Advanced Process and Carbon Board

I've been tied up as of late. I just returned from a trip to LA for PhotoLa and other events so I thought I'd comment on the events.

PhotoLA:

As always a mixed bag. Not too many super huge (42x60) digital prints. Several years ago the booths were stacked with them. Now, however, not so big, but still lots of 30x40 prints. All with the saturation slider dragged over to max. What we are seeing is photography migrating into the decorator market. Not so bad in and of itself. That's what painting has always done to its credit, but photography has only marginally invaded that territory its nearly 200 year past. The effect of all of this, at least to my sensibilities is that it is boring.

Kulkin (sp? forgot my catalog) had an interesting booth of very interesting vintage vernacular photography. Not one big name in the lot and in fact almost no names at all but nonetheless one of the more exciting booths in the show.

The Alt Party:

The next night was Patrick Alt's party in Culver City. Patrick is in pretty good spirits despite some real serious chemo and recently having lost his bowel and half his liver. Patrick always has a print showing by some party goers and he showed some work taken by a friend who could not attend of the massive scars across his rather expansive torso.

Luther Gerlach showed some amazing 22x30 in-camera made Ambrotypes. (Kick me in the chest to get me breathing again!!!) Luther and Patrick built a 22x30 wet plate camera to die for. They even engineered the gear to get it in and out of a truck designed for toting it. The biggies are not here but take a look: http://www.thescream...dcouchlisa.html

Coating collodion in the field on a 22x30 inch plate takes a bit of skill. My research, his, and others indicate these are the largest ever made. Luther also showed some of what he calls Ambrotypes on metal, preferring that term to tintype which gets rather foggy as modern ones are rarely on tin or Japanned iron. These were stunning 12 x 20's as Luther is not of the shit happens school but prefers to aim for perfection which gives them a very "fresh" look.

David Lotto showed some very nice nudes in platinum and tintypes.

Both Luther and David do extensive work in the nude and bring credit to the genre which can be quite tricky.

Patrick showed some new work which can best be described as "glamor photography." It's not my style or to my taste but Patrick seems dedicated to it.

The Classic Photo Show:

Ok, we are now getting down and dirty.

This was at that massive art center built in the old Helms Bakery in Culver City not far from the old MGM lot. Wow! What you can do with left over old factories! Can you say revolution? Well no one quite wants to use that word but there is clearly one in the offing here. Perloff in his Photo Collectors Newsletter talked a lot about the one last year without even hinting at the any revolt going on. Last year it was a parking lot show at Dawson's gallery. This year is bigger and better in a nice room at the Helms Center. No booths with wall were here, just tables and flip holders on the tables. (A basic booth at PhotoLa is listed on the website as $11,00.00 for the three days.) It was pretty exciting being able to flip through a lot of prints and hold and look at an 11 x 14 inch George Tice Standard Station for $12,500.00

I sat and chatted with booth holder and old friend Stephen White. I said "revolt?" he smiled and said nothing. "Are you making your nut?" He smiled and said "We are talking about doing this twice a year."

Last year at PhotoLa one of the dealers in classic photography (I don't recall which) said that a woman asked what was one to do with a $7,500.00 5 x 7 Caponigro, "put it in a drawer?" As PhotoLa more and more migrates into being a decorator show, it get harder and harder for collectors of "Classic" photography to find a Tice or a Capoingro. I suppose the loud and noisy digital stuff is drowning out the classic work much like trying to show off a work for string quartet while a Souza brass band is playing in the next booth.

There is a place for brass bands and a place for string quartets but I think we are seeing a divide where the two are having a bit of a problem showing off in the same setting.

LACMA:

The Eggleston Show. Ho hum. Early work is supersaturated color dye transfers. Even the wall description said that Eggleston preferred this medium due to the ability to saturate colors. I do like the vernacular snapshot approach when it is done well but as far as Eggleston goes, I don't get it. Now I am happy to see the show go up and travel as I do have a mint 1st edition of Eggleston's Guide which the last I looked is going for better than $500.00 and this show should boost the price a bit.

Now I am sure someone has a comment to make.

--Dick

Richard Sullivan -- Moderator, on 18 January 2011 - 09:54 AM, said:

The ether fumes must be getting to them.

(G, D, & R)

Howard

and they must get cold in the winter

Howard Efner, on 18 January 2011 - 11:56 AM, said:

Howard, our good friend Gordon Mark was here doing some really nice nudes in carbon. Gordon commented that if you are to approach the nude photographically one should at least take a life study drawing course which sounds like good advice but maybe a bit impractical for some.

Howard Efner, on 18 January 2011 - 11:56 AM, said:

Richard Sullivan -- Moderator, on 18 January 2011 - 02:12 PM, said:

the nude is from the Greek's. They were the first to repesent their Gods in human form. Western art is based on its Greek roots. the perfect form ( gods are perfect) was the ideal. the reason you need to study drawing is to learn to "SEE" what is there I think photographers repond to what is there but do not really see it. note: I only draw well enough to not get embarassed in the class.
gordon

Richard Sullivan -- Moderator, on 18 January 2011 - 09:54 AM, said:

Bill in his early days was as supersaturated as his images were. Not withstanding, he was eager to pursue an image wherever he found it, sometimes to the discomfort of his friends. He favored hot spicy food, precise musical reproduction, impulsive creativity. Certainly not the contemplative approach of a view camera...the Canon was his instrument.......