The Martin Cooper Blog

The Impossible Update: 8x10 integral film

2010-09-24T17:31:00.000-04:00

This is huge news for the Polaroid 8x10 user, like me! The Impossible Project has reported that they have been extremely successful with developing the legendary 20x24 film, but that they started with smaller sizes, like the 8x10, and after building upon their success, have announced that they are in serious development on the 8x10. I hope to see this film available in the very near future. time for me to get out my Sinar F2 and my old lenses!! I CANNOT WAIT!

-mc

Martin Cooper Photography- facebook aware!

2010-08-04T11:26:00.001-04:00

I have just finished placing FB 'like' buttons on almost 80% of the pages throughout the site. I hope to be 100% in the next week. This way you will be able to share or comment on any of these pages with all of your FB friends. Please start clicking away and start sharing your favorites now!

Also please join The Friends of Martin Cooper now on facebook!

I have also been behind on my monthly play list. So much has happened in the last 9 month; life changing things, but I hope to be back on schedule in the near future.

-MC

IMPOSSIBLE - PROJECTS

2010-03-24T02:42:00.004-04:00

IMPOSSIBLE - PROJECTS- Instant Film is Back!

The 1^st

Impossible Instant Film

PX100 & PX600 Silver Shade

Our love, energy, passion and work dedicated to The Impossible Project finally lead to a happy end, which in fact is a promising beginning: on March 22 we presented our first, brand new Instant Film for traditional Polaroid cameras at a press event in New York City.

In our packed Project's Space on Broadway, journalists and invited attendees were beside themselves with joy when they learned that analog Instant Photography is now surely saved from extinction.

Horizon Court- Photographs by Kwaku Alston

2010-02-11T14:59:00.004-05:00

www.kwakualston.com

WANTED

2010-01-30T12:06:00.003-05:00

Wanted...

Art Director- I'm looking to collaborate with a young Art Director who has cutting edge visual sklills, in addition to understanding the sense of purpose and order that a site must follow. Must have a strong sense of branding. The art direction must reflect the work and vision of the artist. I am looking for a new paridigm. Your signature must be rich and lux...NOT clean and 'this is a fine art photographer's site.' Each page should have texture and movement. I am looking for an almost Victorian 'hand' and Steampunk feeling. I want the visitor to have a VERY interactive experience. Can be internationally based.

Website Designer/ Flash Designer- I'm looking to collaborate with a designer who can code the Art Director's vision, specializing in interctive flash. Can be internationally based.

Strong Graphic Designer- I'm looking for a strong graphics designer to collaborate with me on the creation of my digital assets. Must have a strong sense of branding, and can take an idea and run with it. Must also love Victorian era graphics, fonts, apothary labels, book covers, etc. Can be internationally based.

Strong Literary Editor- I'm looking for a super strong literary editor to work with me on a fiction-based book. This is NOT a photo-based book, but a book about a 19th century character. Must have excellent editing skills as well as (a bonus) knowledge of the Victorian era. They must identify with my series on the Pelvis. Can be internationally based.Please reach out to us...

Models- I'm always looking to collaborate with women who understand my vision on the Pelvis. If you have an interesting shape (waist/ hip ratio), please reach out to me. Must live in London.

Contact: martin@martincooperphoto.com

HAPPY HOLIDAYS

2009-12-01T04:28:00.002-05:00

Nov- Playlist

2009-11-01T15:54:00.000-05:00

Become a Friend of Martin Cooper on Facebook

2009-10-28T20:04:00.001-04:00

The Silhouette Self-Portrait

2009-10-22T16:55:00.007-04:00

I love all things 19th century. I started falling in love with it when we bought a 200 year old home in upstate NY, then it was cemented when we moved to London. Here is my self-portrait homage to the tradition of the silhouette portrait; a quintessential 19th century icon. October 21, 2009.

Polaroid: BREAKING NEWS

2009-10-14T06:01:00.002-04:00

BREAKING
NEWS

14.10.2009 / Vienna

THE IMPOSSIBLE PROJECT

INSPIRES POLAROID^® TO
RELAUNCH INSTANT CAMERAS

Dear Supporter of The Impossible Project,

the pleasure is all ours to herewith inform you about the latest and likewise groundbreaking news regarding our quest to keep Instant Photography alive by re-inventing a new analog integral film for vintage Polaroid cameras.

Already holding the first working hand-coated samples in our trembling hands, we are pleased to herewith announce an epoch making cooperation between Polaroid (who can no longer resist the stir we are making) and The Impossible Project:

The new licensee of the Polaroid Brand – The Summit Global Group – will re-launch the legendary Polaroid One Step Camera and is therefore commissioning The Impossible Project to develop and produce a limited edition of Polaroid branded Instant Films in the middle of 2010.

We are proud and excited that our ambitions and all the relentless work we have already invested are now becoming the foundation for Polaroid's comeback as a producer of Instant Cameras.

Large-scale production and worldwide sale of The Impossible Project's new integral film materials under its own brand will already start in the beginning of 2010 - with a brand new and astonishing black and white Instant Film and the first colour films to follow in the course of the year.

At this point we would like to thank every single one of your for all your overwhelming support so far- THANK YOU! It's fair to say that we wouldn't be where we are now if it was not for all your help.

For further developments, upcoming news and detailed updates please stay tuned to www.the-impossible-project.com

Sincerely,

Oct- Playlist

2009-09-30T19:19:00.000-04:00

October 7, 2009: Take Home a Nude Benefit Auction for New York Academy of Art

2009-09-29T16:18:00.006-04:00

Each year I donate a piece to New York Academy of Art's Take Home a Nude benefit auction. If you are unfamiliar with it, it is probably the most best kept secret in NY to buy museum level work whose proceeds will benefit the school. I urge you all to attend the evening at Sotheby's. You will find a goldmine of figurative art, in addition to amazing non-figurative art. Eileen Guggenheim, the board's chair, always curates a show stopper of amazing and compelling works (paintings, drawings, photographs, etc). I personally have built most of my collection from works acquired from the Take Home a Nude auctions.

I will be showing a very small version of this metamorphic harness from my Pelvis series that is probably about 25cm x 14cm, and is a little gem. The image is a type-C print, printed on metallic paper. It is also an image of my model and collaborator Zara.

Founded by Andy Warhol, New York Academy of Art is America's priemere institution in figurative art. I'm proud to be a part of this tradition for over 15 years.

Come by and take home a great nude!

Shots Magazine No.105- Male/ Female Issue

2009-09-21T16:34:00.006-04:00

Zara, Anatomical Harness, 2007

Pelvis Shape Poll- 500

2009-09-11T12:17:00.008-04:00

The Pelvis Shape Poll has reached 500 participants, and I would like to share the results thus far. I started this poll as a means to open a dialogue with women around the world asking them to choose from 6 pelvic illustrations the one that best represented their own shape and expression. For the moment, I'll let you reach your own conclusion about the numbers so let's blog and banter. Here are the results in the order that they are shown:

Classic-23%

Round-26%

Pear-21%

Bell-9%

Square-3%

Straight-17%

For ladies: If you're just coming to my blog or my site and would like to cast your vote in my poll, please click on the image and choose a shape that best represents your own pelvic expression.

For ladies and gents: would love to know what pelvic shape you find the most attractive. Please make your decision and cast your vote.

Sep- Playlist

2009-09-01T16:22:00.001-04:00

The Friendship Stone

2009-08-05T16:38:00.001-04:00

My dear friends, Cathy and Jill Raff, have launched a company to commemorate friendship, called The Friendship Stone and they are super excited about their recent partnership with Big Brothers Big Sisters of America. 20% of their sales will benefit this amazing organization as they open new opportunities in young people's lives.

Please show your support.

Aug- Playlist

2009-08-01T16:19:00.002-04:00

12 Things I Can't Live Without

2009-07-10T16:50:00.002-04:00

I just posted "12 things that I can't live without." These are things that help define me. I will periodically update the 12, so check back ever so often.

Jul- Playlist

2009-07-01T16:14:00.003-04:00

Fashion Life Drawing- 2 minute gestures

2009-06-11T17:44:00.003-04:00

The object of the 2 minute gesture is to get down the essence of the shape, the volume or the gesture...a shift in the hips, the upwards tilt of the jaw or the drop of the shoulder for attitude, in 2 minutes or less. I haven't done this in years (20+), and I loved it. I actually realized that I love drawing clothes far more than drawing the nude. Who knew!

2 minute gesture drawings. june 2009
London

Jun- Playlist

2009-06-01T17:33:00.000-04:00

May- Playlist

2009-05-04T07:16:00.002-04:00

INTERVIEW: Martin Case: ”Repetition to Grace”

2009-04-03T16:44:00.007-04:00

Composer, Producer, Performing Musician
Boston, MA

Martin Case is a well-versed performer, composer, and multi-media/audio producer. Martin’s history of dance clients includes The Bill T. Jones/Arnie Zane Dance Company, The Mark Morris Group, The Alvin Ailey American Dance Theater, and the Paul Taylor Dance Company. In the Boston community, Martin helps in the creative work of Harvard University, MIT, Boston Conservatory, and the Boston Ballet. Martin has composed numerous film/television/dance scores, and produced over a dozen full-length albums, in his own recording studio and in others around the globe. He is presently operating MartinCaseMusic and Sandpaper Studios, a customized music composing/producing company, performing with his group The Lee, and serving the global community though composition, production, and performance.

BACKGROUND
I first met Martin in 2001 when we collaborated on the Altis Ballet, an original dance work created by choreographer Rebecca Rice. Martin created and performed the original score during it's premiere.

NOTE: Martin has graciously provided TMCB with audio tracks and video links. Many of these pieces were created site specific and he asks that you listen to the works with headphones to enjoy and experience his music in its most pure form.

How would you describe the Martin Case 'sound?'
M: I would describe it as ethnic electronica with heavy jazz and classical flavorings.

When did you realize that you had a talent for composing music?
M: I was writing [music] at 12; I was hearing music in my head and it was a beautiful place to be.

Were you noticed or singled out from a young age?
M: No. Around 15 people starting noticing and no one was surprised when I went to university for music.

Did you have any creative influences within your family?
M: No. Interesting, that.

Where did you go to college and what sort of student were you?
M: I graduated from Berklee College of Music. I thought I was the least educated student going in and that gave me a sense of humility. I drank theory like water. I considered myself a monk; a dedicated student.

Is there a period in your life that you can say that your musical language was established?
M: After college. I felt like a secular math puzzle had been solved. I now could write any style of, and could play anything that I could hear, using ear training. Sounds cocky now, but the “what is the point of this?” question raised its head. Then I met Kwabena Owusu, who exposed me to West African music, and to the portal of music having a function, and a purpose in our lives. I then started learning West African percussion.

Could you tell us a bit about ear training? What is it?
M: Ear training is a technique where one attaches syllables to notes to determine pitch without an instrument, and to be able to play what one hears in all keys. "Do, a deer, a female deer, Ray, a drop" these are the pitches that are attributed to notes on the scale. Me Ray Do Ray Me Me Me is the first few notes of "Mary had a Little Lamb."

ON CREATIVITY
Can you share with us the space where you work? Where you are the most creative?

Martin's desk.

Detail of his desk.

