S+ART

Redscale Technique

Player, photo by Jennifer Wade

 

Another film technique-turned-filter is redscale, in which color (C-41) film is exposed backwards through the base of the film, not the emulsion. 

 

Color film consists of layers of light-sensitive emulsion applied to an acetate or polyester base, with each layer corresponding to a wavelength of visible light - blue, green, and red.  The blue layer, which has the shortest wavelength of the three (380–450 nm), is exposed first, followed by green (495–570 nm), and then red (620–750 nm).  Between the blue and green layers is a yellow filter, which removes the blue light to which all of the layers are sensitive (it's an aspect of silver-based emulsion). 

 

No Trespassing, photo by Jennifer Wade

 

When the film is placed in the camera and exposed "correctly", the red emulsion layer is the last to be hit by light.  When the film is wound backwards in a canister so that it is upside down when loaded in the camera, the red layer is the first to be exposed, followed by the green layer.  The yellow filter prevents the passage of the blue light, which leaves the blue layer unexposed and left out of the resulting image.  This causes a red-heavy color-shift that ranges from maroon to orange and yellow, depending on the film brand and type.  Blue is still visible in the image since the other emulsion layers are also slightly-sensitive to blue light.

 

Redscale is available commercially or may be made by rewinding a roll of color film backwards into a new canister.  When using the redscale technique, overexpose each shot by one or two stops for correct exposure and to achieve the color-effect that you desire. 

 

 

Faregates, photo by Jennifer Wade

 

 

 

Bike and Football, photo by Jennifer Wade

 

All photographs were taken by Jennifer Wade using redscale film.

  

-Angela

Cross-Processing

       
         Fuji Velvia,  ISO 100, cross-processed as C-41, Photo by Angela Kleis

 

I always like to keep a few rolls of color film, both negative and positive, in the refrigerator, just in case.  One thing I sometimes like to do when I shoot slides, particularly with certain cameras, is to have them cross-processed as negatives. 

 

Cross-processing, or X-pro, is a technique that involves processing (developing) one type of film in the wrong chemicals, most commonly developing E6 slide (positive) film in C-41 chemicals meant for color negative film.  Switching up the chemistry in this way results in color shifts with higher contrast and saturation, which are even more off-set by the presence of any light leaks in the image.  The results are unpredictable and vary based on the film brand and film type, as well as the camera used, the subject, and the exposure conditions.  Bright colors outdoors on sunny days have produced the most interesting results for me.  

 

 

 Fuji Velvia, ISO 100, cross-processed as C-41, Photo by Angela Kleis

  

 

Fuji Provia, ISO 400, cross-processed as C-41, Photo by Angela Kleis

 

The reverse can also be applied to color negative film processed in E6 chemicals, which generally yields flat, muddy images with little contrast resulting from the orange-colored base of color negative film.  Over-exposing the film by one to two stops and then pushing the film another one to two stops during processing can help to overcome the fog and increase contrast, if you're feeling experimental.  Be sure to explain your needs to the processing lab and be prepared to pay extra for both pushing and cross-processing. 

 

Next time you have an extra roll of color slide film and feel experimental, consider brighter, more colorful subjects and ask the lab to cross-process.  The service usually cost a few dollars more and the results are fun, unexpected, and a bit of a surprise - just like film, itself.

 

-Angela

From One Artist to Another: Building a Portfolio

If you are an artist aspiring to sell, display, commission your work or maybe even apply to school or an art-related job, then you will need to build a portfolio. By building an art portfolio, you are demonstrating your artistic skills and talents to your prospective clients or employers. One significant way to get noticed in the art world is through the showcase of your visual art pieces. You want your portfolio to act similarly as your resume and work experience, so don’t hesitate to invest a little extra money and time into it.

If you engage in art as a hobby then you may not need to make a professional portfolio, but it’s still nice to keep an organized storage of your works for reference. Chances are you already have a portfolio of some sort. It may be a rough portfolio, composed of sketches and drawing warm-ups, but that’s okay, you can still spruce it up!

 

         

Things you’ll need:

Digital Images of your Artworks: Whether you have to borrow your friend’s camera or rent one, you will definitely need a digital camera to take clear and clean shots of your work. Don’t try what I did, which was to take snapshots on my cell phone. Truth is, the quality will never compare.

Portfolio Case: Now that you have taken such impressive looking prints of your work, you will need a professional-looking portfolio case to make it complete. You can find these at your local art supplies stores and online: Utrecht, Plaza, Portfolios and Art Cases, Blick Art Supplies.

