Pointed Cat's Eye (Cryptantha Muricata)

Plate #17
Cat’s Eye (Cryptantha Muricata) - plant applied or plant used as a lotion for snakebites.

Walter Benjamin, "A Short History of Photography" (1931)

When I start a new body of work, I go through the process of writing about what I’m doing and why I’m doing it. That involves a lot of research, reading, and scouting locations (for this project). I try to include an overarching message or idea as well. It can be very difficult and frustrating at times. Trying to articulate a feeling or an idea and tying history and humanity in with it is not easy. And actually making the images change my perspective on what I want to do and what I want to address with the art. It’s a fluid process, changing directions in subtle ways all of the time. Finding solid, authentic ground is difficult.

It’s always a struggle trying to talk about photography. When I say “talk about” I mean the concepts behind the work. The ideas. It’s heavy lifting as they say. In a lot of ways, it’s illogical or irrational to talk about. Photographs should “speak” for themselves, right? That’s what we always hear. In reality, there’s more to the story and it’s not that simple. Look at Kracauer’s quote below. Photography is a difficult and frustrating medium to create work in for this reason; it’s controversial. It’s controversial on many levels too. Some question if it’s even possible to make art with it because it’s so mechanical. Others argue how literal it is and that it can’t be taken seriously. A lot of these arguments have merit. Obviously, I don’t agree with the main premise that it can’t be art, but there are pieces of the arguments that are valid and need to be considered.

This is my position; we should be asking photographs, or any visual art, to “speak” to us after we know the context and intention of the creator. That’s the part that’s always missing in these conversations. The creator, or artist, should have something to say about the creation. In fact, I believe that is where “art” is created. It’s the intention behind the work that makes it work or not, not the random or pretty picture. I’m rational, or at least I try to be, and without that information, I’m simply projecting my own feelings, thoughts, and ideas onto/into the work. Is that the way art should be made? Is it for the viewer to decide what the meaning is? Is it the viewer that designates its value? I suppose you could argue those points and you might even come up with some rational premises to support them. In the end, however, I think it would be an argument for “mechanical” work. In other words, if the artist’s input, i.e. context and intention, is irrelevant, or doesn’t exist, what’s the purpose of having the artist create the work? It’s like a monkey or elephant with a paintbrush and canvas. Is that art? I could argue the point of artificial intelligence and commercial work from this perspective too. If you believe the artist’s input is important, then we have to consider the work from a different perspective. One that is artist-centered, not viewer centered. I don’t believe artists (fine art) should make viewer-centered work. I call that commercial work.

WALTER BENJAMIN

A friend sent me an email asking for clarification on a passage in a book he was reading. The book is called, “Photography: History and Theory" by Jae Emerling. It’s a very interesting read. I believe the part about discourse is extremely important. Here’s some of what he sent:

Walter Benjamin said, “The illiteracy of the future," someone has said, "will be ignorance not of reading or writing, but of photography." But shouldn't a photographer who cannot read his own pictures be no less accounted an illiterate? Won't inscription become the most important part of the photograph? He added, “What we must demand from the photographer is the ability to put such a caption beneath his picture as will rescue it from the ravages of modishness and confer upon it a revolutionary use value”. These are from his writing called, “A Short History of Photography” (1931).

AURA

Aura: The distinctive atmosphere or quality that seems to surround and be generated by a person, thing, or place. Benjamin talks a lot about Atget and “aura”. These ideas really resonate with me. He said that the emergence of photography brought about the renewal of artistic language and intensified formal explorations: "As the scope of communications increased, the informational importance of painting diminished. The latter began, in reaction to photography, firstly to emphasize the colored elements of the image. As Impressionism gave way to Cubism, painting created for itself a broader domain, into which for the time being photography could not follow it."

EUGENE ATGET

What is aura? A strange web of time and space: the unique appearance of a distance, however, close at hand. On a summer noon, resting, to follow the line of a mountain range on the horizon or a twig which throws its shadow on the observer, until the moment or hour begins to be a part of its appearance—that is to breathe the aura of those mountains, that twig. Now to bring things themselves closer—and closer to the masses—is as passionate a contemporary trend as is the conquest of unique things in every situation by their reproduction. Day by day the need becomes greater to take possession of the object—from the closest proximity—in an image and the reproductions of an image. And the reproduction, as it appears in illustrated newspapers and weeklies, is perceptibly different from the original. Uniqueness and duration are as closely entwined in the latter as transience and reproducibility in the former. The removal of the object from its shell, the fragmentation of the aura, is the signature of a perception whose sensitivity for similarity has so grown that by means of reproduction it defeats even the unique.