Tell me a bit about how you approach creativity or how you come up with your next idea.
M: I feel like there are ideas to make manifest in my mind all the time; presently there are 3 in my head that must be created, then there are the ‘snippets’ that I want to create/explore, and this mentions nothing of what is done on the hard drive or, God forbid, there is a commission due…What I do now is capitalize on applying synergy. If I am hearing 15 drummers in one ‘snippet’ in my mind, and then a choir, and I want to explore this electronica aspect, and there is a commission due….I synergize all of these elements so they are all incorporated in the present work. I also allow a Darwinism to occur on what I hear in my mind. If a composition stays in my mind for a while, then I know that sound, melody must be made manifest. Because I have applied distillation/synergy process to what I create out of all that goes through my mind. Applying this distillation/synergy process has sated and channeled any creative desires that might arise; I am calmer about what I am working on, and now work on fewer pieces simultaneously.

Do you use anything visual as inspiration to create a sound? Meaning if you want to create a tribal sound...have you pulled tear sheets of indigenous people playing drums, etc. which is linked to my next question…
M: Fun question. I recently finished a piece for the Davis Museum in Wellesley College that was presenting a traveling exhibition from Dartmouth College entitled “Black Womanhood”. We were allowed into the museum to sit with the pieces, and a book articulating this collection was published with the same name. In the past, I have created scores for art galleries, and I would sit with the pieces or representations of them (photos, etc) and would be inspired by them. I think of my works as audio landscapes, so how the sound is placed and how it moves in space is inspiring.

Is there anything you do to prepare yourself before starting a piece...does it start with a few notes, anything that you can share with us? In other words, can you share the "birth of a piece" with us?
M: In many cultures, musician is the same word as magician, as shaman. One of the responsibilities of the shaman of a village is to travel to various spaces and bring back the knowledge and experience received.

Another function is to create sacred space. I use this function in my work to create a space conducive to particular thoughts and meditations. By creating a ‘room’, if you will, a musician creates the safe, sacred space for the listener. Using the room metaphor further: when one enters a room, one notices the surroundings, but, after spending time in a room, one begins to have thoughts and feelings that the room/sacred space evokes. This production technique is in contrast to the contemporary “notice me!” production technique, and is a theme through out the enclosed scores.

When creating a piece, how do you structure it? For example, when I make a fashion illustration, I always start with the head and work my way down. Can you tell me the process of where you start and where you end?
M: Many times in the building of such score, I will create a succession of ‘rooms’ or worlds. Each ‘room’ or world can contain many tracks; the attached screen-shots display the 2-track masters of each ‘room’ creation (A), and how these ‘rooms’ are attached together to create a whole (B). The concept of ‘room’ is synonymous with ‘world’ in the following text. I will go into detail within the composition Chan to illustrate this concept. Again, this architectural template is of interest, as it uses the creation and definition of space to guide the creation of the work.

Illustration A: Chan whole structure digital audio

Illustration B: Multiple Times, a sub-world of Chan

Illustration C: Notation excerpt from illustration B

>>Click here to play audio track of CHAN.
"Chan brings us through a cycle, from levels of innocence to cognizance, and to then re-begin the meditation (multiple times). This concept springs from the Mayan Calendar and aspects of Buddhism, in addition to countless other sources that acknowledge the cycles of living and being.

A fun compositional aspect of Chan was the incorporation of multiple time meters, as illustrated in the enclosed scores. A segue was designed to bring the listener from one world to the next, a holding space to center, before moving to the next world. As Chan develops, production value and the sonic palette consciously becomes more dense."

As space is an integral part of these compositions, I implore you to listen to the works with headphones or an otherwise wide stereo field. Some stereo fields are designed for particular theaters where they were performed to maximize effect.

What's your favorite part of that process?
M: Hearing it real for the first time, and the practice to create the music to that level.

Do you have any influences that you draw upon?
M: I-Ching, Buddhist thought.

How would you describe your work process?
M: A great pattern has been emerging lately: I will start writing a piece purely for the joy of it, not boxing it into a commission or my ensemble, The Lee (Martin’s own ensemble), and…..the next commission asked for precisely that work! That has been great, because I am creating work freely and it is being received. I am trying to find balance in the business and the creative side of being a modern musician. Both sides could consume your entire consciousness, and it is difficult to dive into either fully. The present answer is to ‘check out’ for longer periods when creating the basis of a work.

What was the path you had to go down to get your work to the level you wanted it? Have any of your tools changed?
M: Practice, essentially. I read somewhere that art is repetition to grace, which is why there can be an art to making a sandwich. To create audio worlds from your head from scratch, there are a variety of skills to learn, the least of which is engineering, producing, composing and being a decent performer, not to mention the business aspect that allows your work to be heard.

Wow. What an amazing quote…”repetition to grace.” That’s a mantra all creatives should meditate on.

Do you collaborate with others to do what you do?
M: I collaborate a lot with choreographers, and it works in a variety of ways. Sometimes they ask for the music first, based on our conversation. Sometimes there is a movement that acts as a motif, or they have set some dance to a scratch track. The beginning is dialogue. The most recent work, a dance score entitled Chan, Christina Chan wrote out a few ideas, and feelings, concerning how she wanted the mood, and listened to a few of my albums, picking work she liked for us to have a basis to begin with.

Is there anyone that you've had a long term collaborative relationship with that really gets what you do, and therefore enables you to shine?
M: The musicians I grew up with as a young adult, who were my age but were already in the West African drum core that I trained in when I arrived. They watched my transformation, and know what I’m doing. They are phenomenal players. I consider myself lucky to be considered a djembe player by them. Their names are Brandon Klarich and William Noel. Look them up.

A studio session

Do you maintain personal work? If so, can you tell us what you're working on?
M: The Ancestors is an example of creating, and then the placement occurs. Ancestors was partially created when choreographer Samantha Cameron called with a commission from the Davis Museum this fall. The piece was to talk about the ancient, colonial, and contemporary spirit of Black Womanhood. The score title ended up being the title of the full work.

>>Click here to play audio track of Ancestors.
The Ancestors Are Moving Through Us. "The score represents and creates for use the entering and receiving aspects of inhabiting sacred space. Background singing is an African chant; translation is “I praise Him with dancing.” Low bass and panning are used to create sonic depth. This score allowed me to play with creating bass tangibility.

As a performer and a composer, I believe in ‘getting out of the way’; to train one’s body and mind to fitness, then allow the music to come forth. Hence, this piece was of significance for me to create, and to build something I feel honors this experience was quite an opportunity. "

This is fascinating on so many levels. What connections did you need to visualize in order to connect with “black womanhood?”
M: There is a book Entitled "Black Womanhood" that accompanied the traveling exhibition; well written, and offered a great deal in articulating the various perspective the curator was trying to express. The choreographer, Samantha Cameron, and I were allowed into the Davis Museum soon after installation and 'sat' with the work together. Very fun.

How has authoring CD's influenced your creativity?
M: It helps one get a cohesive sound for a body of work. Not that I have been terribly successful at that, but it reminds one of that direction. It acts as a natural producer; the last album, first draft, was 3.5 hours long, and it had to be whittled down to 80 minutes. That will change when we abandon the CD.

What projects are you working on now?
M: Chan is about to be onstage in the spring of 09. Presently I am creating new work for my ensemble, The Lee, to celebrate our CD release party for Beyond East. Beyond East was just released, so there is a lot of marketing to do.

[You can purchase Beyond East on iTunes (martin case beyond east) and http://cdbaby.com/cd/martincase4]

How does living in a city like Boston influence your work?
M: It is an intellectual city that is attached to the world. People here are less sensual than other parts of the world, and maybe that is why so much gets done here.

Are there reoccurring themes that you pull from?
M: The responsibility of holding and creating sacred space, to get out of the way as an artist and let spirit come through.

The 2 following pieces (Thailand Outdoors Part 1 &2) are some of my absolute favorite works of Martin's. They are both stunning and incredibly powerful. It gets no better than this. Please listen through your headphones for maximum enjoyment!

Thailand Outdoors Part 1

Thailand Outdoors Part 2

What's your favorite piece of music, not of your own, and why?
M: Let Forever Be by the Chemical Brothers came right to mind. Isn’t that funny? Used to listen to it in the morning. Every morning, for a few months.

What is your favorite piece of music that IS your own, and why?
M: Ellen’s Coming is a beautiful work, and the video dance from Min-Tzu Li is stunning. Ellen Owre, the vocalist, did the vocals in one take. Improvising. Very cool, because there is definitely structure in what she is singing. Again, a beautiful example of ‘getting out of the way.

performance of Ellen's Coming

How do you see your career evolving or how would you like it to evolve? In other words, what is the ultimate dream that you have for your music?
M: To acquire composing work in gaming, film, and museum-style venues, and to have the Lee with an annual European tour.

What has been your most important inspiration?
M: Pure beauty; knowing what is right viscerally; my mentors. Really beautiful music that stuns you, or makes you feel elated. That reminds me of the right path, and floods me with energy (I’m listening to Let Forever Be right now).

CRAFT
What's your instrument of choice to work with?
M: Djembe Sax in performance, keys for composing.

Was it something that came natural or did you have to perfect it?
M: Playing! Jimi Henrdix says he never practiced, just played all the time. So if I would burn out on an instrument, I would go to another, that I was now charged about. That does not mean not to work out certain aspects of mastery, but it is to be heartfelt all the time.

Tell us about your studio set up?
M: I have temporarily shut down my large facility (2300 sq ft) and am working very much ‘in the box’ right now, and setting up a few mikes when I need live playing. The studio got to feel ‘Blingy” and I wanted to strip [it] down and get to base work. An article about BT’s set-up inspired me. There was almost nothing there- a keyboard and a monitor. And that felt so…clean. We will be rebuilding the studio in 18 months (24 track board, grand piano, drum kits, etc) but right now it feels impish not to have that over my head, and just to be working.

A view of the Artist's composing room

Do you employ any digital techniques to your work, or is it all analog?
M: It is a hybrid, between the worlds.

Are there trends in music that influence the way you approach a new project?
M: I try to stay plugged into the gestalt of the time. There is a reason we all luuved disco and then…we didn’t. The Mayans have this mapped out in 12 year increments over thousands of years, called tuns and baktuns.

What sounds or influences interest you most right now?
M: Electronica. I feel it covers a lot of ground, and a lot of people who couldn’t be labeled are here.

As a musician and composer, you aren't under the constant threat that your tools/ materials will disappear perhaps like with photographers; but having said that, are you noticing changes in your profession that may force you to work in a different way?
M: My profession has really been empowered by technology. The first reaction to all of this (the downturn in the economy) has been the freezing of even thinking dialogue about commissioning new work, so now is the time where everyone is saying hi and getting ready for the next wave. This too shall pass.

10 THINGS WE ALL WANT TO KNOW (okay, 13, couldn't edit down to 10)
1. What's the first sound you can remember?
I was 8 years old and would crawl behind the upright piano, and there I would listen to a young woman practicing ‘The Rose” and I was totally inside that sound.

2. How many instruments do you play?
Saxophones, piano/keys, djembe, djun-djun, flutes, mbira, melodica…these I keep to a professional level, and employ them all in performance weekly. With technology, I can now play broken glass and children’s laughter. Very cool.

3. What’s your favorite?
Piano, saxophone and djembe. On an island, piano. With a tuning assistant!

4. Which talent would you most like to have?
I have been blessed with creativity, so organization is the discipline that is the focus.

