Photography by Scott Nichol
a while back i tried to work with a concept, using clay dissolved in water and applied to a model’s skin to produce texture. and while i liked some of the results, i thought i could revisit it with my friend Stephanie Anne and get something fresh. the results exceeded my expectations. shot on Ilford Delta 100 film with my Mamiya RZ67 mounted to a support about 8 feet above the floor.
So I’ve got to do a portrait of my nephew tomorrow at the Iron Pigs baseball stadium and I really wanted to experiment with the whole overpowering the sun idea. The concept is to underexpose the photo by about a stop or two and then fill in the exposure using a flash or studio strobe. So I picked up an Alien Bees Vagabond (a battery power pack for my studio strobes) which gives me enough power to fill back in the underexposure of the foreground subject, almost totally eliminate all the harsh shadows made by the sun, and give you a brilliant, controlled exposure with rich deep blue skies. Keep in mind that this was shot in full sunlight at 3pm.
Oh yeah, and then there’s my white trash girlie friend Lorna Doone, playin the part and doing her thang.
love it…
feeling wonderfully gifted to have my friend stephanie anne around for a couple of days.
The Curator – Search for Outstanding and Undiscovered Fine Art Photography
keep your fingers crossed for me dear readers. submitted the following pieces for this juried call for entries. should know the results mid-April…
its the counterpoint to my black strokes
the sunshine through my clouds
the full moon in the blanket of starry night
white brings levity to all of the work i do and in its absence there is only black, this time brought to life by elizabeth
Making Wet Transfer Prints on Watercolor Papers from Digital Images
This workshop is the first in a series of printmaking classes for both photographers and other visual artists. This class will teach students a unique digital printmaking technique similar in feel to a Polaroid transfer, but with the advantage of being able to use virtually any digital image. The process starts with an inkjet print made on specially coated sheets of polyester film. The print is then transferred to wet sheets of watercolor paper. The results bring a new dimension to digital photography, introducing imperfections and rough edges that produce truly one of a kind prints.
Students will learn hands-on by coating the sheets of film, preparing them for printing and making the prints while in the class. Each student will leave with several completed transfer prints. Each student is required to bring 3-4 digital images that are ready to print.
Saturday, April 24, 2010
Class starts promptly at 10:00 am and should finish around 5:00 pm
Location:
645 North Jordan Street
Allentown, PA 18104
Price: $120 (includes all materials fees)
This class is limited to the first 10 artists who sign up. Your payment reserves your place in the class.
More details and to sign up, visit The Illuminated Figure web site!
shot on ilford delta pro 100 film with the Mamiya RZ67, scanned, adjusted in photoshop for contrast, dodging and burning, spotted with healing brush for dust, and cropped. printed on duralar coated with a custom mix of ink aid clear gloss pre-coat and golden acrylic flow release then wet transferred to Rives BFK watercolor paper. the distressed edges and some of the white spotting are a result of the randomness of the transfer process. model and paper backdrop did have a fair amount of talcum powder for texture in the original shot.
this will be on display at the show i’m doing with Bill Earle at Three Little Pigs, 131 North High Street in West Chester, PA. show opens Friday, March 5, 2010 at 7pm.
My friend Bill Earle and i recently submitted works for the Nude and Draped Figure at the Chester County Arts Association. The Chester Count Daily Local News had a nice write up about it in their weekend section. The article appears below. (Highlighting by yours truly!) The article is also linked on-line here.
a sampling of some images that were processed entirely in the new Aperture 3. that is with the exception of the fact that i cleaned up the backdrop on the first studio shot in Photoshop because it was quicker to clone/heal out the dirt and stray hairs on the floor than it was to do it in Aperture. the clone/heal brush in Aperture is still a bit slow to work with.
otherwise, the presets are a joy to work with and the maskable adjustment layers are really what this application needs.
i really love trying to pull myself out of my comfort zones. and working with the slightly unpredictable nature of a polaroid camera that chooses exposures for me is almost certainly uncomfortable. my camera is almost always in manual mode. i tend to have a sort of a 6th sense about exposure and reading the light. and not knowing exactly what a camera is giving me requires a fair amount of trust in the equipment. but the truth is that the look that comes out of a Polaroid camera is in a large part determined by the electronics and metering designed into the cameras back in the 50s and 60s.
so i put brooke in front of the windows and let the electric eye do its thing.
So Many Stars 