FotoWeek DC at Multiple Exposures Gallery: Technique Demonstrations

Planning your FotoWeek DC schedule? Mark November 10th as a night to visit the Torpedo Factory Arts Center in Old Town Alexandria for demonstrations of two fantastic alternative photography processes by members of Multiple Exposures Gallery (MEG). 

Danny Conant and Colleen Henderson kick things off on November 10th at 7:15 in the Target Gallery with image transfers using DASS Super Sauce. At 8:15, the action moves upstairs to MEG's space on the third floor where Sandy LeBrun-Evans and Louise Noakes will give a lesson on image transfers using Purell hand sanitizer.

While your calendars are out, mark one more date. On November 17th at 7:30 p.m., join MEG member Janet Matthews at Multiple Exposures Gallery for a demonstration of making cyanotypes, a 19th century process that's still used today to make unique photographic prints.

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Demonstration Schedule: 
          November 10
                 Image Transfers Using DASS Super Sauce
                 7:15 pm, Target Gallery at the Torpedo Factory, Alexandria, VA
                Image Transfers Using Purell Hand Sanitizer
                8:15 pm, MEG, Studio 312, Torpedo Factory, Alexandria, VA
         November 17
                19th Century Processes: Making Cyanotypes
                7:30 pm, MEG, Studio 312, Torpedo Factory, Alexandria, VA

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Demonstration Descriptions:

Image Transfers using DASS Super Sauce

Using DASS Super Sauce solution, Danny Conant and Colleen Henderson will demonstrate how, using your own digital photo files, you can easily and simply make unique image transfers onto an assortment of receptor surfaces, including artist papers, wood panels, and a specialty paper called "DASS Stone Paper."

DASS stone paper (made from limestone and resin) allows you to create image transfer effects that are very similar to the Polaroid emulsions transfers which were popular prior to the demise of Polaroid film products.  

 

Image Transfers Using Purell Hand Sanitizer

Learn how to transfer your images onto beautiful printmaking papers and fabrics. You won't believe what a little hand sanitizer can do to produce this very unique visual effect.

19th Century Processes: Making Cyanotypes

The cyanotype process, also known as the blueprint process, was one of the early methods used to make photographic images. It was invented in 1842 by astronomer John Herschel in an attempt to create a method for copying his notes.

Cyanotype printing is one of the easiest and safest ways to make photographs by hand. Just a few ingredients, paper, two chemicals, ultraviolet light (such as the sun) and water, are needed to create unique photographic prints. We will demonstrate the process and look at some contemporary approaches used with this historic process.

Seeking Recognition: Tips From Michael Borek

Scranton Lace #7460 ©Michael Borek

Multiple Exposures Gallery (MEG) member Michael Borek is on a roll. In just the past few months alone, he's:

• Earned a spot at Photo '11 at Artisphere
• Reached the final round at Critical Mass
• Launched a solo show at Multiple Exposures Gallery
• Joined an exhibit of PhotoSlam winners at Photoworks at Glen Echo
• Received second place honors in Fotoweek DC's 2011 International Awards Competition 
 

Below, Michael describes his approach to gaining recognition for his photography and how he decides what to submit:

Congratulations on your recent successes. Have you always pursued opportunities for exhibits and awards or does your recent success reflect a new focus on gaining recognition for your work? 

I haven’t really changed my focus, although I think I have gotten better at editing my work.  I have also realized that good photographers show only their best works.  I’ve always pursued what I found interesting, without thinking about whether it will be a success, so that hasn’t changed.

How do you decide which opportunities to pursue? 

I am trying to have my work judged, juried, and hopefully recognized by people from whom I feel I could learn something and/or who work for the galleries or museums that I respect.

Several of your recent winners were from your Scranton Lace Factory series. How do you choose among your many wonderful images when deciding what to submit if there is no specific requirement or theme you must adhere to? 