Atget almost always passed by the “great sights and the so-called landmarks.” He did not, however, pass by a long row of boot lasts, or by the Parisian courtyards where from evening until morning hand-wagons stand in rows and groups; or by the uncleared tables and the uncollected dishes, which were there at the same time by the hundred thousand all over; or by the bordello at rue . . . no. 5, whose gigantic five appears in four different places on the facade. More noticeably, however, almost all of these pictures are empty. The Porte d’Arcueil fortifications are empty, as are the regal steps, the courts, the terrace cafes, and as is appropriate, the Place du Tertre, all empty.

AUGUST SANDER

August Sander put together a series of faces that in no way stand beneath the powerful physiognomic galleries that an Eisenstein or a Pudovkin revealed, and he did so from a scientific standpoint. “His total work forms seven groups, which correspond to the existing order of society, and are to be published in about 45 portfolios of 12 photos each.”d Sander goes from farmers, the earthbound men, and takes the viewer through all levels and professions up on one hand to the highest representatives of civilization and down on the other to idiots. The creator came to this task, not as a scholar nor instructed by racial theoreticians or social researchers, but, as the publisher says, “from direct experience.” The observation is certainly an unprejudiced one, but clever, also, and tender and sensitive in the sense of Goethe’s statement: “There is a sensitive empiricism which makes itself most inwardly identical with the object and thereby becomes genuine theory.” Therefore it is completely in order that an observer like Döblin struck straightaway onto the scientific aspects in this work and remarked: “As there is a comparative anatomy by virtue of which we come to a conception of nature and a history of organs, so this photographer pursues comparative photography and thereby achieves a scientific standpoint above and beyond that of photographic details.” (ArtForum)

SUSAN SONTAG

Susan Sontag has written some very good books about photography. She was a deep thinker, an intellectual for sure. I often draw on her writing for my own work. One of her books called, “Regarding the Pain of Others“ has some very relevant thoughts concerning my work. She said, “All memory is individual, unreproducible - it dies with each person. What is called collective memory is not a remembering but a stipulating: that this is important, and this is the story about how it happened, with the pictures that lock the story in our minds.” To me, this is at the core of my objectives with this work. She also reiterates what we all know, “Wherever people feel safe (...) they will be indifferent.” And we know what indifference leads to.

Testing Exposure for Platinum Palladium

There’s no easy way to get a well exposed print without spending some chemical and paper money. These are expensive prints as far as photographic prints go. I’m not sure what the exact cost is but it’s in the neighborhood of $8 - $15 USD per print (8”x10”) depending on the paper used and when/where you buy the platinum and palladium.

I just looked and one ounce (28.35g) of palladium on the precious metal market will set you back $1,875 USD. The highest it hit was in March 2022. It was $3,440 USD per ounce! Platinum is just over $1,000 USD per ounce today. The highest it reached was back in March 2008. It hit $2,270 USD per ounce. Everyone used to complain about platinum, now it’s about palladium.

Regardless, I won’t stop making these prints. It is a “perfect” process for the work. I will end up with about 150 final prints in this body of work. You can do the math.

Rocky Mountain Beardtongue

American Indians have long used the Rocky Mountain Beardtongue plant for human and animal uses. The Navajo used it to increase the recovery rate of open flesh wounds by inhibiting inflammation, which then increases the muscular activity of new regenerative growth of tissues. Regionally it has also been used for compresses, ointments, creams, balms, foot soaks, and bath herbs. Internally, it was boiled to produce a refreshing drink for internal injuries and coughs. Veterinarians have used it for sick or injured animals, externally for abrasions, flesh wounds, broken bones, and to prolong livestock growth and survival.

Palladium Platinum print from a wet collodion negative. Rocky Mountain Beardtongue plant. June 23, 2022

Rocky Mountain Beardtongue plant.

