I’ve been scanning some of my older color film negatives using my Nikon "Supercoolscan" scanner. It actually seems to do a pretty good job on the color negs . . . not so well with B&W. (Of course, I have a lot more B&W negatives than I do color.)
I started using color negative film in 1997; I mainly used Kodacolor 100. (Tried using Kodacolor 200 but finally decided that it had too much grain.)
Very unique how one could get right up to the various Rembrandts and Vermeers—within a few inches. Gratifying to be able to do that, on the one hand, but on the other, seeing them as actual physical objects somehow seemed to reduce their iconic stature.
I think that there was a nice Charles Sheeler exhibit going on when I visited.
Photos: Drawing Rembrandt—New York, 2006; Statue—New York, 2006
I dropped my stuff off at the Oakland Farmer’s Market, parked the truck and went over to Peet’s for a cinnamon roll. As I was walking back to my booth site I spotted this bird sitting on an old hamburger sign. A-ha! I thought. Certainly that’s an immature Black Crown Night Heron!
Of course I didn’t think that. I couldn’t even find it in my birding book. Had to go to Barbara for the ID.
Photo: Black Crown Night Heron—Alameda County, 2009
Another entry in my New York series, focusing this time on the obligatory visit to the Metropolitan Museum of Art. I liked the view of Central Park and the New York skyline from the roof, and the vast entry hall. (Is it called the "entry hall?")
Photos: Skyline, Central Park—New York, 2006; The Great Hall—New York, 2006
That year I had been taking the Sierra Club’s mountaineering course and one of their talking points was that backpacking in the snow was great fun as long as you were adequately prepared.
So in order to practice our skills we took a group trip up to the Eastern Sierra, camped overnight at Onion Valley and then headed up towards Kearsarge Pass. I remember one incident in which one of my boots sunk a little bit more than I had expected into the snow and, as if in slow motion, I inexorably twisted and fell—backwards, my backpack squished in the snow as I struggled, turtle-like, to get back up.
At one point the snow started coming down pretty heavily. We set up camp well short of the pass, amidst foxtail pines. I shared a tent with Pat Brown—her husband, Rick, was unable to make it that weekend. I assume that that’s her in the photo.
Photo: Tent in Snow, Kearsarge Pass—Sierra Nevada, 1974
—My photos rarely are purchased as a gift for someone. They are almost always bought as a personal item.
—Farmer’s Market sales are, almost by definition, impulse buys. People are there for radishes and arugula, not photos (or jewelry, etc.) Thus the unlikelihood of selling big-ticket items. Not an impossibility, but unlikely.
—Therefore, one needs to determine what is the "maximum impulse price" that any given object can be sold for. One would think that small photos, selling for less, would be the best option. But no, small 4x6 prints on 8x10 paper don’t sell at all, even for $10.00 each. Even my elegant Nielsen-framed 11x14 photos are perceived as too small. So far the best-selling items have been unframed prints, about 8x10 image size on 11x14 paper. I’ve been selling them for $20.00 each, but that’s just too low.
—Farmer’s Market has been great for practice in trying out different booth ideas, practice in setting up and taking down, and experience in leaving the house and driving to a strange destination. Also good for perfecting one’s pitch.
Photos: Art Lover—Oakland, 2009; Wall of Pegboard—Oakland, 2009
I decided that two-sided pegboard easels aren’t necessary, so I converted one two-sided pegboard easel into two one-sided easels.
If the above isn’t clear, please sit down and re-read several times.
There are definite disadvantages to pegboard. Weight, certainly is right up there. Very unwieldy and heavy. Also, photos aren’t displayed to their best advantage, since they need to be hung at an angle.
The ultimate solution is to go 100% ProPanel. Disadvantage is, of course, price.
. . . at the Republican Party booth at the Marin County Fair.
Amongst the stickers there’s an interesting feminist slogan! The backstory is quite interesting:
At the beginning of her career as a historian of early America, Laurel Thatcher Ulrich published an article entitled "Virtuous Women Found: New England Ministerial Literature, 1668-1735." Could anything sound more narrowly academic than that -- a scholarly examination of a small subset of Puritan funeral sermons? But Ulrich's paper was destined to have a long history. It opened this way:
"Cotton Mather called them 'the hidden ones.' They never preached or sat in a deacon's bench. Nor did they vote or attend Harvard. Neither, because they were virtuous women, did they question God or the magistrates. They prayed secretly, read the Bible through at least once a year, and went to hear the minister preach even when it snowed. Hoping for an eternal crown, they never asked to be remembered on earth. And they haven't been. Well-behaved women seldom make history."
Since 1976, when that paragraph was printed in American Quarterly, Ulrich's final ringing sentence has appeared -- sometimes with the word "rarely" replacing "seldom" -- on T-shirts, coffee mugs and buttons. It has gradually grown into one of the best-known slogans of modern feminism.
As I was leaving the Fairfax Festival after a hard day of meeting and greeting customers I saw the evening light striking the blue siding on this building. Luckily I still had enough of my wits about me to take a few snaps. (A passer-by thanked me for bringing his attention to the scene.)
During the day I took a few minutes away from my booth to check out some of the competition. Never did find out what the exact story was on the peace chain (free, but suggested donations are $3.00—$10.00.)
Photos: Blue Siding—Marin County, 2009; Peace Chain—Marin County, 2009