Artist: James Balog

In James Balog, I finally found a photographer that compiles photos in a very similar way to my work. One of his books, "Tree: A New Vision of the American Forest," was actually something I'd seen years ago and remembered the collaged pictures in it but I had forgotten the title and it wasn't until recently that I picked it up again. It basically compiles his own writing and photographs of trees and forests across the country. In order to present a more detailed depiction of these large, intricate subjects, he collages photos in various ways. Sometimes white sheets are hung behind trees to better distinguish them from cluttered backgrounds.

My favorite images by far are the large foldout pages depicting huge trees, such as redwoods, in a way that captures each foot of detail from the roots to the very top. To do this he rappels up nearby trees and shoots the giant in stages. The perspective is similar to that of a telephoto lens, which would be impossible to use in a dense forest. The lack of a single vanishing point causes the horizon to duplicate, and the surrounding trees are also captured beautifully. Visible throughout are tiny climbers which are dwarfed by the huge tree. I'd love to try this dynamic, "moving photographer" method of shooting this semester. I tried once before back in digital photo but couldn't quite get it right, however if I do it horizontally this time I'll have more location options.

Balog's recent project is also well worth mentioning here. He's currently working on something called the Extreme Ice Survey (EIS), which seeks to document the melting of a number of glaciers. Along with a team of experts, he's installed 27 cameras across 15 sites in Greenland, Iceland, Alaska, and the Rocky Mountains. The cameras take one photo per daylight hour, or 4,000 per year. They've been deployed since 2007, and will remain until 2014, permitted the project retains enough funding. What this means is that retreating glaciers will be captured in action through time-lapse photography, providing eye opening and hopefully very influential evidence of our planet's dire state.
http://www.jamesbalog.com
http://www.extremeicesurvey.org

Topic: 3D panoramic collage - Photosynth

I've been researching possible methods I could use to go 3-dimensional with my collages. I came across more work similar to that of Oliver Herring, who I researched last semester. This piece was done by Suzy Olivera. It reminds me of the canoe that was displayed in the pollack hallway a year or so ago. It was carved out of wood, but also sculpted using images of wood. The process seems difficult, but I may be able to use a similar method to do landscapes. I'm very keen about portraying imagery though, and I think that in crafting something with this kind of dimension would make the piece more about the sculpture and less about the image. If I make something 3D, I'd want it to add to the imagery and the viewer's experience of the imagery. That said though, I think I could use similar materials (foam and printed images) to collage a piece that is more along the lines of what I've done up to now. One of the main obstacles though would be how to cover up the sides of the foam if I used it as a backing for photos. I could add more imagery to the sides, but that would have to be taken account in the entire collage.

Something very interesting that I did come across while researching 3D collage photography was a technology by Microsoft called Photosynth. It's a program that analyzes images for similarities, such as landmarks, and links them all together. It doesnt matter where the images are taken from, so it can essentially create a virtual 3D tour of a location using a number of images. These virtual tours can be tagged to a geographic location on Virtual Earth, which is Microsoft's version of Google Earth I guess. Therefore you can find a landmark via sattelite imagery, and then click down to ground level and take a virtual tour of it as if you were there. People use images available on sites like Flikr to create these "synths," so over time you could essentially tour the earth using the billions of images available on the web. While this technology amazes me, it also causes me to fully realize the possibility of completely computer-generated panoramic collages. I need to really push the creative side of my work if I want to set myself apart from things like this.

Panoramic Photography, Redefining the Collage

A photograph has long been a great way to capture a cherished moment, admired person, or scenic place. But why are these subjects almost exclusively portrayed with just one picture? The limitations of film very much founded the photograph as a single entity. Pictures were separated on film and developed individually into prints not easily manipulated with any amount of intricacy. Photographers limited rolls to a few shots here and there to conserve film, or used them up entirely to perfect one composition. From the second the shutter was released, the destiny of a photograph seemed without avail to lie as an isolated, physical object in whatever form it may take, be it a negative, proof, or framed print. It might have been displayed in a series with other like minded photos, but as a separate entity nonetheless. Digital photography however, has changed all this.

Gone are the days of tedious developing and limited manipulation. Photographers can take thousands of high quality pictures in one outing, all of which can be quickly uploaded into as well as modified by computers. Why then, are photos still thought of as individual entities, windows providing a cropped view of the outside world? Just because the age old format of a photo is that of a bordered rectangle doesn’t mean its border can’t be crossed. Is it not natural to wonder what lies beyond that frame? Digital photography brings with it the opportunity for photos to become links, building blocks, pixels, all part of a larger reality or "surreality." If one photo can capture a moment, then ten can portray an experience, and with ten times the detail. Now what about a hundred photos, or a thousand?