CD/DVD: Why stop at the portfolio when you can create a CD/DVD that includes high-resolution digital images of your work?  This creates another possible way for prospective galleries and customers to view your artwork, which can be an easier access and a great way for them to share your work with others. Be sure that the disc is correctly formatted to work on Macs and PC’s. You will never land the client or get in the show if the recipient of your disc cannot view your work!

Where to Begin?

Setting it up: Try placing your digital camera on a tripod (a box works just as well) to avoid image blurring. Setting your piece outside on a sunny day with the natural outdoor light shining down, will give you much better results than indoors. Find a stable wall or surface to prop up your work so it can stand almost perfectly upright. The distance between the camera and your works should be between 4-8 ft., depending on the size of your work. Hanging a backdrop to block any unwanted sun glares is simple, by using a white umbrella, towel or sheet (If indoors, hang between each light source).

Keep design in mind! : You don’t want your prints to be displayed in a random order. Instead, organize by style, medium, or subject so your works are presented in a visually appealing and cohesive arrangement. Include labels with the title, medium, date, asking price and any other detail asked from the prospective buyer or client.

Once you’ve assembled your portfolio with the organized prints, be sure they are securely in each plastic sleeve of the case. You wouldn’t want them flying through the air when opened! Lastly, include your contact info, business card if you have one into the portfolio, as well as your artist statement and bio. At last, you are done!

 

Have any experience with building a portfolio that’s worth sharing or have any tips/advice of your own? Let us know!

 

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~Margaret McClung

A Breath of Fresh Air

 

                 
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We have all walked by artists who are feeling daring enough to paint in the open, knowing some spectators might be negatively critiquing or distracting them with glares. Don’t let that disconcert you. Try painting or drawing ‘en plein air’ (in the open air), like many Impressionist painters did, such as Monet, Pissarro, and Renoir, who dedicated much of their time to painting outdoors. Springtime and the National Cherry Blossom Festival in DC are just two reasons why you should begin setting up your easel and mixing your paint outdoors. By observing and rendering surroundings that are physically present (rather than view from a picture), you can then focus on what you see, not what you imagine or intellectualize about the subject.  

You also don’t have to go crazy with locations. Sometimes, I travel as close as my backyard to capture the sunset peaking in-between the trees or to the nearest park for a slight change. When drawing or painting in the open air, you are giving yourself the freedom to choose any spot you so desire, instead of being limited in a four-walled space.

 Here are some suggestions of local spots:

- The National Arboretum

- The National Mall and Memorial Parks  and The Tidal Basin

- The Smithsonian Gardens (eleven different locations to choose from!)

- The Franciscan Monastery Gardens

- Rock Creek Park

- Kenilworth Park and Aquatic Gardens

- Or even set up watercolors or pencils at your local coffee shop  and gaze out the window.

Depending on your medium of choice, you’ll need a Plein Air Painting Checklist for guidance. Remember, to travel light!

 

Painting by Sandra Warren Gobar. The Smithsonian Associates.

Not quite ready to try this on your own?  You’re in luck! The Smithsonian Associates will be presenting a Studio Arts class, Painting and Drawing En Plein Air instructed by Sandra Warren Gobar, taking place on Saturday, April 21-May 5 at 10:30am. Using your medium of choice, surround yourself in nice spring weather and local gardens such as the Mary Livingston Ripley Garden  and the Native Landscape Gardens at The American Indian Museum.  

Enjoy!

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~Margaret McClung

Taking notes

 

Picture is Unrelated:  Kayakers on the Potomac River on a hot day.  Photo by Angela Kleis, 2009

 

I cleaned over the weekend and put away a few notebooks and pads of paper that were taking up space on my desk.  Last night, I spent over an hour looking for the one that contained data I needed to develop film.  I finally found it on a bookshelf, of all places (why didn't I look there first?).  But, I couldn't get started without it.

 

Maybe it's my ingrained thanks to my science background, but I tend to take notes and keep a pretty meticulous notebook on all the types of film and developer combinations I've processed.  It helps me understand which types of films can be combined in one tank with the same developer, which ones should never, ever be put together, and if a particular developer is not a good match for a specific film.  Sometimes there are temperature issues and those are logged, too, as well small details I may notice and think will be helpful in the future (some if it is also online). 

