Olive Hoover

"I consider myself successful only
when I do something that resembles the lack of order I sense".- Robert Rauschenberg

!!!!!!!!!

Cabinet of Curiosity.

Charles Brittin, Arrest at Los Angeles Federal Building Protest, 1965.

Charles Brittin, Arrest at Los Angeles Federal Building Protest, 1965.

Francesca Woodman, Self-deceit #1, Rome, 1977-1978. Gelatin silver estate print 25.4 x 20.3 cms, 10 x 8 inches.

Chantal Akerman, Mirror Still, 1971-2007, Mirror, 16 mm transfered to DVD

Joan Jonas kép, jonas a frieze-ben, az artpool-on (itt tükrös darabjairól Beke Lászlóval beszélget)

Happy Birthday Robert Bunsen!

Robert Bunsen

cross processing notes

By: Jim Causey

film notes (unrelated to photo)

Fuji Sensia 100 – Red
Fuji Sensia 200 – Green
Fuji Sensia 400 – Green

Fuji Provia 100 – Green
Fuji Provia 400 – Green

Fuji Velvia 50 – Green/Blue
Fuji Velvia 100 – Red

Agfa CT Precisa 100 – Green/Blue

Kodak Ektachrome 100 – No colour shift, increased contrast & saturation
Kodak Ektachrome EPT 160T – No colour shift, increased contrast & saturation

via, crossprocessing.

Pushing & Pulling Film:
you can read the full thread, or keep reading for my condensed version.

Pushing film involves deliberately underexposing your image, then asking your lab to push (over-develop) the film 1 or 2 stops to compensate. This results in higher contrast than you would get shooting and developing a film at its rated speed.

Pulling film involves deliberately overexposing your image, then asking your lab to pull (under-develop) the film 1 or 2 stops to compensate. This results in lower contrast than you would get shooting and developing a film at its rated speed.

Bear in mind that cross processing already increases contrast, so you may have to consider pulling the film to compensate. Here are a couple of real world examples:

• Its sunny outside, and what you are shooting is very high contrast. You shoot 200 ISO film as if it were 100 ISO. You then drop your film off and ask the lab to cross process it, and to pull 1 stop. This results in your pictures having more normal contrast while still leaving room for colour casts.
• You are shooting something indoors, and there is low contrast in your scene. You shoot your 400 ISO film as if it were 800 ISO. You subsequently drop your film off at the lab and ask them to cross process it, and to push 1 stop. This results in your pictures have higher contrast than they would have done normally.

Types of cross processing

• E6-C41: taking slide (colour reversal) film, and processing it in colour negative chemicals. This is the most common type of cross processing. It usually results in increased contrast with strong colour casts.
• C41-E6: taking colour negative film and developing in slide chemicals. This usually results in muted pastel colours with very little contrast. As a result you may want to ask your lab to push 2 or 3 stops to increase the contrast.
• E6/C41-B&W: taking colour reversal or negative film and processing as black and white. This results in a black and white negative. As colour film is usually more expensive than B&W, you may want to only use this technique if you are out shooting colour and decide you'd rather have B&W.

via, holgacrossprocessingtechniques


some cross processed images:
- The film used was Fujifilm Sensia 400/cross processed.

*First of all, cross processing may overexpose your image by about one stop. Therefore, you need to account for this when shooting. If you’re shooting 100 ISO film, just set your camera setting to 200 ISO. This will allow less light in, taking care of the overexposure. It’s best if you run a roll normally, with no adjustments, to determine if you even need to worry about this.

The first roll I did was processed pretty much on target, without any ISO adjustments.

via, photogformula.


some more enjoyable links:

Ten Reasons to Love Cross Processed Film

LOUISE GRAY — Spring 2010 RTW

makeup/hair:

thankoon hair

Lindsey Wixson backstage at the Thakoon fall 2011 show in New York on Feb. 13.
Photo: Getty Images

Heaven Sent

This is the most recent collection called "Heaven Sent" by designer Frances Wadsworth Jones.

puttin on all my clothes

psychadelic drips

Holton Rower pours paint over objects, & makes pretty, psychedelic paintings.

still can't get over the magical effect this dress has.

Freja Beha Erichsen for Georg Jensen

tanjko

By bliaaaaa noven This photo was taken on December 20, 2010.

Ron Klein

Ron Klein

again and again and again and again
2009
Appropriated Objects
10'x8'x2'

more book inspiration

And so you want to be a fisherman...
By Susan Jaworski-Stranc
Newbury, Massachusetts: Apple Cider Press, 2000. Edition of 10.

Susan Jaworski-Stranc: "A family crisis was this book's genesis, which took place a few years ago between mother & son. The writing of the poem was a means of working out complex feelings and emotions surrounding a universal parental issue – letting go. The book form is a metaphor for the poem. Through the use of prickly metal edges, sharp hooks, the act of untangling the fish from the netting as well as the unfolding of fish assists the reader to relate to the milestone on an intuitive-cognizant level. This deeply felt experience was made concrete through the book arts to share with others."

Autumn Ahn- Gertrude's Hands: closed 1"x2"|open 2"x4"

Quercus
By Rebecca Goodale
Portland, Maine: Rebecca Goodale, 2009. One-of-a-Kind.

20.5 x 14 x 3" closed; 10.5 x 14 x 96" extended. Silkscreen printed oak leaves attached to a 13 cotton strings, which are in turn attached to the bottom and top of the maroon cloth-covered box in which the work is housed.

The Chestnut Oak (quercus prinus) is listed as endangered in Maine's official List of Endangered and Threatened Plants.

Lift the cotton loop attached to the lid's exterior and watch streams of leaves rise on 13 strings like flags on a ship's halyards. Quite obviously meant for display, the lid can be hung from the cotton loop so that the leaves flutter delicately in the wind. Fully extended this homage to the Chestnut Oak rises to 8 feet.

Beautiful books by Freya Diamond

Check out these Flag Books by Freya Diamond. I love the way she's incorporated the figures within the accordion, and how she's incorporated the use of the artists work. so so so good.


Emily Carr, A Body of Work
By Freya Diamond
Sante Fe, New Mexico: Freya Diamond, 2010. Open edition, signed and numbered.
4.375 x 8.5"; six leaves. Opens to 20". Flag structure. Illustrated paper-covered boards with ribbon closure.


Georgia O'Keeffe
A Body of Work
By Freya Diamond
Sante Fe, New Mexico: Freya Diamond, 2009. Open edition, signed and numbered.
4.375 x 8.5"; six leaves. Opens to 20". Flag structure. Marbled paper exterior with ribbon closure.
Freya Diamond: "I've dressed Georgia in her own artwork."


Frida Kahlo
A Body of Work
By Freya Diamond
Sante Fe, New Mexico: Freya Diamond, 2003. Open edition, signed and numbered.
4.375 x 8.5"; six leaves. Opens to 20". Flag structure. Illustrated paper-covered boards with ribbon closure. Paper title label.



Matisse Odalisques
By Freya Diamond
Sante Fe, New Mexico: Freya Diamond, 2007. Open edition.
4 x 5.75"; five leaves. Carousel structure with five openings, each three-layered. Illustrated paper-covered boards with ribbon closure. Diamond uses works like Odalisque with Magnolias and Odalisque sur fond rouge to form a theater in the round.
On the subject of odalisques Matisse with characteristic honesty said: "I do odalisques in order to do nudes."

!! Mr.Newton shot this sexy sexy photo. Reminds me of something a little different i dreamed up a long time ago, and still plan on creating. so good. so so good.