Most great works of visual art start as a blank canvas, white sheet of paper, or empty screen, each with limitless potential. Much of their brilliance resides in the process; the slow emergence of the image as the product of the artist’s mind, conveyed by hand and subject at any moment to unique creativity or sheer spontaneity. The digital revolution brings this process, one of the joys of art-making, to the realm of photography, a medium that in its basic form is still dubiously qualified as a fine art in the minds of some critics. While digital manipulations within a photograph have the downside of damaging the credibility of the represented image, a panoramic collage retains truthfulness, especially when the borders of the source photos are left distinct. In this way, a piece can embrace the process, one that alludes both to the digital world of pixels and the photograph of times past, while still depicting a limitless array of imagery. The artist’s creative intentions and manipulations are evident to the viewer in this case, as what might be a brilliant collaged image from afar becomes individually layered photographs up close. These same qualities are what make the oil paintings of Van Gogh or Monet so distinguished in the art world.

James Balog takes an amazing approach to this photographic method in his book, "Tree: A New Vision of the American Forest." In it, he collages multiple photos together to depict trees with a sort of detail and clarity that would not be possible in just one shot. For instance, he documents a large redwood tree by capturing and collaging hundreds of images from varying heights relative to the enormous subject, the resulting image of which fuses art, science, and spirituality. The lack of a single vanishing point causes the distant horizon to duplicate many times, but in this way the entire tree is portrayed in incredible detail from top to bottom. It essentially combines the perspective of a telephoto shot, which would be impossible to take in the dense forest, with the detail of a close-up. Tally in the collage of the surrounding forest and horizon, and you’ve got a work of art that’s just as beautiful as it is difficult to create, and that’s just one person’s inspired take on a process with infinite potential.

Try to imagine a spectacular image of a distant town nestled in a mountain valley. Since the image is a 360° panoramic, the snaking river opposite to the town is also visible. Furthermore, as the entire piece is composed of hundreds of individual photos, the river’s details are revealed at night by the full moon, while the town is displayed over several hours under the sun’s arc from rise to set. Finally, thanks to the limitless possibilities of the process, the sky is a brilliant collage of images taken over the course of several weeks, capturing a distant storm as well as both starry skies and billowing, sun-painted clouds above. For centuries painters and graphic artists have sought to represent imagery that visualize dreams and defy the limits of human perception. With the emergence of digital tools comes a more accessible and flexible opportunity for photography to do the same. Only in this case, in the manner that makes the medium so remarkable, it can be done with real images, gleaned from the light that so persistently reveals the breathtaking wonders of our universe.

I've been working with this process for a few years now, and have only just begun to realize the full potential of what it allows. The image here shows a fairly recent example, but anyone interested can see more of my panoramic photography on website linked.

Night Photography, the Urban Extravaganza

Most people know that cities create a huge amount of light at night. From the country, the road to the nearest metropolis is often identified by the distant glow of streetlights diffusing high into the atmosphere. I don’t approve of light pollution, as a starry sky on a clear night is one of the most amazing things you’ll ever see, but all of this excess light can definitely be put to good use. Whether it’s “burning” landscape pictures or satellite imagery of bright city outlines, photography is perhaps the only positive outcome of poor light management.

Night photography differs from the popular counterpart in a few major ways. The lack of a single prime light source means photos will have less contrast and shadow quality, but this is made up for in light diversity. One photo taken in a city may draw light from incandescent street lamps, fluorescent office lights, and sunlight reflected off a full moon. This creates a situation that’s near impossible to white balance for, and one shouldn’t try to, as the glory of night photography is in the uncontrollable variables. With longer exposures, camera sensors extract and amplify light from wherever available, often with fantastic and unexpected results. A changing stoplight or passing car can drastically alter an image, fog or overcast clouds can diffuse and reflect wayward city lights with incredible beauty, and a lack of consistent shadow often gives structures and objects a surreal existence. Tally in the array of colors from non white-balanced light sources and the camera becomes a kaleidoscope. All in all, night photography is a good way to convert some of that extra city light into

photos that are, more often than not, a pleasant surprise.

Anyone interested can see some of my night and panoramic photography on my website linked. I've been shooting in and around Richmond, VA for a number of years now without even denting its generous supply of photo ops.

Submission: London Calling Exhibition

This is a copy of the entry payment for the Myartspace London Calling Exhibition

Submission: Anderson Gallery

these are the images of my Anderson submissions

Visiting Artist: Paul Shambroom

Paul Shambroom had many documentary style shots of various factories and weapons facilities. Some of them seemed to portray a decisive moment, but for the most part he seemed to try to leave any subjective composition or focus out, letting the visuals of each location speak for themselves. The subject matter of the weapons facilities and bases was very interesting to me, and I enjoyed getting a firsthand look at them. There were only a few outdoor shots of the facilities however, and I found myself wanting to see more of the surrounding landscapes as well as the interiors.
Of the more recent work, I enjoyed the shots of local government meetings the most, as they captured a lot of character in the faces and rooms. The similar way each shot was taken also contributed to the series as a whole, showing careful composing but also maintaining objectivity. The photoshopped portraits were interesting but i felt could have been created on location with good lighting to be more successful than layer blending. The weapons and vehicles on public display just seemed too much like tourist photos and were not as interesting as the real thing.
He did have some good advice about gaining access to restricted locations though, something that I've always struggled with. He stressed knowing what you're asking for and why you would be denied access, as well as being sure not to lie while making good use of flattery and maintaining patience.