 

I have a second notebook for printing that catalogs the negative number, type of paper, which filters I tried (and, which one worked best), time, aperture, and any dodging and burning that was performed.  Though printing is not an automatic process and may vary based on paper and chemical lots and other things I can't necessarily control, it provides a starting point that saves time and materials (and, frustration).  I like consistency and standardizing my methods helps me make sure that the results will be as close as possible to those I have obtained in the past, even with all of the inherent variables throughout the processes.  

 

There are notebooks or pads of paper in each of my camera bags that are useful for logging the film number (there is also a Sharpie in every bag) so when I am looking at an overwhelming pile of film canisters that need processing and want to develop a specific one, I can easily find it.  I have found this process very useful when travelling to note the date, city, places visited, if pushed or pulled the ISO.  These details not only help me locate a roll of undeveloped film, but also to remind me of the places I went.  After all, how many piazzas and fountains are there in Rome?  It's impossible to know.

 

It may seem like information overload or tedious details that most people are able to remember, but I feel it's better to be prepared and save time later by taking a few minutes to write it down, now.  What kinds of methods do you use to document photographic information?  Please let us know in the comments!!

                                                         -Angela

All About Pastels: Using Oil-Paint Sticks

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If you are like me and have a preference or more practice with oil based mediums, then you will be very pleased with the quality of oil-paint sticks. Oil- paint sticks are exactly what you would guess: oil paint in stick form. What keeps the paint from bursting out is the addition of special waxes, which enable them to be molded into this stick form. Along with painting, oil-paint sticks can also be considered a drawing medium.

In my Pastel class, I have been learning more about the different brands and types of oil pastels. I am using oil-paint sticks similarly to pastels, as a drawing and blending tool, which allows me to utilize various pastel techniques. Here is what I have discovered:

For first-time use, brand new sticks must have the protective skin of wax film removed off of the tip of the paint stick. It’s easy to do this with a cloth/ paper towel.  After a day or two the wax coating reforms to keep the paint from drying out.

Ah-Ha, the wax sealing reveals the creamy oil paint… Now, you’re ready to go.

Once the paint stick touches your desired surface (can be primed canvas, Masonite, acid-free sized paper, or fabrics), you will see the richness of the oil color and the difference when applied lightly or with pressure. I have noticed that the oil sticks become creamier in texture when using a slight force of pressure.  I prefer this result, as I like to make expressive, gestural lines.

Oil-paint sticks are compatible with a range of drawing and painting mediums, including oil, alkyd and acrylic paints, oil pastels and pencil. I recommend using the painting sticks on top of painting mediums, opposed to trying to mix and blend the different mediums.

For blending and brushing, there are special colorless paint-sticks  available, which increase the transparency of the colors. You can also use the same brushes and thinning mediums that you use for oil painting, such as Turpentine/Turpenoid. By adding a thinner to your paint stick you improve the flow of color. Being a fan of texture, my go-to method of blending is applying paint in thick layers, and then modeling it with a paintbrush or knife. This way, the paint remains workable for several hours.

Several brands of Oil Sticks include:

Winsor& Newton Oil Bars 

 Sennelier Oil Sticks

Shiva Artist's Paintstik / Student Grade Paintstik

R&F Pigment Sticks Opaque Assortment 

*Note, because there are variations in chemicals, texture, handling properties and drying time among different brands, I advise against mixing brands in the same art work. Instead, try sampling each brand individually.  

 

                 

Still Life, Oil-Paint sticks on paper by Margaret McClung

 

I hope that you can find your own use for oil-paint sticks, whether it is for painting/drawing, touch ups, outdoor painting, or another means.

Here’s a quick video tutorial on painting with oil-sticks: http://www.ehow.com/video_5996013_paint-oil-sticks.html

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~Margaret McClung

Painting Alternatives: Improvising materials

http://commons.wikimedia.org/wiki/File:Pinceaux_beaux-arts.JPG

I find that one of the biggest setbacks as an artist, especially as a painter, is the expense of purchasing art supplies. We know that quality does matter in art. Unfortunately, high quality does come with a very high price. However, there are ways to cheat the system and still stay satisfied. From teachers, friends, and fellow artists, I have discovered some great alternative painting materials that can be used in place of store bought materials.

Without splurging on your life savings, here are some cheaper art material substitutes you can use instead:

Substitutes for canvas material:

Cardboard serves as a really great acid free base because once treated with gesso the cardboard becomes less absorbent, preventing the paint from soaking onto the surface. The best type of cardboard for painting is thin cardboard, infused with epoxy resin , which creates a waterproof long-term base.  Not to mention, cardboard is recyclable so you can feel guilt-free.