5. What’s your motto?
To be, rather than to seem- the Berklee motto. To become a better being by listening to ancestors, teachers and staying on the path.

6. Is there anything quirky that you do while you're working or being creative?
Ha! Yes-I roll up my pants to about half calf and can’t have anything on my forearms. I light incense to give thanks and to invite the help of spirit and ancestors.

7. What music are you listening to?
Field recordings; classical- love the harmonies. I have a 2 terrabyte library now with 2700 albums, so I put it on party shuffle and let it wash over me.

8. What are you most shy about?
My voice.

9. Whose diary would you most like to read?
Hmmm….I think Abraham Lincoln’s, on how to be a good leader. Seeing if that is available online now….(answer: no, but Booth's is…)

10. What was the most valuable lesson you've learned in the past year?
To have constant connection to teachers and ancestors for guidance. That linear thinking, logical thinking, is like the surface of the ocean as an analogy for thinking and consciousness, and to develop the tools below the surface of the water.

11. What do you want people to remember of your music?
That it spoke to them, and that they can ‘remember’ this music as part of them. To remember what thought/feeling was provoked while listening, and what it inspired.

12. What do you wish people understood better about your work?
What Martha Graham told us; not to get in the way of the work coming through you, but to create. It has been a mental task to pigeon-hole your work with a label while still allowing variety of ideas, and styles to be created. “Ethnic-electronica with heavy jazz and classical flavorings” means I can create a 15 piece drum ensemble, or 5 people pouring water in bowls with a flute player. I can create a waterfall of broken glass, a soprano voice, and an acoustic bass player. I just walked out of a meeting with advisers where I said “I am a composer whose music can be applied to dance, film and gaming, and I lead an ensemble that is sexy groove-based electonica that makes you proud to buy a $25 martini in a classy place” and they don’t get it. An artist has to be both good at his craft and articulate about what it is and why. Good time to be alive as an artist; good to be challenged as such.

13. what the next thing on your to-do list once you finish this interview?
Cook breakfast. Pack for Mexico. Going to see a teacher and friend in Arizona, then south.

WEBSITES
http://www.martincasemusic.com/

www.myspace.com/martinleecasemusic

Martin’s music and videos can be viewed at http://www.youtube.com/user/martincasemusic

You can purchase Beyond East on iTunes (martin case beyond east) and http://cdbaby.com/cd/martincase4

WHERE YOU CAN SEE MARTIN CASE PERFORM

Martin Case/Christina Chan: Tetris

Who:Dancers under the direction of choreographer Christina Chan, to score by Martin Case.

When: April 18th, 2009 8-10pm

Where: The Boston Conservatory Theatre 38 Hemenway, Boston MA USA

Concert information: please call 617.912.9222

Concept Ballet Costumes- 05

2009-04-03T16:25:00.000-04:00

click image to see other drawings from this series

The costumes for this ballet were again based on the modified tutu and leotard. However, in this one, I've created a round, pleated and shortened version of the tutu for the bottom, but playing with various ruched and grosgrain applied chevron effects for the tops. The corset or waist cincher is zipped up the front with supporting chevron panels laid and stitched on top.

April- Playlist

2009-04-02T03:04:00.001-04:00

Hong Kong

2009-03-29T05:36:00.005-04:00

24 March, 2008- 7:53am- A panoramic view of the storm brewing over Kowloon Harbor, as seen from my hotel room, The Renaissance Hotel, Hong Kong. CLICK on image to see panoramic view of the storm in the harbor.

Last week was a whirlwind trip: Singapore, Hong Kong and China... all in 5 days! The weather was horrendous, blustery and rainy, but what I always find amazing is the architecture in HK. HK is the petrie dish for each and every style of archecture that has existed in the last 20-25 years. I find it a unique experiment in the sense that HK has always had the financial stability to realize its projects, but also they have been able to create buildings on such a scale that it makes skyscrapers in New York City look like church steeples.

I have been going to HK (and Asia in general) since 1988, and with each time, I am just in gaga over the architecture, its people and the Blade Runner- like feeling of the city. Very Inspiring to still be able to feel its electric energy.

March- Playlist

2009-03-08T06:11:00.002-04:00

Burberry Prorsum Womens Show- AW09

2009-02-28T15:02:00.015-05:00

Last night was the Burberry Prorsum women's show in Milan. For me it was a frenetic trip in and out. I had fittings Thursday and Friday and the show was Friday night. Back home Saturday afternoon.

Below are some pics from backstage. Please click on each to see a larger, more complete view, as they are being presented cropped.

Calling Females Only!

2009-02-08T18:28:00.007-05:00

PARTICIPANTS NEEDED IN MY NEW SURVEY

I have been focusing my recent work on The Pelvis, a series as to why I feel the human pelvis is the most fascinating bone in the human body. Among many fascinating points of interest, the pelvis is one of the only bones in the human body that is gender specific. The male and female pelvis have very distinct differences in appearance.

Along this journey of research, it came to my attention through my wife, that her menstrual cycles seem to be tied into the waxing of the full moon. She has been collating her data since her teenage years. This seemed like the perfect connection between women, the waning and waxing of the moon and celestial bodies.

I am calling out to women who may be interested in participating in a survey that will record the first day of her cycle for 1 year, after which I will map the data against the phases of the moon and see if there is a conclusion of interest that I can manipulate and use in my series. I am calling this database the "Lunar Log of the Female of Cycle." If you would like to participate please email me at martin@martincooperphoto.com.

Your name is always private and confidential, and is only used to keep track of your data. If you decide that you'd like to participate, the survey will be for this calendar year 2009 (Jan- Dec).

There is one catch. You can't be on the pill and participate in the survey because the pill artificially regulates your cycle.

Please feel free to pass the word to anyone whom you feel may be interested in participating. I'd like to collect as much data as I possibly can.

I think it's an interesting thing for every woman do at least once in their lifetime. Thanks so much for considering.

What Shape Are You?

2009-02-02T04:37:00.003-05:00

For Women Only

Click on the icon image above and select a shape that best fits your own pelvic silhouette. Please look at the archetypes carefully and choose an expression that best exemplifies your own hips regardless of your body weight (you may be heavier or thinner than the drawings I show). Select your letter and vote.

The pelvis is one of the only parts of our bodies that is gender specific, with the ability to encapsulate so many emotions of self identity, sexuality, health, politics, mysticism, etc. There are no other bones in the human body that play such a dynamic role in forming the way a woman views her physical and psychological self.

Feburary- Playlist

2009-02-01T17:46:00.004-05:00

What Shape Do You Find Attractive?

2009-01-27T03:35:00.007-05:00

I've uploaded a recent survey that both men and women can participate in!!

It is similar to my "What Shape Are You?" poll that asks women to select one of the drawings that best represents their own pelvic expression.

THIS poll, however, ask BOTH men and women to select a pelvic expression that they find most attractive or ideal.

Please click on the image to go straight to the survey to make your selection and vote. You'll see the results of the poll once your vote has been submitted.

The results my surprise you!

-mc

Pom- Pom Harness: Clara

2009-01-04T16:19:00.006-05:00

The Pom-Pom Harness is my very latest development. They are highly complex and what I like to think of as a conceptual mix between a cornucopia (horn-of-plenty) and stellar constellations. That's right, I see stars in them. Do you?

The harnesses are made of carefully shredded pieces of calico, that are in turn made into pom-poms. I created this series on Clara, and an image from it was used as my 2008 holiday card. Please give me a shout out if you liked it!

xmas 2008 holiday card

Please make sure you come back to the TMCB blog, as I will be posting other portfolios of Clara in the months to come.

Metamorphic Harness: Lucie

2009-01-04T15:46:00.006-05:00

Lucie is an AMAZING corsetier. She makes corsets, and she totally got what I'm doing with my series on the pelvis. Lucie is as tall as I am (over 6 feet), and has a waist to hip ratio of 0.68. What I liked the most about her pelvic expression is that she has a very small waist and an extremely sharp high-hip shape. She is a classic "bell."

The metamorphic harness that we created is actually one of my favorite ones ever. It is balletic in feeling like a tutu.

Metamorphic Harness: Clara

2009-01-04T15:38:00.004-05:00

Anatomical Harness: Clara

2009-01-04T15:00:00.006-05:00

I began working with Clara here in London in September of 2008. We worked quite intensely on all aspects of the series but focused mainly on the pelvic harnesses. This is an aspect of the series where I drape live on the model a 'harness' made of calico.

Clara had razor sharp focus and seemed to be almost psychic. As I was just about to suggest to her to move her hand, shift her weight, tilt or swing her pelvis to the front or back...she would just do it. Clara has a low waist-to-hip ratio of 0.67.

I later created the Pom-Pom harness series with her.

Concept Ballet Costumes- 04

2009-01-04T14:34:00.006-05:00

The costumes in this ballet are based on the paintings of Lucas Cranach the Elder (German, 1472–1553). The costumes in his paintings are rich and highly textured, and appear quite modern as a concept today.

I had the great fortune of seeing a major exhibition of his work at the Royal Academy of Arts this year.

January- Playlist

2009-01-04T07:29:00.002-05:00

PEACE ON EARTH

2008-12-04T17:05:00.007-05:00

Dear All,

If ever there was a time to be thankful, this is it.
I wish you all peace on earth in 2009.

-mc

Special Holiday Playlist

2008-12-01T18:18:00.002-05:00

November- Playlist

2008-11-09T14:35:00.006-05:00

Please come back in December to get my perfect Christmas playlist!!

INTERVIEW: Jefferson Hayman

2008-10-01T01:45:00.001-04:00

Artist
Tappan, NY

Jefferson Hayman is an artist that works in the themes of nostalgia, common symbols and memory. He lives and works in Tappan, NY, a small town located minutes outside of Manhattan and filled with the history of the American War of Independence. The Museum of Modern Art (MOMA) has recently purchased a portfolio of Hayman's work.

Hayman's show, Jefferson Hayman's New York, will be on view at the Allen Gallery, Sep 25th- Oct 14th, 2008. 547 West 27th Street, New York City, 10001. 917.202.3206. www.allengallerychelsea.com

BACKGROUND

What is your first memory of photography?
J: Like a lot of us, it was via family vacation photographs. My parents took slide photographs, so a few weeks after we returned home from vacation and the slide film was processed, a slide show was announced and after dinner we would gather to review our memories projected onto a huge wall in the living room.

Did you study photography in school?
J: I did not. My major was in drawing.

When did you realize that you had a talent for photography?
J: It was around 1999 or 2000. I had been living in NYC for a few years and felt very comfortable with the city. I started photographing the city as reference for some drawings I had planned – the photographs had such a power to them that it felt wrong to attempt to translate them into drawings – the preliminary studies became the final project. If you had told me then that in a few years time I would be making my living as a fine art photographer I would have thought you were highly delusional.

Is there a period in your life that you can say that your visual language was established?
J: Yes. During art school I took jobs at frame shops. I did this because I was broke and knew that by doing so I could get discounts on frames, glass and other items I needed to exhibit and sell my drawings. At these frame shops I became fascinated by presentation, specifically how the frame would have a profound effect on the work of art it surrounded. My creative output and my obsession with frames were on a collision path, sometime in 2000 I decided to print a photograph of mine to fit an empty antique frame I had hanging on my studio wall. The effect was like a time capsule. My black and white photograph was eerily enhanced by the antique frame. I knew it at once: I will work backwards. I will find antique frames and print my photographs for them.

