Cold Coffee
never breaking news.
Chaika and me
I wrote something about Orwo 74+ film in a Chaika half frame camera for Emulsive and for some reason they published it. Enjoy!
Ampersand
A Christmas Eve post for all my friends at the FP-4+ Party & to good people everywhere.
Providence, RI December 2016
&
Erudite Vulcan, quondam forger of alliances, uniter of distant lands, close confidant to power brokers and the crafters of contract, acquisition and merger. No boardroom portrait was complete with out you, shoulder to shoulder you stood with the principals, yet discreet, name never mentioned. There was a time when no wheel could turn on the nation’s rails without you, but that was long ago.
Now you find yourself struck from the masthead, unwelcome in the corridors of power, banished from the corporate style guide. You’ve been done in by the manufactured word, the brittle acronym, the awkward portmanteau. Reduced to sleeping rough on a park bench and to endure the worst indignity of all: spelling your name out in full.
How the mighty doth fall.
Dear Comrades, have I told you about Commie Camera Day?
“Pause briefly from your labors and I will share with you some exploits of glory in the name of International Commie Camera Day...”
This is the Benefit St. Armory in Providence photographed with a Chaika half-frame camera. This is the building that I like to point out to anyone who will listen that was moved in 1906 (rolled on logs, mind you) to its present location in order to make way for the east side railroad tunnel, which lies a couple hundred yards to the south. The west portal of this tunnel was the site of the May Day "riot" in 1993, where some student partying got out of hand. This lead to the tunnel being sealed up. May Day became associated with the Communists in the 20th Century. Now that area is a parking lot. So it all comes together. Sort of.
I contributed a small write up about International Commie Camera Day for the Film Shooters Collective.
You can see the whole piece here.
From the Archives: Reading the signs on Allens Ave.
"Give me your license and meet me there".
Some variants from the RI Photo survey Archive. This is a spot I returned to a number of times. I don't recall if I returned because I was dissatisfied with the first attempt or that I just simply liked the location. Now it's interesting to compare the differences. A return visit is in order.
Allens Ave, 1992, #1 4x5 Tri-X
Allens Ave, 1992 #2 4x5 Tri-X
These are the first attempts. I typically would shoot 2 sheets. I must have been on the fence about including cars as I tried it both ways. I printed the first, but now I rather like the second with stretch limo and the man and his young companion on bikes.
Allens Ave, 1993 4x5 Tri-X
A year later I returned, this time with an overcast sky. This is the image that I printed and exhibited for the 1994 show "On Land" at the Warwick Art Museum. The tension of the wires literally ties the composition together.
Note that in 1993, at least for one day, the "Diesel Fuel low prices" was upright.
Allens Ave 1994 #1 4x5 Tri-X
Allens Ave 1994 #2 6x9 (120) HP-5+
Finally in 1994 I returned once more, this time on a sunny afternoon. This time a composition similar to the 1993 take, but horizontal. Also on that day, showing what was to come for me photographically, I shot a frame with the Fuji 6x9 camera (machine as Tod Papageorge says). Echoing I'm sure accidentally the alternate of 1992 I include cars in the 6x9 frame.
Allens Ave, June 2006. 120 Ilford HP-5+ // Signage and signal boxes aren't what they used to be.
Ghost bike on Allens Ave, June 2006
I took another shot in 2006 just to compare changes and because I had stopped there to take a picture of a ghost bike that was chained to the railing below the on ramp just to the left of this view. That was the day I was hassled by a Providence cop who pulled up next to me and said "what do ya think you're doing? what're taking pictures of the tanks for?" I said I wasn't taking pictures of the tanks and I was just taking pictures for my self, for history. He asked "is that your car over there?" It was. "Give me your license and meet me there". I handed him my license and crossed the street, wondering where this was going. When I got to his car he had run my plates and was reading my name and address into the radio. He then started in again on why was I shooting fuel tanks and that this was a sensitive area and it's not allowed. I kept quiet, feeling more and more apprehensive, then he says "I could take your film" I say "I don't think that's..." and he cuts me off saying "but I won't, why don't you go take your pictures in some other part of the city", (obviously not understanding this photography of place thing) and hands me my license. He then drives off. I had a copy of the photographer's rights in my bag and I was preparing myself to pull that out as I had no intention of giving him my film. I knew I hadn't been trespassing or doing anything illegal. I was going to start naming my friends in City Hall and anyone else I could think of but I was relieved that it never came to that. Then I was angry, and mad at myself for not getting his name. I stuck around and shot a little more although I was hardly in the frame of mind for it, thinking the whole while about the chilling effect this sort of confrontation can have. Self censorship is the most prevalent form of censorship and I was determined not to let this incident keep me inside.
Gorham photographs going digital
Bronze casting foundry, Summer 1997. Where the 'Independent Man" was born!
I will have more to say on this over the coming months but I'm excited to share this news. Erik Carlson and I have been awarded a Rhode Island Council for the Humanities grant to create a performance piece about our 1997 Gorham Manufacturing Co. complex documentation. This is in partnership with UPP Arts and Holly Ewald who first envisioned the project.
This means the photogaphs I made will get scanned and made available digitally. I'm thrilled about this, Gorham had such a central role in the growth and reputation of Providence as a manufacturing and design center. The work Gorham produced, especially the fine silver, occupies a prominent place in the collection of the RISD Museum, my employer. I will be very busy making new photographs of that silver collection for the major book and show the museum is planning for 2019. My photographic career seems to be intertwined with Gorham and I'm excited about this latest chapter.
Wash basins near the silver work benches. Summer 1997.