Masonite or hardboard is another common substitute for canvas. Masonite is the brand name of a type of board made from wood chips and resin, with a smooth and rough surface on either side of the board. Both sides can be painted on, depending on the type of texture you’d like to create. I suggest sanding and applying several coats of gesso to remove any impurities.

Oak, poplar, pine and plywood make great painting surfaces that are moisture resistant. It is important to sand the panels and prime the surface with a couple coats of wood primer, gesso will work as well.  One thing to keep in mind with wooden panels is the weight and bulkiness of the paintings. I find this to be a disadvantage, especially when I need to transport my work.

Glass and metal are other possible surfaces for painting. Glass surfaces must be primed first and can be painted with the use of tempera, oil or if you’re in the mood to splurge a little, you can purchase custom colored paints/adhesives for glass.  Metal sheets like aluminum, steel, and copper, can be used with oil paints (no need for primers) or other paints which will require an oil-based primer or varnish to protect the colors.

A heads up: if you’re painting with oil, you should be aware that oil paints do tend to degrade the quality of paper (esp. thinner paper) over time, making the paints brittle and dull.

You are not the first to use these substitutes! Some great masters of painting that used these various surfaces include, Edourard Vuillard, Albrecht Durer, Toulouse-Lautrec and Leonardo Da Vinci.

There’s more! Other cheap replacements include:

Instead of purchasing a wooden or plastic palette, you can use aluminum baking trays found at your local grocery stores. I buy these metal trays in bulk and use them for both acrylic and oils. They are insanely cheap, store well, and come in various sizes and depths.

If you use painting knives and aren’t very picky when it comes to quality, you can save yourself money by buying plastic, durable painting knives at Hardware shops. Places like Home Depot and Lowes sell different sizes in painting knives and also offer brushes for use of different paints. Painting knives work really well for creating texture, flat planes of color and mixing paint on your palette. Also, a piece of glass, wrapped with durable thick tape at one end is another effective and cheap solution.

I am always searching for brush cleaners that can do the trick quickly, yet thoroughly. I find Murphy’s soap and Gojo cleaner to be the best fast acting products for cleaning oil brushes. I have made this common mistake before: solvents like turpentine and turpenoid (odorless), do in fact wipe the paint off the brushes but are not meant to clean the brushes. These solvents can actually dry out and tear the threads of your brushes if left in the thinner for too long. Turpentine/turpenoid are best used for thinning mediums, easy removal and touch ups, and drying layers of oil paint.

Here are some links of alternative methods/materials:

http://emptyeasel.com/2010/04/12/three-alternative-surfaces-for-oil-paints-besides-stretched-canvas/

http://www.ehow.co.uk/how_7361687_use-cardboard-permanent-art-projects.html

http://painting.about.com/od/paintingforbeginners/a/hardboard.htm

http://kimcpell.ipower.com/artblog/?p=164

http://painting.about.com/od/paintingforbeginners/ss/painting_knife.htm

http://www.trueart.info/brush_care.htm

 

Do you find this helpful or have your own recommendations to share? Let us know by leaving a comment or two!

~Margaret McClung

Exploring "ism's" further: Pointillism

 

Ink on Paper by Margaret McClung

 

One of several “isms” still familiar in the art world today is the technique of Pointillism. Neo-Impressionist artists from the Nineteenth century were casting away the short brush strokes associated with Impressionism. Instead, they were creating tiny, microscopic dots of pure color, which applied in a pattern, form one image.

What’s the trick? Artists originally painted in this style with a limited color scheme, lack of texture and mixture. To the eye, the overall image is visualized brighter than a mixed/blended color palette. When viewing any piece of artwork, we try to connect each visual element, such as every brush stroke, in order to see one image. Because this is so satisfying to our eyes, the concept of Pointillism successfully allows us to connect each dot’s existing color to it’s perceived color. For instance, one dot is red, but next to a green dot it appears to be brown.

You might be wondering, why paint or draw this way now? It seems like a painstakingly, long process; let us leave this “ism” with the original Pointillists like Georges Seurat and Paul Signac. I had a similar viewpoint, until I tried it myself.

Instead, of using a basic palate of colors I decided to experiment first with black ink. Once I began inking the paper with hundreds of little dot marks, I couldn’t stop. That’s not to say that there aren’t times where I start a work, put it down (for longer than I’d like to admit) then pick back up on it another time. With pointillism, I was addicted to creating these individual marks, knowing that the finish result would be visually appealing, and not to mention, a huge relief!