I know that you recently got married. Congratulations! Has being married affected your work in anyway? Is your wife part of your creative process?
J:Thanks Martin. My wife, Erica, works in advertising so sometimes I review my new images with her and get feedback from her. Married life is great – I believe it helps the creative process.

ON CREATIVITY

Jeff, tell me a bit about how you approach creativity or how you come up with your next idea.
J: My imagery is kind of like a visual diary. When I see something, anything, that catches my eye for some reason I capture it. I may not use or return to that image for years later or sometimes not at all. I hate to seem so matter of fact about it all but I just simply photograph my surroundings.

Do you have any influences that you draw upon?
J: Too many to mention. I devour art history books and draw great inspiration from the past. I must admit that I do not follow the contemporary art scene as much as I probably should.

How would you describe your work process?
J: Constant production. Since my work involves a sub category, the frame, I always have plenty to do. I wake up early every day and either work in my home studio or go to my wood shop (to work on frames ) which is a few miles away. The rest of the time is spent shooting, printing and of course promotion and getting the work out into the world.

How does living in a city like New York influence your work as an artist?
J: The great thing about NYC is its all within 5 blocks of you. Really, anything you need is within 5 blocks. The city offers me constant inspiration, a great selection of supplies and also a great audience. The culture of this town is unbeatable.

As you continue to work, how has New York changed and do you find that you are having to look harder to find the gems to shoot?
J: Absolutely. Greater NYC has changed so much. The buildings that I admire – the older structures filled with character, are all being torn down. The city will soon be a place for the super wealthy only. I feel that NYC is re-inventing itself; perhaps not for the better.

Are there other cities that pull on your heart strings like New York City?
J: Amsterdam. I love that city also – it is like a time-warp back to the 17^th century when Holland was the America of its day.

You represent the tradition of photography well. It's classical subject matter, analog printing and unique toning, but refreshingly modern. How do you maintain the feeling of freshness while still working within the classical genre?
J: It's very difficult to do so; the editing of one’s work becomes paramount. I often decide against images of mine that are too rooted in the past or also images that seem too new. A timeless look is what I am really looking for in my work.

What are you working on now, and does this direction differ from where you've been before or is it a continuum of the current path?
J: Well I had some fantastic news recently – The Museum of Modern Art purchased a portfolio of my images of NYC. To say I was floored by this is an understatement. This made me rethink NYC as a subject and I am re-applying myself to creating a whole new body of work devoted to Manhattan over he next year.

I'd love to hear your thoughts about trends in the current fine art photography market (ie: mural scaled color prints). Where do you think your work fits into the pyramid?
J: I love the fact that the trend is now for mural sized color work, because it makes my work shine brighter. I will just keep doing what I do regardless of what the fashion of the month is. Trends in art are fascinating to watch – they become dated so quickly and start to look awkward. You know when you see really bad 70’s art? The passage of time can be incredibly hard on an art movement.

10 THINGS WE ALL WANT TO KNOW

1. 3 things you cant live without?
My wife Erica, my imagination and my dear old Leica.

2. Morning person or night person?
Morning person

3. Still life or figurative?
Still Life

4. What's your greatest extravagance?
Antique picture frames. I simply cannot pass them up.

5. what is something that you covet for your craft that you don't already have?
I would love to have the ability to print my work in platinum.

6. How many days a week do you shoot or print?
I work every day and usually print 2 days of the week.

7. Meter or hope and a prayer?
Meter.

8. What website do you find influential now?
I am obsessed with the potential of Facebook.

9. What music are you listening to?
Morrissey’s greatest hits & Radiohead.

10. What the next thing on your to-do list once you finish this interview?
Get back to work; I have a show that opens in one week…

Website
www.jeffersonhayman.com

All images provided in the interview are courtesy of the artist.

October- Playlist

2008-10-01T01:01:00.000-04:00

Burberry Prorsum Womens Show- SS09

2008-09-25T16:21:00.009-04:00

I was in Milan on Monday night working backstage at the Burberry Prorsum women's spring summer 2009 show. The show was spectacular and consistent with the mens show in June. Please visit Vogue.com to see the full show from the front row.

Video clips I filmed. The first 2 are of Agnes Deyne, THE model of the moment.

INTERVIEW: Domenico Foschi

2008-09-07T07:27:00.030-04:00

Photographer
Whittier, Ca

BACKGROUND

What is your first memory of photography?
D: When my father bought me a Polaroid camera for my birthday. I played around with it but it wasn’t until much later that I really fell in love with photography.

When did you realize that you had a talent for photography?
D: I am not sure. What I do remember is a very personal experience that I had which made me understand the power of photography, but I’ll leave it at that, because it truly was something very strong and personal.

Were you noticed or singled out from a young age?
D: The mother of a dear friend showed some of my images I had printed in my bedroom/ darkroom to a friend who, at the time, was a photographer at the local Newspaper. He wrote me a letter of encouragement with very positive comments. After two years of learning, I started taking pictures for the Italian Socialist party, the City of Ravenna administration, and a few local magazines and newspaper.

Did you have any creative influences within your family?
D: Unfortunately in my family, Art wasn’t invited at the table. It is a true miracle that I have managed to keep it alive within myself. It hasn’t been easy though. When you don’t have true support, things get pretty difficult in any discipline you want to get into.

Can you tell us more about your family life and what your family expected from you? For example, my father is a dentist and it was very difficult when I was growing up to find a common ground with him on. I’m an artist; he’s a doctor. I ended up learning how to make a dental analogy to just about everything so that he could understand what my life was about. What were some of your challenges growing up?
D: I arrived at the age of 14, when I had to do the choice for a school that would give an imprint to the direction of my career, without being able to find out what I really wanted.

I had an unsupportive and critical father and my mother wanted to see his last son occupy a respectable place in society, becoming a lawyer or a doctor...

At the time I decided not to rock the boat and I opted to please my mother. I am glad that photography came back into my life: you can never escape from who you are, it always come back in one way or another. It seems to me that in my family it wasn't really a matter of caring for each other but more a power game and when they came to know that I wasn't going to school anymore it really was about me having lack of respect toward them.

Where did you go to college and what sort of student were you?
D: I went to Liceo Scientifico, which is a preparation for University to get into medicine, mathematics, or even Law. I was terrible at it! The last year of school I re-discovered photography and I immediately abandoned college to get into it.

Is there a period in your life that you can say that your visual language was established?
D: I am not sure, Martin. What I can say is that when I arrived here in the US my work went through a profound change, and from then it has been an ongoing process.

My personal growth goes hand in hand with the growth as an artist. They are strictly intertwined and there is no way to say which comes first.

What kinds of profound changes did your work go through?
D: I finally realized that my work wasn't supposed to look like anyone else's work. I realized that I had a personal way to view things with my camera and I found the courage to express them as I saw them.

ON CREATIVITY

Tell me a bit about how you approach creativity or how you come up with your next idea.
D: In the past, I used to give myself assignments on a specific subject and develop them. In time I realized that this approach was starting to stifle my creativity and I wasn’t able to cope with it. It was as if I had given myself orders and that’s how my creativity HAD to go. I didn’t like it. My approach presently is just to go out and shoot whatever happens to be there for me. In time I see that from this apparent Chaos a certain order appears and different projects bud from all these images. It is a longer process but surely it’s not as painful and stifling.

Do you have any influences that you draw upon?
D: My influences are many and not only from photographers. Of the photography masters I always repute the work of Kertesz, Bresson, Penn, Avedon, Coburn, Weston, and Bravo. Music is very inspiring as well and Beethoven, Bach, Chopin and the 70s/80s New York Underground are my choices. Painters like Schiele, Klee, Kandinsky, Picasso, and many more are the ones that helped me find courage to explore. In literature Kafka, Thomas Mann, Orwell, and Wilde are some of the writers who put me in different creative states of mind.

How would you describe your work process?
D: A little chaos, and a little structure. The shooting stage is always given to chance. I rarely prepare, even in portraiture with large format cameras; the developing and printing stage instead has more structure.

Your images are poetic, romantic, haunting and representative of an age gone by. What was the path you had to go down to get your work to the level you wanted it? Have any of your tools changed along the way?

D: You are right in calling it a path. Every artist’s work develops in sync with his/her own growth as a human being. In my work, every portfolio I have produced is a thermometer of where I am in my growth. This growth is given from coming to terms with my past. In my images there is this longing for a simpler life, for a life without inner conflict. That’s why my compositions are simple, reduced to the essence and they suggest stillness and silence.

My tools have changed. I have been using large format cameras for a long time and I love the approach to photography with these tools, I have used 150 years old lenses for about 12 years, but now I feel that a change is needed. Mind you, I am not saying this as badge of Honor, but I was using these lenses when almost no one was using them, then slowly people started to see the potential of these imperfect optics and now there is a real abundance of photographers who think they have found the Holy Grail that will finally make them produce masterpieces. By seeing hundreds of swirly images I have been growing tired of them and I feel I want to go back and re-explore sharpness, or something like that.

Now I am thoroughly enjoying 35mm cameras and street shooting. I love to see people through the lens when they are absorbed in their life. I love to be able to see their Beauty and Humanity.

Wow…exactly in the same way that Edward Weston felt the need to leave pictorial photography that had dominated the scene for years! He, too, felt the need to make images with sharp clarity to set himself apart from the rest. This moment really ended the pictorialist’s movement.

Do you have role models (past or present)? Those who inspire you creatively or as a person?
D: I get inspiration from many people, from artists to people I see on the street. I get inspired by stories about the human spirit especially and what lies embedded in the fabric of reality.

Artistically, Egon Schiele is the artist who inspires me the most. Concerning personal growth I observe bits and pieces of strengths from different people and I try to incorporate them in my persona.

Do you collaborate with others to do what you do?
D: The only feeling of collaboration is when I have a model in front of me and when we are in sink with each other. That is a special feeling that I am sure you know very well. Otherwise, I generally don’t believe in team work.

I definitely understand the model/ artist relationship. For me, I really can’t do what I do without the model. Do you maintain personal work?
D: All my work is personal.

What are you working on now, and does this direction differ from where you've been before or is it a continuum of the current path?
D: At the moment I am working on many different things: street photography, portraits, nudes and walls. Street Photography is definitely a radical change from the approach I have been using for 18 years. For all this time I have been using mainly large format cameras to medium format. I had become a snob toward the small format. I needed a more contemplative approach and that has served me well. With time I realized that I was missing life; I was missing the interaction with the fugitive spark that makes people alive, human.

Foschi's Street Photography

Portraits are a great vehicle to hold Beauty in my hands, to capture that particular wisp of light on a little girl’s eyebrow, to capture the moment when the sitter has dropped the “ACT” and allows me to enter and gives me the gift of Human Dignity.

This is what I seek mostly in my sitter, the spark that makes us unique and at the same time shows us that we are part of the same design.

These 2 images (below) about are probably some of my absolute favorites of yours. Both are just stunning and awe-inspiring. Can you tell me the back-story of who the boy and girl are and how you came to shoot them?
D: The little boy at Penn Park happened as a fortuitous moment, I had always been attracted to the tree in the background and I wanted to see how it looked out of focus on the ground glass. I had composed the image like you see it and all of the sudden this kid, curious to see me with this old camera and this brass lens, sat on the rail of the bridge and observed what I was doing.

