BLACK&WHITE SERIES: ARTIST'S PAGE
WINTER 2012 VOLUME 1 NUMBER 4 ISSUE
"Night Before Last" by Katherine Aiden Taylor
About the Photo & Photographer Coming Soon
FALL 2012 VOLUME 1 NUMBER ISSUE
"The Shadows of Last Season" by Jordis Medoc
About the Photograph: Statment Pending
About the Photographer: Jordis Medoc is an artist, a writer, and a singer. She has showcased her talents all over America, as well as in France, Greece, England, and Spain. For more on her work, feel free to look her up on Facebook and/or email her directly at
jordis.medoc@gmail.com.
About the Photographer: Jordis Medoc is an artist, a writer, and a singer. She has showcased her talents all over America, as well as in France, Greece, England, and Spain. For more on her work, feel free to look her up on Facebook and/or email her directly at
jordis.medoc@gmail.com.
SUMMER 2012 VOLUME 1 NUMBER 2 ISSUE
"Twin Cabins" by Willy Conley
About the Photograph: Willy states, "This
photo is part of a series of “Mom & Pop Motels” that I have been working on
along U.S. Route 1 in Maryland. Mom
& Pop motels are non-franchised, independently owned and operated. The good ones are homey, unique, hospitable,
and relatively cheap, but they are disappearing fast. While I was studying photography in college, I often went on serendipitous photo trips during breaks, bringing along a portable darkroom kit in the trunk of my car. If I had to stay overnight somewhere, I would ask the motel desk clerk for either a ground floor room, or a cabin, and back my car up to the front of the door. Instant photo lab.
I always liked to develop my film right away, thinking that the images would be at their most optimal quality, Also, I did this for insurance against Murphy’s Law. If a roll of film sat around for too long, undeveloped, there was the risk of losing the film, getting accidental fog from something squashing it, or possible degradation of the image from each passing day.
My photo chemicals were mixed in the bathroom sink. I put a towel under the door, turned out the lights, and loaded up the developing reel with the recently-exposed film. Once I got the film onto the reel and into the light-tight developing tank, I was able to turn on the light and do the processing. Film was usually hung up to dry from the shower curtain rack; sometimes I used a hair dryer. I set up a little cheapo enlarger in the bathtub along with some aluminum pie foils filled with chemicals for developing the prints. I unscrewed the motel’s incandescent bulb and replaced it with my 15-watt amber safelight bulb, so I could see my prints develop. To print out postcards to send to family and friends, I only enlarged images up to 4 by 6 inches.
Of course, with the arrival of digital photography, all of this was no longer needed. But, like the Mom & Pop motels, the process was original, solitary, and fading away."
About the Photographer: Willy Conley is a Registered Biological Photographer who has worked a number of years in the field of biomedical photography at: University of Texas Medical Branch, Cedars-Sinai Medical Center, Johns Hopkins University, and Yale University. A graduate of the Rochester Institute of Technology, his photographs have been published in American Photographer, Industrial Photography, Deaf World, Deaf American Poetry, Folio, Rio Grande Review, Kaleidoscope, 34th Parallel, and The Antietam Review, to name a few. He is currently a professor of Theatre Arts at Gallaudet University, the world’s only liberal arts university for deaf and hard-of-hearing students, in Washington, D.C. If you wish to see more of his photographic work, please visit him at: www.willyconley.com. He can be reached by email at: wc@willyconley.com.
I always liked to develop my film right away, thinking that the images would be at their most optimal quality, Also, I did this for insurance against Murphy’s Law. If a roll of film sat around for too long, undeveloped, there was the risk of losing the film, getting accidental fog from something squashing it, or possible degradation of the image from each passing day.
My photo chemicals were mixed in the bathroom sink. I put a towel under the door, turned out the lights, and loaded up the developing reel with the recently-exposed film. Once I got the film onto the reel and into the light-tight developing tank, I was able to turn on the light and do the processing. Film was usually hung up to dry from the shower curtain rack; sometimes I used a hair dryer. I set up a little cheapo enlarger in the bathtub along with some aluminum pie foils filled with chemicals for developing the prints. I unscrewed the motel’s incandescent bulb and replaced it with my 15-watt amber safelight bulb, so I could see my prints develop. To print out postcards to send to family and friends, I only enlarged images up to 4 by 6 inches.
Of course, with the arrival of digital photography, all of this was no longer needed. But, like the Mom & Pop motels, the process was original, solitary, and fading away."
About the Photographer: Willy Conley is a Registered Biological Photographer who has worked a number of years in the field of biomedical photography at: University of Texas Medical Branch, Cedars-Sinai Medical Center, Johns Hopkins University, and Yale University. A graduate of the Rochester Institute of Technology, his photographs have been published in American Photographer, Industrial Photography, Deaf World, Deaf American Poetry, Folio, Rio Grande Review, Kaleidoscope, 34th Parallel, and The Antietam Review, to name a few. He is currently a professor of Theatre Arts at Gallaudet University, the world’s only liberal arts university for deaf and hard-of-hearing students, in Washington, D.C. If you wish to see more of his photographic work, please visit him at: www.willyconley.com. He can be reached by email at: wc@willyconley.com.
SPRING 2012 VOLUME 1 NUMBER 1 ISSUE
"Parus atricapitalist" by Brad Bateman
About the Sketch: No Statement
About the Artist: Brad Bateman currently resides in Ottawa, Ontario. His degrees are from Trent University and The University of Edinburgh. He has lived in Edinburgh, Salt Spring Island, Algonquin Park, the shores of Lake Erie, Quebec, and Southern Ontario. He has taught art and been a house parent at Lakefield College School, and Sedbergh School. Acting out his lineage, Brad’s art has been greatly influenced and inspired by his mentor and uncle, Robert Bateman, the renowned Canadian wildlife artist. He is currently pursuing his own visual art styles and composition, on a full-time basis. Brad is pleased to present his paintings, sketches, and drawing to an international audience.
About the Artist: Brad Bateman currently resides in Ottawa, Ontario. His degrees are from Trent University and The University of Edinburgh. He has lived in Edinburgh, Salt Spring Island, Algonquin Park, the shores of Lake Erie, Quebec, and Southern Ontario. He has taught art and been a house parent at Lakefield College School, and Sedbergh School. Acting out his lineage, Brad’s art has been greatly influenced and inspired by his mentor and uncle, Robert Bateman, the renowned Canadian wildlife artist. He is currently pursuing his own visual art styles and composition, on a full-time basis. Brad is pleased to present his paintings, sketches, and drawing to an international audience.