The Yarrow

I’m starting to work on the flora in my studio. These will all be wet collodion negatives. No redevelopment, straight from my Sutton recipe and 1:30 development time. Controlled north light.

Under A Red Glow Interview

John and Christine from Under a Red Glow podcast interviewed me about my work, my life, and photography. Check it out, they’re good friends and good people - and they love photography!

https://anchor.fm/underaredglow/episodes/Episode-100--Interview-with-Special-Guest-Quinn-Jacobson-of-StudioQ-e1k880p

Some Philosophy and Some Technical Photography Talk

"It's on the strength of observation and reflection that one finds a way. So we must dig and delve unceasingly." - Claude Monet

THE PHILOSOPHICAL
I talk about how an artist, especially one that uses photography, stands out. In other words, how do you separate yourself from the other 100,000+ people? The biggest factor is content or subject matter. That also needs to be supported by an interesting and involved/supporting process. Remember, you won’t get very far with gimmicks and fake, pretentious “art”. And even if you do, you’ll know you’re a fraud. Most people can see through bullshit. Even if they don’t call you out, they still know the work is not coming from an authentic place.

So, how do you achieve this goal? I think it begins with honesty and authenticity. The concept has to be connected to the artist in a real way. It’s important to feel that what you’re doing matters. And you need to be able to explain it to a fifth-grade student so they can understand it. And you need to find an appropriate process or materials that will support the concept. Like a hand going into a glove. It needs to fit and feel good.

I’m still working out my concept. Or at least the details. More and more it’s pointing to my struggle of occupying land that was taken from the original people that were here. It’s about the mystery and beauty of this land too. I know my work will never be portraits of Indigenous People, I just don’t feel that’s appropriate for me to do. It’s not my place to romanticize the white man’s version of the American Indian and to wash the past clean.

This work is about my struggle with this land and its history. It’s about how conflicted I am living here and being fully aware of the past and what happened here. How does one reconcile that? Can you reconcile that? I don’t think it’s possible. I’m trying to work through that and allowing the images to be a catalyst for those conversations. That’s the best thing I think I can do. My art, my presence, my voice, and my questions will never change or “fix” what happened. It can, however, open conversations up about it.

The goal for me is to keep these memories and events alive, or in people’s minds, so that they won’t happen again to anyone. That’s the best thing we can do. If we can learn from the past, we won’t repeat it. If we try to ignore it or try to forget it, it will come back to haunt us.

The historian, Ian Kershaw said, “The road to Auschwitz was built by hate, but paved with indifference". Meaning, yes, hate drove the events of the Shoah/Holocaust, but not caring, and not paying attention to what was happening to “the other” allowed it to take place. Indifference is the danger.

I think this is where art can really make a difference, at least to some degree. That’s my hope with this work. Through the beauty and fascination of this landscape, showing where the Nuuchui/Utes lived and thrived for thousands of years, I can remind the viewer of what happened here. And encourage them to stand against injustice, in all forms.

THE TECHNICAL
I think I’ve got a great plan for the Oil Transfer process. I’ve ordered a small etching press, acetate, tape, etc. I’ll be ready to press prints when it gets here. To say I’m excited is an understatement. I have high hopes for this but am trying to manage my expectations. It’s difficult to do that when you see the possibilities from this process/workflow. I made my first test print today to use in the press. For the lack of a better word(s). I would call it a “printing matrix”. It’s from a collodion dry plate negative (Plate #8) massive rock formation in Fremont County, Colorado, made on Yupo paper.

The exposed print goes into a tray of water with sodium sulfite and sulfuric acid to clear the dichromate from the gelatin. This is a very interesting process and probably my favorite.

A cleared matrix. I allow them to dry completely (one day) and re-swell them before inking them. This allows the gelatin to harden even more when swollen. Makes for a “tough” matrix.

Look at the relief on that! This is perfect to use as a transfer print. I’m hoping I can re-ink and make several transfer from one Yupo print.