It was one of those moments. I was acting as fast as I could. I don't remember if I metered the scene. The negative is quite contrasty, and I was hoping the kid wouldn't move. He was frozen, he was studying me as I was studying him. I am glad you like the image.

And Emily...I had seen this young girl for the first time 2 years earlier and she was in the company of her grandmother. I was stunned by the eyes of this girl and I couldn't hold myself from asking the grandmother if I could take a picture. She was perfect, skinny, with a white flowery dress and these big eyes that spoke of secrets and enchanted gardens. The grandmother asked the girl who shyly said she didn't want to. I had to give up; I didn't insist. I became friends with the woman and two years later the girl agreed to some pictures. When I saw her I noticed she had changed and the spirit that transpired was somewhere else. She had become more grown up; a little bit of the innocence was gone.

I was lucky because the light was exquisite that late afternoon. It was really almost evening. I took 6 exposures and I loved the wisp of light on her eyebrow. Depending by my mood, when I see that image, it looks like those eyes are either bursting with tears, rage or an inner smile.

Nudes are something that I have started recently and I am very excited about it.

The woman’s body is a vehicle to a true spiritual experience. I have always wanted to start working with Nudes but I felt I wasn’t ready. I can say now that the images I am producing are pleasing to me and I am looking forward to working much more on them.

Lets talk a bit more about your nudes. As you know it’s an absolute passion of mine. How do you find your models?
D: Model Mayhem is a good venue to find available models.

Are they women you know?
D: Sometime I do ask friends if they would be available because I am attracted to a specific part of their body that I want to highlight and render on paper.

Asking a friend can present a problem in the beginning, depending on the model, but then as the trust increases then it's like gliding on water.

Is there a specific way that you work with a model?
D: As I said earlier, I trust that something will be given to me.

I don't prepare the photo shoot too much. I do not like uniformity of background in my images most of the times. Once I get at ease with the model and the surroundings, then I am able to see images. I welcome the unexpected and I put all my trust in natural light and the infinite ways it shows in front of me. A small movement of a leg can mean a successful image instead of a boring one, like the image I show you.

As a photographer, I have personally witnessed (in about a three year span) both my paper (Agfa) and my film (Polaroid T55 & T665) disappearing. What concerns do you have regarding what you do, or how you are able to do it?
D: That is a frustrating trend that seems more and more challenging as we go forth. The demise of Polaroid has put a dent on the creative community and I am sorry for you whose work I admire. The film industry is also going through a deep change but there are companies who are committed to the preservation of silver imaging. The problem is that prices are getting ridiculously expensive due to the fact that most of these manufacturers are in Europe and the dollar is suffering [against the euro]. Kodak has been slowly abandoning silver and their prices do not reflective the level of a respect for the community that loves the medium.

CRAFT

How would you describe a Domenico Foschi photograph?
D: A representation of how I understand Beauty.

What’s your medium of choice?
D: Silver, but I want to explore more stuff soon.

Was it [the medium of choice] something that came natural or did you have to perfect it?
D: It took a long time to work on my printing skills. I used to be a fearful printer; I didn’t want to learn. I didn’t want to get frustrated in the darkroom; even proof prints were a waste of time for me. In time things changed. I find that silver has always been considered a medium with limitations, and it is, if used in the traditional way. Lately I have been able to achieve tonalities from a silver print that make them look almost like platinum prints. I am going to get threatening phone calls for this!

CHEERS!!!!

I totally hear you on that!! I’m thrilled that you think the same way. Most people assume my prints are platinum because of the color and its tonal range…but, it’s not. To get a print to look that way takes great effort on the shooting side as well as the printing side.

How does working in large format affect your creativity? Do you have patience and accept the slower speed, or do you wish the system was faster? In other words, how have you made it work for you?
D: I love the slow approach of large format; it has helped me to develop an aesthetic I couldn’t have developed otherwise. After 20 years of large format you develop a certain confidence in the tools that can make you gain speed in the shooting stage

Can you tell me about your toning techniques and your color palette? Did you need to develop your own toning recipes and formulas in order to get the right paper/ chemistry combination?
D: Ilford Warmtone paper has been my choice for a long time and I couldn’t live without my smelly Kodak sepia toner, the original formula. All I do is dilute it with 50% more water in order to slow down the process and have more control.

I love the "push and pull" feeling (bokeh) of your images like the one below. By that I mean what's in focus and what isn't. Can you tell us about the lenses you work with that help create that mood?

D: Those are the Petzval lenses I have used for a long time.

Characteristic of this lens design is the sharp rendering of the center of the image, while the edges get increasingly blurry, affected by optical coma. This is distinctively one of the effects that I seek in my images, together with a very pronounced shallow depth of field, also an obvious characteristic of this optic. The photographer should make a judicious use of these lenses. I see many images done with Petzval lenses where the exploitation of its characteristic seems almost gratuitous, without a real purpose.

I have several Darlot lenses from mid 19^th century in my collection. Which maker do you use?
D: I like Darlot and I use mostly Dallmeyer and I have also used a Conley lens.

Tell us about your set up: camera, lights, etc.
D: Oh, no lights. Natural light is my favorite thing. I try to keep everything at the minimum when it comes to gear because of the weight of Large format cameras and because walking for a while is a necessary thing. When I shoot 4x5, I use a backpack where I put two lenses, my Speed Graphic, a light meter, filters, about 20 film holders and a small tripod with a strap. 8x10 is a bit more of a problem. For my 8x10, I use a wheeled suitcase where I fit the camera, two lenses, a light meter and 7 to 8 film holders. The tripod is a different and heavier one but a strap really help to make the transport easier on me. Gradually I am really moving away from 8x10 not so much for the weight reason, but because I would like to enlarge 8x10 negatives and I am not able to due to darkroom limitations.

What kind of 8x10 camera do you shoot with?
D: I use a Kodak 2D. It is a very old one. I find it one of the few cameras that are able to hold these heavy lenses attached to a speed Graphic shutter assembly.

I also have a gorgeous Kodak 2D 5x7 in pristine shape and I am planning to do some nudes, contact printed.

Jewels...:-)

Was your set up something that came natural or did you have to perfect it?
D: Because of my choices of shooting with a wide lens aperture, I have found myself in need of fast aperture speeds. For 4x5 shooting the problem has been solved by buying speed graphic cameras that allow me to use 1/1000^th of a second using the old brass lenses I mentioned to you. For 8x10 I have had to “kill” one of these speed graphics and strip them down using only the shutter that fit to the front standard and the lens can be used very effectively. It takes me about two days to adapt the shutters, it’s not a really big deal. I always encourage my students to bend the tools to their own needs and not the other way around.

Do you print your own work? What are the pluses and minuses either way?
D: Yes, I print my own work. I wouldn’t do it any other way and no Lab on the other hand could print my work with the directions I give them. I have tried once. I went to this well known Los Angeles lab where this internationally famed master printer was looking at me with this expression of disapproval as I was giving him directions for this very intricate print. I would have done it myself but the size was too big for my darkroom. In few words he told he wouldn’t follow my directions, and that was that.

Printing my own work allows me to explore the negative in a very personal way. I have been printing for 23 years now and I am at a stage where I know almost every time how to achieve something. I like darkroom work. I do not see any negative side to it.

Do you employ alternative processes or equipment to create the look of your work?
D: Almost every portfolio has a different look. To me presenting a body of work is like telling a different story every time and the look of a portfolio is how the story is told. My alternative processes have always involved, so far, silver printing, but it is not a rule. The portfolio “Tarnished” promises an alternative process of silver printing. In this portfolio I sepia tone the highlights, selenium tone the shadows and the midtones and then I brush the entire print with straight Potassium Ferricianide, photographic bleach. The portfolio about Italy instead is about sandwiching the negative between textured material and, in many cases involves a sepia toning as well.

Are there other photographic techniques that you're dying to learn?
D: I owe it to myself to learn Gum Printing, Platinum and Bromoil.

Do you employ any digital techniques to your work, or is it all analog?
D: I have done only one project that involves Digital manipulation with Photoshop: Leaves.

I’ve personally just started to work in color, and I'm surprised that I've actually found a vehicle in my work that I'm comfortable with to express color. Do you shoot any images in color... and if so, how have you used color?
D: Color is a very interesting medium that I find very expressive. When I think color, I think subdued hues, almost monochromatic. I will be doing some in the future. So many things I want to do.

MARKET

As a fine art photographer, what have you found to be the most successful way to bring your work to the market?
D: I am not sure, honestly. I am slowly and steadily developing a rejection for the art market: it disgusts me.

How do you feel the gallery system works for you? Does it enhance the creative process and allow it to flourish or does it hinder it?
D: It depends what kind of relationship I have with the gallery. I am the kind of person who needs to choose his own direction because I find my work very personal, but input is always appreciated. It helps sometime to have the suggestions by someone who is not involved so personally in the work.

How has the internet influenced the exposure of your work?
D: Radically. 70% of my marketing research is done through the internet.

I would love to hear your thoughts about trends in the current fine art photography market (ie: mural scaled color prints). Where do you think your work fits into the pyramid?
D: AH! It doesn’t!! I find it most frustrating. I have nothing against large scale prints. I live in Los Angeles the capital of “everything loud”. It seems that the intimate approach to a small print is something unheard of; it is almost as if people are so used to living in their frenzy and they are not able to stop anymore. If they see a small print it’s as if they have seen a fly on the white wall. It is not unusual to hear from a gallery: How big do you print?”

How do you determine how large or small an edition size will be? Do you take any factors into consideration such as the complexity of the printing or toning, for instance, to help you make that decision?
D: Usually, by project. My first project has been issued in editions of 62, but all others go from 10 to 25 to 30. I am planning to get to 5 as well.

I usually print in editions of 15. there’s something special about less than more. I just showed a few color pieces. I editioned them to 5.

10 THINGS WE ALL WANT TO KNOW

1. 3 things you cant live without?
Photography, love and good food.

2. What’s your greatest extravagance?
Rent?! No, I am not sure. I am not an extravagant person, I think. I sometime let my child out and I do silly things that only a child would do.

3. What is something that you covet for your craft that you don't already have?
A LEICA M6!!!

4. Which talent would you most like to have?
To love in a thoroughly unselfish way and being loved in return.

5. Do you wear gloves while you print?
No.

6. How many days a week do you shoot?
Six, in a good week.

7. Wet plate or platinum?
Wet plate

8. What percentage of your time is spent on your commercial work?
Very little

9. People or objects?
People

10. What the next thing on your to-do list once you finish this interview?
Go and take a walk

Domenico Foschi was born in Bari, Italy, in 1962. Although constantly exploring different kinds of creative media since childhood, he discovered a love for photography after stealing his brother's camera to document a short trip. He was nineteen at the time.

Unable to afford a formal education in photography, he turned to books in order to learn the techniques of the masters. Domenico found power in the photographic expression of Alvin Langdon Coburn, Kertesz, Steichen, Stieglitz, Strand, Sander, Penn, Avedon and Mapplethorpe; all of pivotal importance in his inspiration as a Fine Art photographer. Working in the Sergio Guidetti Studio Fotografico, Domenico received hands on training in wet plate processes, the use of large format cameras, and developing and printing techniques.

Domenico then put his skill to a different use and worked as a freelance commercial photographer in Ravenna, his home-town, shooting primarily for magazines, newspapers, city administration and political figures. However, he eventually realized that commercial photography did not allow him to express his creativity in a personal way.

