughout the world (it appeared as a book in 1998). Ensler gave voice to countless women worldwide, honoring the complexity and mystery of their sexuality, basically encouraging them to consider their vaginas as powerful and expressive components of their physical selves, something not to be ashamed of, but to be proudly protected as an assertive and positive manifestation of their being. The idea for this show came from realizing that there was no better group to give vision to this goal than artists, many of whom had already incorporated imagery of the vagina in their works. Because of Ensler’s pioneering work in this field, the catalogue is dedicated to her, and proceeds from its sale shall be donated to V-Day, the organization she founded to end violence against women and girls throughout the world.
The following is a list of the artists whose work will be included in the exhibition (as well as a number whose work is only reproduced in the catalogue): Magdalena Abakanowicz, Ghada Amer, Beth B, Judie Bamber, Tracey Baran, Nancy Becker, Hans Bellmer, Mike Bidlo, Louise Bourgeois, Robert Brinker, Judy Chicago, Carol Cole, Maureen Connor, Gustave Courbet, Tee Corinne, John Currin, Sarah Davis, James Dee, Jay Defeo, Jim Dine, Leo Dohman, Marcel Duchamp, Carroll Dunham, Tracy Emin, India Evans, John Evans, Valie Export, Robert Forman, Neil Gall, Kathleen Gilje, Guerrilla Girls, Nancy Grossman, Barbara Hammer, Jane Hammond, Mona Hatoum, Stanley William Hayter, Sandra Vásquez de la Horra, David Humphrey, Paul Joostens, Pamela Joseph, Mel Kendrick, Elisabeth Kley, Jeff Koons, Mark Kostabi, Shigeko Kubota, Zoe Leonard, Sherrie Levine, Lee Lozano, Henri Maccheroni, Chema Madoz, Réné Magritte, Gerard Malanga, Man Ray, Robert Mapplethorpe, Marcel Mariën, André Masson, Sophie Matisse, Ana Mendieta, Allyson Mitchell, Cathy de Monchaux, Vik Muniz, Wangechi Mutu, Gladys Nilsson, Yoko Ono, Pablo Picasso, Chloe Piene, Richard Prince, Daniel Ranalli, Oona Ratcliffe, Niki de Saint-Phalle, Katia Santibanez, Peter Saul, Naomi Savage, Egon Schiele, Carolee Schneemann, Mira Schor, Michelle Segre, Tom Shannon, Cindy Sherman, James Siena, Laurie Simmons, Kiki Smith, Julie Speed, Nancy Spero, Betty Tompkins, Kiyoshi Tsuchiya, John Tweddle, Tabitha Vevers, Douglas Vogel, Robert Watts, Hannah Wilke, Terry Winters, Beatrice Wood.
PANEL DISCUSSION: David Nolan Gallery will host a panel discussion on the exhibition with the featured artists on Saturday, January 30 from 2-4 pm at 527 West 29th Street.
FRANCIS M. NAUMANN FINE ART
24 West 57th Street, Suite 305
New York, NY, 10019
Telephone: 212.582.3201
LHOOQ@FRANCISNAUMANN.COM
Black and White edit of this summit morning image, emphasizing the way it felt. Even though the sun was out, there was ice inside and outside the tent and 23F on my little thermometer in the tent.14,500 feet, the highest tent in the lower 48 states that morning.
Very sturdy, simple camera. Came with a Prontor SLK Spezial shutter, speeds from 1 to the 1/300 + B. The lens is a coated Pantar 45mm f/2.8. A Selenium cell is coupled to the aperture ring.
This example's shutter fired fine in the store, a couple times at home and then it decided to miss-fire. The shutter goes off while winding. (sigh) Oh, well, it'll look good on the shelf till I can putter with it's repair.
[7/28/14 NOTE: Removed permanently from collection]
slavich unibrom 160 grade 4 matte, selenium 1+1+9, rollei vintage + old brown, hc-110, neopan ss ei200, voigtlander 90/3.5 apo-lanthar, bessa r.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
Metrawatt Leica-METER MC.
Here a drawing of the electrical circuitry.
Not 100% accurate because i should have drawn variable current sources instead of the variable voltage sources but i find that the voltage source symbol makes for easier understanding.
Also the connection of the optional Booster Cell is pictured.
The meters Selenium cell has indeed 1 positive pole and 2 negative poles. So when in dark situations a second part of the Cell can be activated by a switch.
Color codes :
BK = Black
BN = Brown
GN = Green
RD = Red
YE = Yellow
Update 01-June-2012 : DC Resistance of the Coil about 2900 Ohm
Kallitype (8x10 inch) from 8x10 film - Plaubel Peco camera- 300mm - Fomapan 100 @64 - Tanol - Hahnemühle platine paper - Fumed silica treatment - Sodium Citrate developer - Citric acid clearing bath - Selenium 1:50 (MT16-Moersch) - ATS fixing.
