No really big announcement, just thought that it was time for an update and there are a number of things to cover. My trip to the Northwest, late June/early July, went very well and I was pleased with my exhibit at Benham Gallery. The show, with Jill Waterman and Guy Griffiths, looked great and I made lots of new friends and enjoyed my stay in Seattle. When it was time to go, I wished that I could have stayed longer. Marita, who lives in an apartment in the back, and company made me feel right at home. Highlight of the visit was getting to know a young sweetheart named Hannan, who worked at the gallery as an intern.
I slept on a couch at Jason Hasenbank's, one of the other people with the gallery. He lives in an apartment on the top floor of the building that the gallery is in. He turned out to be quite a character and it was an adventure staying with him. I felt like I was in Haight Ashbury back in the 60's. First time I ever climbed up on a roof through a removable window in a skylight and then went down on the fire escape and in through a window then saw a light show projected on the walls of the skylight light well.
One afternoon, I drove up to the LensWork offices in Anacortes, took the shop tour and had dinner with the editor, Brooks Jensen. Brooks went on and on about his new digital camera, but I also learned a lot about printing and publishing, information that I hope to put to good use when my book is ready to publish. I think that I've got Brooks talked into doing an article on my grain elevator photography in the next Feb or April issue. But last time I checked with him, he "hadn't had that meeting yet" so we shall see.
I also had a chance to meet with Sue Hartke and Nathan Griffith at Corbis Corp. headquarters. I got the tour and had a chance to see just how big be an operation Corbis is. I also got to see how they select, scan, store, manage and market their huge inventory of images.
From Seattle I went to eastern Oregon for a private night photo shoot on the Sumpter Valley Railroad. The shoot was organized for me by Ron Brinton. The Railroad is a volunteer museum operation and I had five people and a narrow gauge steam train all working for me. After an evening of technical problems, everything finally came together on the last runby. I've developed all but the most important last group of negatives, they are the Grafmatic equivalent of still in the camera. But from the way the others turned out, including those from the solenoid operated second camera, they look as they should and the proofs are spot on.
Except for an afternoon and evening with Russ Dodd and his wife in Portland, I spent the remainder of the trip photographing grain elevators in Oregon and the Sacramento Valley. By the time that I was home I had shot up almost all the film that I had. I don't know when I'll get to printing these, but the proofs include some promising images.
I have submitted a two part article on Speed Graphic cameras to View Camera Magazine, they are working on editing it now and the first part should appear in the next November or January issue. I've got some other magazine articles in the works, but nothing definite yet.
My book on the Nevada Northern Railway Museum has been my main focus since getting home. I've put together a "dummy" of the book from the materials already on hand. I've got about 2/3 of the book together, but probably 3/4 of the work remains as there is still a lot of research, writing, printing and new photography to be done. I've had the good fortune to have already found resources for the history of the line, its equipment and its operations. The book is coming together nicely, in fact, if I can say so, the dummy looks even more impressive than I expected.
In the darkroom, I'm caught up, mostly, on developing and proofing negatives and now am back to printing again. First out were the night photos taken at Joel Jensen's photo weekend at Ely last February. Next out were a group of macro photos of antique bottles that I have acquired on some recent trips through Nevada. I'm now concentrating on images for the book and will be for some time. I've included a few examples of the above, below.
On the web site, I've added my "A 2002 Head" gallery to the site, a group of macro photographs of the head from my BMW 2002. All the images are now on the "Route 66" gallery, but I still need to add an artist statement. If you haven't looked at the site recently you may not have seen the "Vintage Cars" gallery. www.ihpworkshops.com
So far I only have a couple of people signed up for the Ely Workshop, but I'm expecting most sign- ups to come in as the due date approaches. There's plenty of room if you want to attend.
As I write this, I'm getting ready for the next trip. I'm heading to Burning Man first then going on to Ely for the third time this year. I've got an appointment with the two remaining boxcars (see my last newsletter) to get brakes on them so that I can use them at my workshop in November. I will also be taking my cameras into the backshops, depot and other buildings that I haven't photographed yet. Space is reserved in the book for whatever I come up with there.
Well enough for now.