Domenico moved to the U. S. in 1989, an opportunity which has afforded him the production of four different portfolios; ranging from portraits, Urban Landscapes, Still Life, and images of cemetery statuaries. Despite his fine art focus, Domenico has not abandoned all commercial work given he has occasionally created CD covers for recording artists.

D. F. has won awards and honorable mentions for his Fine Art work and his images are in collections throughout the United States, Europe and Latin America.

Websites

http://www.dfoschisite.com /

http://www.myspace.com/domenicofoschiphotography

All images provided in the interview are courtesy of the artist.

September- Playlist

2008-09-01T16:45:00.000-04:00

*Site Update: The Pelvis Series

2008-08-12T15:45:00.008-04:00

A Life’s Fascination

If my work were to focus only on one anatomical attribute, without a doubt, it would be the Pelvis. I began this series several years ago as a means to express why I feel the pelvis is the most fascinating and controversial bone in the human body. I find that all women have something interesting, if not profound, to say about this part of their body.

The series is broad and expansive. It includes photographs and drawings, abstracted hieroglyphic shapes of the pelvis and video installations. This new series also marks my first foray into color.

Please visit this new major site update to see the work.

New Company to Assume Production of Polaroid Materials

2008-08-12T03:23:00.002-04:00

NEW YORK—The investor and philanthropist Daniel H. Stern and long-time Polaroid artist John Reuter have reached "an agreement in principle" to assume production of the chemicals and products needed to make Polaroid images, the Wall Street Journal reports. In February, Petters Group Worldwide, owners of Polaroid Corp., announced that they would stop producing the company’s well-known instant photography film.

Despite the development, Stern and Reuter only appear to be interested in a particular, and rather rare, form of Polaroid. Their new company, 20X24 Holdings LLC, will support only the Polaroid 20x24, which was introduced in the late 1970s as a glamor product. The 20x24 produces large-scale images and, according to the Journal, “requires a camera as big as a refrigerator, an enormous lens, movie-bright lights, and, crucially, skilled operators.” Though only six of these cameras were ever made, the 20x24 was critical to the careers of such artists as Chuck Close, William Wegman, Lucas Samaras, Elsa Dorfman, and Timothy Greenfield-Sanders.

In 1985, Reuter, along with Eelco Wolf, a former marketing director at Polaroid, set up a 20x24 studio in SoHo. As the Polaroid Corp. declined, Reuter began to worry how long his contract and supplies would last. Now 20x24 Holdings has set up a new studio in Tribeca, where Reuter continues to work with artists and commercial photographers on what he calls the "king of all Polaroids."

In addition to his camera, four other 20x24s are still active. There is one each in New York, Cambridge, Mass., San Francisco, and Prague.

By ARTINFO
Published: August 8, 2008

August- Playlist

2008-08-01T06:01:00.001-04:00

The Final Breath; The Demise of Polaroid

2008-07-21T13:53:00.007-04:00

I received this email today from Jane Crossen on behalf of Judy Wong, Marketing Manager of Harmon Technology Limited/ ILFORD PHOTO. the letter clearly states that Harmon Technologies/ ILFORD will NOT assume the manufacturing of Polaroid films. In spite of the huge response they received from the photography community, they feel that "Despite the best efforts of both parties involved they have determined that there is not a commercially viable way forward."

Please see their complete email to me below. This is a grave day for Polaroid users around the world.
------
Dear Polaroid User

Many thanks for returning the questionnaire in which we canvassed views and opinions on the Polaroid situation. All the questionnaires were read and analysed and it was of great interest to us to be able to confirm the high regard in which the Polaroid brand is held and also how passionate users feel about its possible demise.

HARMAN has issued the following statement.

"HARMAN technology Limited, through its monochrome brand ILFORD PHOTO, and Polaroid Worldwide have been in discussions about the possibility of ILFORD taking on production of Polaroid’s black and white professional instant sheet film. Despite the best efforts of both parties involved they have determined that there is not a commercially viable way forward.

HARMAN’s Chairman, Howard Hopwood said: “The processes involved in the manufacture and assembly of professional instant sheet film products are very demanding and it would require substantial investment to re-establish them at HARMAN technology’s site in Cheshire, England. When compared with current and projected sales for the products, it was clear that such an investment could not be justified”

Howard Hopwood continues: “While we had hoped to work together on continuing the production of instant sheet film, it is cost prohibitive to meet the declining demand. As a company we are saddened that such an inspirational form of expression will disappear, but we will always remain staunchly committed to the long-term future of monochrome photography in all its facets and we will continue to do everything we can to support it.”

For more information on ILFORD PHOTO, visit: www.ilfordphoto.com

For more information on HARMAN technology, visit: www.harmantechnology.com

If you would like to go on our mailing list for information on future products and promotions please reply back to this email. Your details will NOT be passed on to a third party.

Again, many thanks for your comments and views and for taking the time to respond.

Regards

Jane Crossen

for Judy Wong,

Marketing Manager

My Workspace

2008-07-12T14:59:00.011-04:00

OrchisArts Studio
London

In light of the many interviews to come here about the creative process, i have asked all the artists and creative thinkers to share images of their desk or workplace. the images have to show where they are the most creative and it must show the tools that they use to create whatever it is that they create. if you read my interview with model and poet Zara Carpenter, you can see her bed; the intimate space where she works and writes her poems. i thought it only fair to share my desk, the place where i sit and find the space to be creative. the concept is that by seeing the physical space the artist works in, and the tools they use, it helps connect the dots of how they work and do what they do. TMCB offers an intimate peek behind their "curtain."

These pictures are of me and this is the place where i draw. karen took these images of me in the OrchisArts studio here in London. this is the way that it looks on most days so here's the quick tour. i always keep my pelvises close to me. i like being connected to them. i like their structure and their symmetry. i have a collection of probably about a dozen or so, but i only brought 3 of my favorites with me when we moved to london, so this is a great place to start: the light tan pelvis on the table (left side of image) was given to me by an orthopedic surgeon friend of mine several years ago. it's male, but unless you're trained to identify the sex of a pelvis, they look more or less the same. then there is the darker colored one...more like a dark chocolate, that is buried in the bookshelf just to the left. it's actually the favorite in my collection. it's female, made of a ceramic material and weighs a ton. i believe it was made as a teaching model and has a riveted plaque on the base "Clay- Adams Co. New York." i just love everything about it. moving on to the far right of the image, there is yet another pelvis on the bookshelf. this one is much smaller than the others and lighter in color. it is probably the 'prize' in my collection. slightly creepy, it is the pelvis of a 8 or 9 year old girl (it's only 7.5" or 19 cm in width). she's always brought me great luck, and gives off wonderful vibes.

on the table you will see several things: a large conch shell, or shells in general. i always keep them near to connect me with the beach. karen and i love the sea. i also like Diptyque candles (i love the gardenia scent). the one on the table was a gift from our friend sam when he came to visit us a few weeks ago. you'll see doc martin's concentrated watercolors near my paint set and my sable brushes that i keep in a cartier watch box that ive used probably since i was in high school. i sketch mostly with a fountain pen filled with black ink (you'll see it in my hand. it's disposable from Pilot, called the V pen), but im also drawing with old school pen and ink. i have always been inspired by the illustrator Graham Smith, who is a master of the medium (come back in a few weeks to read graham's interview). you can see my old school cork handled nib holders, bottle of sumi ink, hunts artist's nibs (the small blue box resting on the paint tray lid) and my moleskine sketchbooks (that i never leave home without). there's even a company that will custom hack the cover of your moleskine with a laser engraving of an image of your choice. the pearl inlaid box was something that picked up at the grand bazaar in istanbul. there's my italian phrase book, a Vogue magazine and my trusty blackberry that keeps me connected to the office 24/7. the book that im finding so inspirational to me right now is a monograph about the artist Lucas Cranach. i was quite inspired at the recent show of his work at the royal academy of arts. Cranach was a 16th century german portrait painter who, most notably, helped create the image of the protestant reformer martin luther. (Come back later to see the next uploaded concept ballet that will be based on cranach's portraits.) on the bookshelf behind me, you'll see a selection of books on 19th century architecture, a real passion of mine.

I'm a uniform dresser. i generally wear black jeans, a black cardigan and a crisp cotton shirt. it helps keeps the options down and makes life simple, and i like the graphicness of it.

All images shot by Karen Suen Cooper.

July- Playlist

2008-07-02T05:05:00.002-04:00

The Lure of the East

2008-06-30T15:32:00.005-04:00

Tate Britain
June 30, 2007

left: henry william pickersgill, james silk buckingham and his wife elizabeth, 1825
right: joshue reynolds, mrs baldwin, 1782

Yesterday, karen and I went to see the lure of the east: british orientalist painting at the tate britain. It was a spectacular show which focuses on british paintings and drawings from the 19th century until the 1920s.

The show contains numerous images that were made in egypt, palestine and turkey that attempted to capture the mood and essence of the people of these regions broken down into 5 themes: portraits, genre, religious and domestic life and landscapes.

The images are incredibly rich, lush, seductive and highly romantic. in contrast to how this part of the world is portrayed in the media today, this show is a full on assault of the senses, and gives a glimpse into the mysteries of a world gone by. these are a few of my favorite highlights from the exhibition.

james sant, captain colin mackenzie, c1842

frank dicksee, leila, 1892

me at the tate britain

Chatham Girl Opening

2008-06-28T13:22:00.012-04:00

Chatham, Kent
27 Jun, 2008

last night we trekked down to Chatham for the Chatham Girl reception party at the new art center. as mentioned in a previous blog entry, the show was a culmination and survey of work that was produced by a dozen or so artist who have all collaborated with poet and life-model zara carpenter. i showed 3 images from my pelvis series and it was the first time ive shown color.

other works included by fellow artists were paintings and figure studies, an amazing embroidered portrait of zara, fashion photography by Rikard Osterlund (zara's partner), and a video installation. i personally loved the pencil portrait from Iris, who is a vision-impaired artist.

introducing zara to friends

Rikard Osterlund, Zara's boyfriend

onlookers

me and the chatham girl, zara carpenter

Burberry Prorsum Mens Show- SS09

2008-06-22T07:06:00.016-04:00

MILAN
June 21, 2008

yesterday was the mens prorsum show in milan. the weather was super hot and backstage was even hotter than july! but that certainly didnt distract from the energy. the design team was backstage dressing the models and getting the guys lined up for Christopher (Bailey) to do the final touches before they walk out onto the catwalk. everything about this show seemed to flow with ease. everything was SUPER organized and ready to go. but what was most appealing was the casual elegance of the clothes.

the collection was inspired by the late british painter, filmmaker and gardener, Derek Jarman. the collection reflected Jarman's casual style of layering t-shirts, cardigans, a outerwear...and of course Jarman's crumpled panama straw hat. to read more about the collection, please follow the link to style.com.

after getting my model into his looks, i had a moment to snap a few photos. most of the images are backstage vs. the runway exit. because it was so hot, the halogen lights were kept off until the very last second before the show started and the models were put into their outerwear just before christopher did his final tweaking.

The Pelvic Harness

2008-06-12T04:00:00.013-04:00

A Life’s Fascination

If my work were to focus only on one anatomical attribute, without a doubt, it would be the pelvis. I began this series several years ago as a means to express why I feel the pelvis is the most fascinating and controversial bone in the human body. I find that all women have something interesting, if not profound, to say about this part of their body. The casting for this project required that I look for unique women whose waist-to-hip ratio is 0.70 or less. It means their waist is 30% smaller than their hip, and gives off a specific expression.