Unfolded Kodak Retina IIIc rangefinder with 50mm Schneider-Kreuznach Xenon f/2 standard lens and original Kodak bayonet mount plastic lens shade. Of course one can no longer fold the lens with the hood on. This is a somewhat fussy camera: one has to return the focus to infinity and press the two buttons on the lens housing in order to fold the lens back into the body. But it's a very neat and well executed construction that still works flawlessly more than 50 years after leaving the factory.
Shot with Alpa 10d and 50mm Kern Macro Switar f/1.8 at f/11, 1 sec on Agfa Vista ISO-200 film. Composite of two frames with Helicon Focus stacking software for increased DOF.
Vandyke print 21x21cm on Velin Arches ∞
Exposure 9 minutes
water and clearing bath (citric acid about 03% sol.)
fixed in Selenium toner 1+100 2,5 minutes
short wash - EDTA/Sulfite clearing bath 5mins - wash 15 minutes
MT10 Gold toner 4 minutes
silver gelatin print
watercolor paper coated with Rollei Black Magic liquid emulsion
sepia & selenium toned
Taken at Photostock 2012, Hasselblad 250mm, Acros, printed on Ilford Warmtone with sepia+selenium toning
Selenium meter cells surround the F2.8 45mm Industar-63 lens. This classic 1960's 35mm film camera was the first fully automatic camera produced in the former Soviet Union.
Shot using 55mm F2.8 Micro Nikkor lens on FTZ adaptor
(No Photoshop involved. "Traditional" film photography and printing in the dark room)
This is a long exposure (about 12 minutes) using TMax 100 film, a ND filter (8 f/stops down) and a red filter.
This shot was taken with a Mamiya c220, with 55mm lens. Aperture was f/32, to get a maximum depth of field.
I got up early (4:30AM) in the morning to be at the seaside at the appropriate moment (around 7:00AM), when the tide is high and the morning light still delicate.
Development details :
Developed in TMax developer diluted 1+4, 6min15sec at 24°C
Printing details :
Printed on Ilford MGWT FB paper. (shiny surface). Grade used was mostly #5. Developer was Eukobrom.
Toning details :
Toned in a special mixture made of alkaline water, new viradon & selenium to warm the mid-tones to a subtle brown while keeping the shadows dark (thanks to the selenium).
Then wash in a sodium sulfide solution to stop the action of this toner mixture and prevent staining of the paper by the viradon.
Eventually the sky only was slightly toned in a gold toner to add pinkish notes in the highlights (sunrise).
silver gelatin print
Fabriano Pittura acryllic paper coated with Rollei Black Magic liquid emulsion
sepia & selenium toned
This is my new elegant beautiful classic camera: Canon Demi half-frame 28mm f/2.8 lens (5 elements in 3 groups), match-needle selenium exposure meter which use a behind-the-lens light value program for accurate metering. Dimensions & Weight: 115 x 68 x 37mm 380g. It arrived today and is full working, almost new, lightmeter is working, new light seals with a skylight filter! It is ready to use, I will post soon some pictures.
Koden Lightmeter.
Selenium lightmeter produced in Japan. My guess somewhere in the 1950's or 1960's.
Front side view.
Picked this selenium cell light meter up from eBay for a few quid - with a view to using it with my Mamiya. The cell still seems to work okay, the only problem is I haven't got a clue how to read it... any one any ideas?
Obviously I know to set the ASA of the film in the centre, then the inner ring rotates around - and I guess I have to line something up with the needle... but I don't know what.
UPDATE: I now know the secret! Check out the manual here: www.flickr.com/photos/fwump/3797788562/
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
Direct descendent of the Sekonic meter series. Complex dial configuration. Brockway name applied during transition from one company to another. Meter was made in USA, rear plate indicates New England.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
A selenium meter coupled directly to the lens aperture ring is an interesting, if ungainly-looking, solution. The Schneider version seems to be a twin of the one offered on Isco lenses (a sister company).
The "Stop-O-Matic" series are specific to Exakta SLRs, as can be seen by the shutter release to the left of the focus & aperture index. Internal stopdown coupling is clearly the way forward and Schneider is now also offering "automatic diaphragm" lenses with that feature.
Lightmeter Parts Box 2
Lighmeter Honeycomb and selenium cell parts in this tin box which originally held Will's Gold Flake Cigarettes.
An old sawmill in a village close to where I live. This photo was shot from the outside through a hole in the wall. Need to get the keys some time.
This is the result of yesterdays darkroom session. It is a lith print on Fomatone MG classic, using Moersch's lith omega chemistry. I dipped it for 15 secs in selenium toner to give the shades more power. Scan of 30x30cm print.