Interested in learning and seeing more approaches of Pointillism, today? Here are some links you can explore, enjoy!

Chuck Close, http://www.cs.washington.edu/building/art/ChuckClose

Christian Faur, http://www.christianfaur.com/

Pointillism Artists http://fineartamerica.com/groups/pointillism-art-.html

Paul Kolker, http://paulkolker.com/work

Catherine Bath, http://catherinebath.com/?tag=contemporary-pointillist-artist

~ Margaret McClung

Well, My Camera Can Shoot Video

Graphic by Griffin Baker 

If you have been in the market for a DSLR then you probably have come to realize that there are several DSLR cameras out there that can shoot video. In fact, most of the top camera manufacturers put a video function in their new camera bodies. The video function has become a prerequisite rather than an extra; but why? Are not cameras for shooting pictures and camcorders for shooting video?

 Initially this was the case. However with DSLRs shooting in 1080p, they have caught the attention of many videographers out there. Now, DSLRs still have a long way before they even think about surpassing our old friend the camcorder for a few reasons. The biggest one being that most DSLRs do not have an auto focus feature while shooting video. There are some that do but the feature is far from flawless. There are usually many instances of the camera trying to cycle through its focus much like when you are trying to autofocus to shoot a picture in the dark. However, videographers have worked around this by utilizing manual focus and becoming well adept at this technique. So why would anybody want to use a DSLR if it has so many issues? Well, as you photographers out there know, DSLRs offer a little thing called depth of field. This, along with lens variety is the primary reason for using the DSLR for video. Just as in photography short depth of field offers the photographer, or in this case the videographer, the ability to have something in focus while others are out of focus or “bokeh.” This helps to point the viewer in the direction of what is important in a photograph or what to pay attention to in a video. Though the DSLR will probably not replace the video camera, it still can offer creative solutions to your work.

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~Griffin Baker

Early Photojournalism

With the deaths of photojournalists Tim Hetherington and Chris Hondros last week while covering the conflict in Misrata, Libya, I began thinking about the photographers and journalists who report from the front lines of battle and how this important role has evolved with technology.

I was born in the 1970’s during the Vietnam War and was exposed daily to the evening world news reports. My earliest distinct memories of war and conflict were from Tom Brokaw of Nicaragua, Beirut, and the Iran-Iraq War - far-away places I barely knew anything about - with pictures and video clips of fighting that left me both confused (“guerrilla fighters” sounds exactly like “gorilla fighters”) and fascinated. I would scan the Richmond News Leader every night to find the stories I heard from the news and study every detail of each photograph, even though I didn’t understand the reasons for the fighting to begin with.

After last week, I started to think more about the photojournalists who are often embedded with troops to document and report from areas of conflict and how far back photographs of war and fighting go. I fell into a rabbit hole and discovered a lot of interesting facts. First, I want to focus on the challenges wartime photographers faced, particularly with regard to processing.

The first photographs of war were daguerreotypes taken during the Mexican-American War by an unnamed photographer in 1847. Considering this process only predates the war by a few years, and that each unique positive produced was made on the spot, exposing the photographer to the same conditions as those being photographed, looking at these images provides a lot of information that connects us to those events in a very personal way. For example, these one-of-a-kind images are the actual photographs handled by the photographer in the same conditions that can be observed in the photograph.

The American Civil War in the 1860’s provided photographic challenges including development of the images on the battlefield as well as danger during times of intense fighting. Photographers often worked in pairs, one to set up the camera while the other mixed chemicals and prepared the plate. Once exposed, the plate was taken to the darkroom wagon for processing. Being glass, these final images were very fragile – that they survived wartime conditions was pretty amazing.

 

 Cold Harbor, Va., Photographer's wagon and tent, Between 1860 and 1865; Selected Civil War Photographs Collection, The Library of Congress.

 

Don’t forget to consider that the cameras of the time were incapable of zoom. This required the photographer to approach the subject at close range. Due to the danger, photographers sometimes recreated the battle scenes, which included arranging or moving bodies – a controversial aspect raising questions of authenticity.

The use of a gelatin substrate transformed the process from wet to dry plates, and later to our modern-day roll and sheet film, providing more freedom to photographers, as well as advancements in camera technology.

The images produced during these times sent the reality of war home to those living far from the battlefields and serves as a documentary of the ways in which the people, and the fighting, has both changed and stayed constant.

-Angela-