Rawlins Oil Printing

"The photographer has enlarged his view of himself as craftsman and observer, incorporating methods such as lithography and serigraphy, which had previously belonged to traditional printmaking. At the same time, many graphic artists are today discovering the potential of photographic techniques and Images, integrating them within the tradition of the handmade art object. The tremendous interest in mixed media grows out of this breaking down of the classical distinctions between photography and printmaking".
- Photography as Printmaking MoMA, 1968

My oil prints are not photographs. In essence, you become a “printmaker” working in this process. I’ve always wanted to transcend photography to some degree. Don’t misunderstand me, I love photography, but there is always more. I’ve often said, “I’m a frustrated painter.” You might ask, why don’t you just paint? I think I will, eventually, but for right now, I’m enjoying being a "printmaker”. Why do this? For me, it allows for a more creative approach to this work, especially this work. I’ve said for a long time that I’m seeking a more “poetic” process, more like a drawing or painting. I want my “hand” involved as much as possible. I’m trying to avoid as much “mechanical” with this work as I can.

I’m finding that these negatives are great for printing Platinum Palladium as well as Oil Prints. I was really happy to see this print emerge out of the ink today. It’s from a collodion dry plate negative and registers as 1.7 negative density. Perfect for both printing out processes. No redevelopment required, nothing additional on wet or dry collodion negatives.

OIL TRANSFER PRINTS

I’m waiting for my Richeson Baby press now. Once I get that, I’ll start doing some oil transfers. This is going to be trial and error for the most part. I can’t find any real instructions or information on how to do them. The concept is simple; swell and ink a print and transfer it to the final support via the press. However, I know there’s more to it than that.

I think there will be some great advantages to doing transfers. First, there will be only paper and ink. Nothing else. I can also print them very clean - borders, sizes, etc. And from what I understand, they are very detailed and have a great tonal range. Oil prints have all of that too, but you still have the gelatin and maintaining edges, etc. when inking. I’m not sure about this, but if it’s true it will be the greatest advantage; multiple prints. Swelling and inking the print over and over again. Can it be done? I’m not sure, but I’m going to find out. Can you imagine? I would be able to do a series of prints, quickly and efficiently.

#intheshadowofsunmountain

Look at the relief, you can see why a transfer makes sense.

Inking another matrix - these are the basic tools for the process.

The black and brown mixture of ink gives a nice warm color and also contrast.

Oil Transfer Process - A New Adventure In Printing

"SELF PORTRAIT" DATE 1897 BY ROBERT DEMACHY (FRENCH 1859-1936). PROCESS NOT KNOWN. CURRENT LOCATION: MUSÉE NICÉPHORE NIÉPCE, CHALON-SUR-SAÔNE, FRANCE

Robert Demachy (1859–1936) was a French Pictorial photographer of the late 19th and early 20th centuries. He is best known for his intensely manipulated prints that display a distinct painterly quality. He was influenced by the Impressionist painters and spent most of his time making photographs and developing his theories on photography, both technical and aesthetic. He wrote thousands of articles and several books on photography and was a strong proponent of techniques used to manipulate a photograph such as the gum bichromate process, oil transfers, and scratching of the gelatin.

“Do not say that nature being beautiful, and photography being able to reproduce its beauty, therefore photography is Art. This is unsound. Nature is often beautiful, of course, but never artistic ’per se’, for there can be no art without intervention of the artist in the making of the picture. Nature is but a theme for the artist to play upon. Straight photography registers the theme, that is all - and, between ourselves, it registers it differently” Quoted in Robert Demachy 1859-1936: Photographs and Essays. Bill Jay 1974 (pp. 28-29)

Demachy Oil Transfer print.

I’ve started the process of exploring the Oil Transfer process. What is it? Basically, it’s a Rawlins Oil print that’s transferred to a piece of paper via a press. I’ve been working in the Rawlins Oil printing technique for a few years now, and really like it. However, I think the transfer process will give me some added benefits for the final print. It’s a very rare process, too, not many have or are practicing it, I like that aspect too.

Richeson 11” Press

The only new piece of equipment I’ll need is a small press. I think I’m leaning toward the Richeson Baby Press. It’s perfect for what I want to do. Stay tuned, let’s see what happens!

In The Shadow of Sun Mountain Prints

I’ve gone through a couple of iterations of printing. I have several prints that would not accommodate my mats. So I purchased this “tree of life” journal. It’s leather and has acid-free paper. I started “tipping in” my prints. I’ll use it as a journal for the work too.