Selenium cell still works. Came with leather pouch and case. A bit worse for wear with scratches, glad someone used it so often. It is highly evocative of the pre-war era in its design. A little beauty.
Here's a great website specifically for Weston information. I applaud their dedication to these meters: www.westonmeter.org.uk/Chronology.htm
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
'DRP'
This photograph features an amazing DRP (Direct Reduction Plant) tower at the steel factory. If you ask me, it looks like a rocket launch pad - it's approx 90m tall, insanely complex structure with an absolutely awe inspiring, menacing presence. With all mist, steel beams and hundreds of glowing lights, it also makes one incredibly photogenic subject.
Here's the wikipedia link which explains Direct Reduced Iron, the product of DRP tower. en.wikipedia.org/wiki/Direct_reduced_iron
tech: I took this shot at dawn with Canon 5D Mk2 + Canon TS-E 17mm f4.0L lens and Promote Remote Control for 7-stop HDR bracketing. I used Oloneo PhotoEngine Pro to create a tonemapped image and exported it as 16-bpp TIFF file to Photoshop for futher processing.
I had to create a highly detailed, hand-painted mask to isolate the sky from the DRP tower because I wanted to add a bit of motion blur to the clouds which wasn't present in the RAW file. BW conversion was accomplished with Silver Efex Pro with Blue filter and Selenium toning. Final image with a mix of the original, coloured HDR image + BW image with approx 30/70 blending ratio.
Traditional stone wall on the outskirts of Kirkwall, Orkney, Scotland with a wind energy plant in the background.
Taken with Mamiya M645 Pro on Ilford HP5, developed in XTOL 1+1
Printed on Ilford Multigrade Warmtone, 3 Minute Selenium toned (Moersch Selenium 1+15)
Scan from the print, with new border added digitally
Playing around with Silver Effects 2, thought I'd try another variation of this shot.
Selenium is used to intensify and extend the tonal range of black-and-white images.
The honeycomb structure is a dramatic focal point of the building that responds to several significant design and engineering challenges. The pattern was inspired by the fundamental building block of nanotechnology – the intrinsically stable hexagonal carbon structure of graphene.
Taken during Thursday's UWPC meet.
Selenium cell was broken!..
Manufactured by LOMO (Leningrad Optical-Mechanical Union = Ленинградское Oптико-Mеханическое Oбъединение, ЛОМО́), in Leningrad, former USSR.
Voskhod (earlier versions are marked in Cyrillic: Восход) means "sunrise" or "ascent" in Russian; later, export models are marked in Latin lettering
Model: 1966 type 5 (export version)
All Voskhod produced between 1964-68 with quantity of 59.000
There are 5 types and 5 sub-types of the camera
As to Alexander Komarov
35mm film Viewfinder camera
Lens: LOMO T-48 (Triplet) 45mm f/2.8, filter slip-on, serial no. none
Aperture: up to f/22setting: ring and scale on the lens-shutter barrel
Focus range: 1-8m +inf,
Focusing: manual front cell; ring, distance scale with symbols and DOF scale on the lens
Shutter: leaf shutter; speeds: 1-1/250 +B; setting: ring and scale on the lens-shutter barrel
Shutter speeds and aperture numbers are linked together by means of mechanical coupling. When turning the apertures or shutter speeds rings, the other turns too.
They can be turned separately by the pressing the knobs on the lens-shutter barrel
Shutter release: on the front plate, w/ cable release socket
Cocking lever: also winds the film, shark-fine like shape, on the lens-shutter barrel
Frame counter: manual reset, decreasing type, window on the top-plate
Viewfinder: Galileo type bright frame finder w/ parallax correction lines
Exposure meter: coupled built-in Selenium cell meter
Film speed range: 12-26 DIN, 11-250 GOST, setting: by a thumb ring and windows on the bottom plate
Exposure setting: after setting the shutter speed or aperture, check the needle in the viewfinder, it must be on the middle of the lower bright line, if not, turn the aperture-speeds rings to find the correct exposure
Re-wind lever: folding crank, on the top-plate
Re-wind release: on the bottom plate
Flash PC socket: on the front plate
Cold-shoe
Memory dial : small window and thumb lever on the front plate, with Cyrillic characters
Self-timer: none
Back cover: hinged, opens by a latch on the left side of the camera
Engraving on the back cover: Made in USSR
Tripod socket: 3/8"
Strap lugs
Body: metal; Weight: 690g
Serial no. 661919, in the camera, first two letters show the production year
Some very rare early models bear the LOOMP logo.
More info: in Cameras by Alfred Klomp, in Soviecams by Aidas Pikiotas, in Fotoua by Alexander Komarov, in Camerapedia