Scranton Lace #7553 ©Michael Borek

There is a lot of editing behind that. I spent a total of eight days of shooting at the Scranton Lace Factory, and I generated a lot of material. But I spent much more time editing my work, printing proofs, hanging them in my studio and living with them to see whether I still like them after a while. Also, I showed my work to fellow photographers and other artists and discussed my work with them.  Sometimes I followed their advice, other times I didn’t, but their feedback gave me a lot to think about.

After selecting what I feel are the best images comes the hardest part—sequencing them and eliminating those that don’t fit in. I may have several pictures that I feel are good, but if they don’t go with the flow, I don’t submit them. My goal is to have a consistent body of work that flows naturally. And it is good to start and end with your best images.

Many photographers feel rejected when they submit work that isn't selected by the jurors or judges. Have you ever felt similarly frustrated and if so, what did you do to make sure it didn't stop you from pursuing opportunities again? 

I deal with it the same way as I do with parking tickets. When I get a parking ticket, I write the check immediately, mail it, and forget about it. Obviously, I cannot write a check after a rejection and consider it done, but I try not to dwell on it and just move on. There’s no need to read the entire letter that starts: “Dear Artist, there were many excellent entries this year and the judge had hard time deciding, blah blah blah....” One has to realize that there are many more good photographers than opportunities to show. 

Rejection comes with the territory. If you spend time and energy feeling frustrated and sorry for yourself, you are not spending that time and energy on your photography. And there are only two logical explanations for your rejection: either your work wasn’t good or original enough, which you can change, or you are a misunderstood genius and it is just a matter of time before you will be discovered. So it is a win-win situation.

Scranton Lace #7594 ©Michael Borek

But seriously, if you can’t deal with rejection, you are not serious enough about your art. There will always be rejection, and even though it is obviously nice to get recognized, the recognition should be viewed only as a nice side benefit and one should get the main enjoyment from doing the art. Easier said than done, we are all fragile and insecure, but that is the way it is.

What advice do you have for photographers to increase their odds of success when submitting work for awards or exhibits? 

Statistically, you can increase your odds by submitting into more competitions.  Many people feel that $30-40 fee is exorbitant, although they don’t hesitate to spend $1000 on a new lens. New equipment won’t make you a better photographer, but I have found the whole process of submitting your work will – if you do it right.

By “doing it right,” I mean being thoughtful, editing your work, discussing it with people whose judgment you trust, and having an original body of work. And maybe doing a little test. Ask yourself whether you would buy the photographs you are submitting if you saw them in a gallery. If the answer is no, don’t bother submitting them. If they don’t excite you enough to “buy” them, how can you expect that they would be selected from hundreds of other entries?

You also have to decide on the appropriate level. The odds that you will be selected in an international competition with thousands of entries juried by a prestigious curator are very low, particularly if you are a beginner.  It may be better for you to start on a local or regional level. On the other hand, if you are being consistently selected on these levels, it may be time to move up (but prepare yourself to deal with possible rejection).

Janet Matthews included in "Hand+Eye" exhibit

Janet Matthews' image, Snip, was chosen to be included in the juried exhibit Hand+Eye at the Through This Lens gallery in Durham, NC, October 15 - November 16. This exhibit will feature hand-crafted, alternative process photography.  Beginning Saturday, October 22, the exhibit will also be featured at the online gallery on the website www.fotosavant.com, and in an exhibit catalog available at blurb.com, No Alternatives: Selections from Hand+Eye. 

Exhibit at NIH by Danny Conant

Photographs on Gelatin
by Danny Conant   

November 6, 2011 through January 7, 2012

Clinical Center Galleries at NIH
Bethesda, MD

Michael Borek interviewed in the Washington City Paper

Michael Borek, was recently interviewed about his current and previous projects by the Washington City Paper. He talks to Louis Jacobson about "his career, the bridges of Montgomery County, and what he sees amid Scranton's post-industrial decay." You can read the full interview here.


Michael's newest project, Effective Immediately, will be on exhibit at Multiple Exposures Gallery October 4 - November 7.