Model with 0.67 waist-to-hip ratio

The series is broad and expansive. It includes photographs and drawings, abstracted hieroglyphic shapes of the pelvis and video installations. In another aspect of the series, I'm curating images from women around the world who contribute images of themselves; images of their own pelvis. This portion of the series is a celebration of what it means to be a woman through the diversity of each.

Part of the series deals with making conceptual costumes that frame and accentuate the pelvis. I drape them live on the model incorporating her own unique anatomy into each design. The model wears a white leotard so that I can pin the calico fabric to her. They are bespoke and one of a kind. No harness fits another. The images are a byproduct of my concept of actually pulling one's pelvis to the outside... abstracting it in a very particular, very beautiful way... then re-creating that shape into the physical form so that she can actually wear it. When worn, she is literally able to wear an abstraction of her pelvis. In pencil, I draw the abstracted shape that I see in my mind’s eye directly on to the panel of calico that's pinned to her body. I navigate around her bone structure to include all the critical referential landmarks. Once the shape is perfected, it’s inked in with pen. Afterward, I remove the panel and voilà, the pattern piece has been captured!

In the beginning, the harnesses were very structured and anatomical in feeling (see below). They followed the strict contours of the female pelvis, mimicking the rise and fall of the Iliac crest or amplifying the bridge of the pubic symphysis. When you see the harnesses, you know that it is an abstraction of the pelvis, and it is distinctly female.

Anatomically inspired pelvic harness, draped and inked on calico

I’ve recently started a new direction with the approach that I don’t know what the end result will be. I now drape the harnesses in a way that is about capturing the moment, verses my initial approach of making a structured canvas harness. The harnesses have transitioned from being anatomical into something that is more ethereal and instinctual, and highly decorative. They serve as metaphors to express a woman’s dynamic, complex and oftentimes zany energy. They are more intricate and fragile than before and semi couture-like; perhaps a humble attempt to bridge my life as an artist to my life as a designer. Once the session is over, and I photograph the model wearing our otherworldly creation, nothing is kept or survives from the session. Absolutely Nothing.

Metamorphic harness

Please join us in the first ever exhibited images from The Pelvis series. If you're in the UK, we would love for you to come to the opening June 27th, 2008 (7.00 til 9.00) to see my photographs and say hello. The show will hang from June 24th- July 1st, 2008.

Chatham Girl: The Exhibition

The New Art Centre
Phone: 01634 812108
272 High Street 
Chatham , Kent
ME4 4BP

Open Monday to Saturday 10.00am til 5.00pm
Closed Sunday.

INTERVIEW: Zara Carpenter

2008-06-11T15:22:00.032-04:00

Writer, painter, life model and maker of pretty things
Chatham, UK

I met Zara in October of 2007, shortly after we moved to london. i was casting very specific women who have a very low waist/ hip ratio to work with me on my new series about the human pelvis. her hyper-low ratio of 0.67 has made her one of the main anchors to this project.

from our very first conversation there was an instant connection. she was so chill, and honest, and candid about her life and the journey that she's taken. in corporate speak, she had true transparency. what i found most interesting was the fact that she described herself as being disabled. when i asked what this meant, she explained that she was born with a condition called hypermobility. of course i had no clue what that meant. she was open to explain that the ligaments in her body that connect the bone to the muscles are not connected like other people. her bones can migrate or shift or actually dislocate, and is the cause of many accidents and falls. her femur (thigh bone) can randomly dislocate out of the hip socket. she can rotate her knee caps to the back of her leg. it is a source of chronic pain for her.

when Zara first came to the OrchisArts studio, i had no idea what to expect. when i opened the door, i saw a tall slender raven haired woman with a razor sharp Louise Brooks hairstyle. she was alive and vivacious.

Together, Zara and i make decorative harnesses that frame and accentuate the pelvis in a very organic way (come back to read future blog about the pelvic harnesses). Zara wears a white leotard and stands on an apple box and i pin and drape the calico fabric live on her body. the sessions are filmed and photographed. once the session is over, nothing is saved; nothing survives.

Zara has also inspired a unique collaboration that i am proud to be part of. she has inspired an exhibition entitled "Chatham Girl," (of which this interview coincides with) which will feature works from artists that she has collaborated with over the years. the artists are from diverse disciplines, each creating specific works inspired by Zara. if you're in the UK, please come to the opening June 27th, 2008 (7.00 til 9.00) to see my photographs and say hello. The show will hang from June 24th- July 1st, 2008.

The New Art Centre
Phone: 01634 812108
272 High Street 
Chatham , Kent
ME4 4BP
Open Monday to Saturday 10.00am til 5.00pm. Closed Sunday.

Zara is also an incredible published poet. when she came to the studio, she gave me a copy of her latest book published in 2007, Reflections of a Dancing Bear, a book of 30 poems. i remember reading it on a flight to New York. i emailed karen when i landed because the visual imagery-- connected to raw visceral emotion-- was staggering. i 'got' what she wrote about. though our life experiences differ, i connected with it, and there i found the beauty in it. im thrilled to be able to post 3 poems of hers in this interview. i encourage you to explore her work further.

BACKGROUND

When did you realize that you had talent for writing?
Z: I am not sure that has happened. I suppose the first time someone else said I had a talent for writing was at Youth Club. I was 15, my father had just died and I had no one to talk to, no one understood. When you are a child or young adult and you lose someone, people don't know how to react or what to say, I found many people avoided me, it was an incredibly lonely time.

Words poured out of me onto every scrap piece of paper, walls, anywhere and everywhere. I wrote and wrote the things in my head. I had my conversations on paper not out loud.

My youth worker (Bill Lewis one of the original Medway Poets) read some of my work and said I had a gift, he encouraged me to continue and read other writer's work.

I think if it wasn't for him and writing I wouldn't be alive now, sounds terribly over dramatic but after my dad died life was so cruel, a couple of awful things happened to me I was raped (looking back now it was totally my fault). I tried suicide at 16, which I am hugely ashamed of now.

I was literally screaming for someone to help me, my writing was the answer, I think my writing saved me.

Was writing something that came naturally to you or did you have to perfect it?
Z: I always had words in my head so I guess you would say it comes naturally although I am not an academic and found English Literature hard at school. I loved to read but as soon as I read anything I would forget it and I am useless at spelling, punctuation, grammar. it all jumbles up to me. Many of my writer friends think I am dyslexic.

Did you have any creative influences within your family?
Z: Mum and dad influenced me enormously both were hugely creative in very differing ways. Mum weaves, spins, knits, crochets and loves to sing and dad was a competition hairdresser who also loved to paint and sketch.

Some of my earliest memories are my dad painting and sketching my mum I guess that’s why life modeling comes so naturally. I would sit on the floor next to him and draw and copy him

(Image right: scan of a drawing Zara did of her mum. She believes she was about 4 when she did it. Image left: scan of a sketch her father did of her about age 4)

Is there a period in your life that you can say that your writing style was established?
Z: My teens. having said that it has changed and matured. I have learnt to edit myself which is hugely important as a writer. I think when I was younger, I wrote purely through my emotions.

ON CREATIVITY

You have inspired an exhibition to showcase the works of artists from many disciplines who all have created works of art inspired by you, how did the exhibition come about?
Z:I was having lunch down at the art centre last year with some of the artists I work for (Wendy, Peter and Nick) and they said they had had a meeting a few days before with my boyfriend (Rikard) and wanted to put this exhibition on based on me. As to why and how I inspired the exhibition I'm really not sure, what do you think?

Oh, i think it's simple. it's because you are the core connector to all these people. you are our 6 degrees of separation! do you know about that story??
Z:Ha ha, i know the Kevin Bacon game. Yes i think this exhibition is about a group of diverse artists and i am the link which brings them all together.

Tell me a bit about your approach to creativity or how you come up with ideas?
Z: My creativity tends to be in extremes, manic bouts of words spewing out of me with very little sleep (I suffer long periods of insomnia when I am writing. my mind just will not rest) or apathy when nothing comes to me and my mind wants to be lazy and my body has to rest.

What do you do when you're not feeling creative? what gets you up and running again?
Z: If the words are not coming to me i tend to be creative in other ways. i paint large very textural paintings based on colour schemes i see in nature. I also make things, i guess that comes from my mum. she taught me to knit and crochet, and a couple of friends and i get together to make and sell things.

(detail from large scale work)

If i am not feeling creative at all it's usually because i am ill. i find my illness consumes me once in a while, in those times i try to rest, take things slow, do all the things which i find comforting and safe (cooking, watching films, gardening)

In those moments life slows down, it has to and in those slow times i find i see the world differently because i have time to really look at it. i start to see all the very small things you miss day to day. i see the beauty in the mundane things that you normally don't notice. I like those times, that's what usually gets me up and maybe not running but walking.

How would you describe your work process?
Z: Untidy, erratic, and feral (below is a scan of a page from Zara's work book. She noted to me that she started this page with the line “she wears purple blooded eyes.” Please see her poem further in the interview entitled New Road Lady)

Can you share with me the birth of a poem?
Z: I write everything down as I have a lousy memory. I have scraps of paper in my handbag, pockets, drawers, by the bed, everywhere. Just a sentence or even one word I have heard or read can become the conception of a poem. I have a weird gift for dreaming poems I often wake up with them in my head, which I scribble down before they vanish (poems can die as quickly as they are born in a mind as forgetful as mine.)

(Image left: Zara's work place. Her bed.)

When you write down a poem, how much do you "whittle it" to get it where you want it, or is it considered 'done' once it hits the paper?
Z: I try not to change my poems too much as it changes the sentiment or emotion it was written with. having said that, sometimes a poem will drive me crazy and i change it so much it becomes something totally different. I'm never 100% sure a poem is complete. i can go back to them years after they were written and see a new path for them. I take polaroids of myself when i think a poems is complete its an experiment i started a few years ago, i want to see if the emotion of the poem shows in my face once it has been finished,and sometimes yes it does.

Wow, that's really interesting. Can you share an example of a poem and the polaroid that expresses that emotion?
Z: I wrote this poem when my mum was taken very ill. i am hugely frightened of losing the people i love. i have had such a huge amount of loss in my life and every once in a while i have a panic about it. this was one of those times. The scary thing about the polaroid is i was crying when i took it and i look so much like my mum. i usually don't look like her at all. I changed the title of the poem from "Fear of Loss" to "A Letter To The People I Love" at a later stage.

A Letter To The People I Love

I fear you leaving
The sight of your back
As you walk away
I fear death
Not mine
Yours

I cling on to what’s gone
Grasping hold of my pain
A white-hot poker
Eating into my hands
Unable to let go
Sticking like jam
Did I tell you of that day?
My worst day
A grey room
The dense smell
Of cleaning fluid
And sickness
Holding his bleached fingers
Long thin and warm
I felt sleepy
Looking at the seconds pass
On his digital watch
Lulled into content daydreams
By his lopsided smile
I felt the rhythm
Of a pulse
One pulse
I held my fathers hand
A dead mans hand

I fear you leaving
The sight of your back
As you walk away
I fear death
Not mine
Yours

Are there reoccurring words, themes or imagery that always seem to appear in your work?
Z: Themes I often explore are pain and death, it is terribly cliche but my work is my therapy and the two things that have had a huge impact on my life are pain and death. I was born with a condition called hypermobility it means my joints can dislocate very easily (often daily) this causes me a huge amount of pain. I have also developed fibromyalgia and now have the early stages of rheumatoid arthritis. I can never remember a time in my life when I didn't have pain so I try to understand and accept it by writing about it.

Other themes that reoccur are Chatham (where I was born), the night, insomnia, sex, cats, foxes, bruises and the sky.

What are your concerns regarding what you do?
Z: I want to show a truthfulness, I want my work to be accessible, I want to reach people, not to be elitist. If I start to massage my own intellectual ego by cramming unnecessarily long words into epic sentences I shall stop writing, as I will have become the pretentious poet I despise.

Will you share another one of your favorite poems with us?
Here's one of my favorite poems from my book "Reflections of a Dancing Bear." Its about sexuality, my sexuality. I am fascinated with all forms of erotica. in fact, i have an ever increasing collection from literature, photography and painting to corsetry, bondage items and burlesque costumes. I consider myself a sexual creature. of course i also have a disability and this poem is about both.

TWO BITS OF METAL HOLD MY LEG TOGETHER

I lie on my back with my knees raised
Not on my side
As the sensation i feel
Is like someone crow-barring
My ball socket out of its joint
you are laying further down the bed
One arm under my knees holding them
Your head is resting on my belly
You are kissing biting my twisted hips
Viciously
Tenderly
Hips that are hot and pink with inflammation
Running your hand down my goose-bumped thigh
Across the shiny snail trail scars
On my fat knees
Down over two bits of metal
Holding my leg together
Toward my elegantly thin tattooed ankle
And finally reaching my feet
Tingling with pins and needles
Slowly going numb
You kiss and lick between my tortured thighs
Tasting me breathing me in
You tell me you love the way i taste
And i smell so sweet
I know its not true
As its a treacle sticky hot night
I tense my legs with pleasure
And as i do my kneecap slips effortlessly
Out of place

This is a very new poem i am working on, in fact it might not be finished, it's about a prostitute in Chatham.

NEW ROAD LADY

Dirty Lucy
Hangs limp
From lamp-posts
She wears
Purple blooded eyes
Swollen
From loveless knuckles
Her clothes
Wretched
Ragged
And shiny bright
Dirty Lucy
Is helpless
Provoking
Broken bone
And torn skin
Her beauty
Slowly
Corroded
In her
dark nights
Of waiting
She hears
Foxes
Screaming
For there bitches
And watches
Drunks
Like
Limping cripples
Who forget
There way home

MODELING

How did life modeling come about for you?
Z: I was 29 and Pamela Rana a ceramic and fine art tutor at the local university asked me if I would consider modeling in one of her classes I thought why not although I have to say I was quite terrified. On the day of my first class I was sick with nerves all morning but as soon as I was in the class I felt completely fine in fact I felt enormously powerful. it was a liberation for me. it was me letting go and saying “I’m disabled. I have wobbly bits, but I’m all woman and I can be beautiful”

What kind of experience do you enjoy by being a life model?
Z: Meeting new people and being a part of their art and expression is so amazing. it is a very intimate thing to share with someone. I feel privileged to share this relationship with many wonderful artists who are now very close friends.

You’ve worked with so many artists of varying disciplines (painters, writers, photographers, designers). is there one discipline that you enjoy more than others?
Z: Yes, painters. I think paintings have to grow and evolve. they take many hours to create so I spend many hours with the artist. When I see a completed painting I find it is almost like looking through that artists eyes. I get to see what they see.

Just recently I did 2 classes of portrait modeling for The Kent Association for the Blind it was truly one of the most inspiring experiences of my life . These are people who are either partially sighted or almost blind. they can see light, dark, and shape, and that’s all. I sat as close to them as they needed me to and then they would draw and paint me, some of the work they did is just extraordinary and they are such happy people. Iris, an elderly lady who is not only almost blind but crippled with arthritis and in a wheelchair, was perhaps the happiest person I have ever met and so full of life. The second time I met her we sat facing each other and she told me, “Zara I cannot see your face but I know you are beautiful” I think it will stay with me always.

What do you think you offer as a life model that separates you from others?
Z: Time and patience. I love the interaction between artist and model. I believe in the people I work with and I think that perhaps it gives them the confidence to stretch themselves and explore there work more fully.

Obviously I’ve chose to collaborate with you because I feel you have a particularly strong pelvic expression. in fact, its 0.67 which is the lowest ratio I’ve worked with. Can you share your thoughts about being selected?
Z:I first saw your work on MySpace and was utterly blown away by its beauty I wanted desperately to be a part of it, but didn’t do anything about it. A few months later I read a bulletin I can’t remember about what, but had a look on your page and found the model search. Well I hunted round the house and measured myself and sent you the info with a couple of snapshots of my hips and waist. To be honest I didn’t think I would be suitable as I wasn’t the 0.7 ratio you were looking for and really didn’t expect to hear from you, but YEY! I did.

When we arranged the meeting I was terribly nervous as I thought my measurements let me down (26inch waist 39 inch hips) but I thought it would be very nice to meet you anyway so off I can up to London town. When I arrived we chatted for ages, I felt at ease, then you took some polaroids and then the dreaded moment arrived and you measured me…….I cannot describe the joy I felt when you told me I had a fantastic hip/ waist ratio. I was over the moon!

So now I come and work with you and I gossip about what's going on in my life and you tell what's happening in yours. it’s as if we’ve been working together for years and I look forward to it so much.

Can you describe how we work together?
Z: It seems a very natural process, very organic. You take pictures of me from all angels standing and walking then I pop my leotard on and we start the harness creation. You wrap and pin calico on to the leotard which you then trim leaving you a canvas on which to draw. I’m a huge gossip so we talk about all sorts of things whilst you are drawing or sculpting onto the leotard creating your work (the last time we worked together I thought the harness looked like some rare beautiful orchid growing up and around my pelvis) Then you take more photographs of your creation, constantly changing the drawing or sculpture until you are happy. This fitting process is all filmed so you can see how everything evolves and is born.

(Zara standing on apple box with half draped harness)

Can you tell or describe what it was like to collaborate with an artist on such a specific part of your physical body?
Z: Terrifying at first as it is the part of my body where I hold all my insecurities. all my pain stems from this area and as a result I have spent many years hiding it. Chronic pain does weird things to you and tends to distort your self image. When I have pain I feel like a grotesque abstraction of myself. all I see is the pain. Working with you made me deal with how I feel about my hips and is teaching me that people see my body very differently to how I see it.

Has this experience made your awareness of your own pelvic expression or your awareness of the pelvis expression in others?
Z: Yes, definitely. I accentuate my hip/ waist ratio and love to show it off. I feel great pride in my curves I feel womanly.

Have you been able to see your body or your pelvis in a new way having worked on this series?
Z: Definitely. before, when I looked in the mirror, I was proud of my body as a whole but couldn’t look at my pelvis without seeing it as ugly and twisted (when I lay down my feet face inwards) pink and hot with inflammation or the woman possibly unable to have a child. I am learning to see through the eyes of others. I am slowly learning to see that actually my pelvis is quite beautiful.

10 THINGS WE ALL WANT TO KNOW
1. 3 things you cant live without?
I can’t live without Rikard (the love of my life), gorgeous underwear, and painkillers

2. morning person or night person?
Night

3. what's your greatest extravagance?
Underwear especially corsets (I love the way they abstract the body and accentuate everything which is feminine and powerful)

4. which talent would you most like to have?
To bake great cakes

5. as a model, what do you think is your best physical feature?
My long neck

6. as a woman, what do you think is your best physical feature?
My bottom. tight, round with a good amount of wobble

7. how many days a week do you write?
It changes

8. computer or pen and paper?
Pen and paper

9. what music are you listening to?
The Andrews Sisters singing Shortening Bread

10. what's the next thing on your to-do list once you finish this interview?
Have a long bath and go to bed

Zara Carpenter was born in 1974 at All Saints Hospital, Chatham.
She writes, paints, life models and knits.
She's learning Swedish and crochet.
She regularly dislocates her joints and has a cat called Boo.
Zara latest book "Reflections of a Dancing Bear" can be purchased at Urban Fox Press.

Websites
zaracarpenter.co.uk (currently under construction)
threelittlebirds.co.uk (cute burlesque hats and hand knitted pretty things made by Sara Norling and I)
www.myspace.com/zaracarpenter

June- Playlist

2008-06-07T18:37:00.002-04:00

This is the first blog post of my i-Pod playlist. I started the list on my site in February of this year so that anyone can know what music I'm listening to in my OrchisArts studio here in London town. Music is so integral to the creative process. I hope it inspires you to discover something new. Enjoy. -m.

Sleep sweet, my dear Polaroid

2008-06-07T04:03:00.014-04:00

Earlier this year, Polaroid made a decision that has devastated many artists. they have decided to discontinue producing their family of instant films. you're probably thinking, so what's the big deal?? you press the button and out comes the little Polaroid. im not lamenting that, though it will be missed, but most people have no idea that Polaroid produced an entire range of professional films from medium to large format cameras. the prints they produced were gorgeous! they came in packs or in single sheets depending on the film size.

when i started making serious images in the early 90s, i made the decision to focus all of my materials into a simple formula: 1 lighting schematic, 1 camera, 1 paper and 1 film. Polaroid was the centerpiece to that process and i made the decision to only shoot on Polaroid positive/ negative (P/N) films. the below images were from The Altis series and shot on T55 p/n.

i chose them because they were special for 3 reasons. first, they had an amazing velvety smooth tonal range. the way the image was recorded onto the film was poetic in itself. the second reason was that not only did the film produce a positive, it also produced a negative that required clearing and could be printed from. and lastly, the process was also so incredibly inclusive for the model. she could instantly see what im seeing and reposition herself accordingly to perfect the next image. i'd say, "hold." the shutter would release. i'd pull the film through the rollers and in 23 seconds, voila! i could peel the film apart to get both a positive and a negative. (see the steps of creating an image using T55 P/N film). using Polaroids in the shoots made the process very inclusive and collaborative between myself and the model.

The Polaroid Corporation, under the stewardship of Barbara Hitchcock, has collected my prints from the beginning. they had a great program where Polaroid collected prints made from Polaroid films and in return feed artists free film. it was a win-win for both. im thrilled that i could be part of that program.

My work was published in Emerging Bodies: Nudes from the Polaroid Collection, and in The Body issue (#23) of P Magazine, Polaroid's in-house glossy to promote the work of fine art photographers who use their films.

My relationship with Polaroid goes deep and the feeling that i will no longer be able to make images in the same way pains me even deeper. you see, it took several years to find the right paper, chemistry and film combination to get my prints to the level they are now. each of those elements were an essential ingredient to baking the cake. in 2004, Agfa, the producer of my paper, announced that they will no longer produce photographic products (chemistry, papers and films). within 4 years both my paper and film no longer exists. i will now have to rethink my entire process.

im trying to be positive about this and count my blessings that i was part of the generation that worked with Polaroid. The younger photographers wont be as fortunate. (i have a small war chest of film [T55 & T665] that i dont know what to do with. on one hand i want to save it for a special, special shoot, on the other hand, Polaroid film past the expiration date can lead to problems, mainly the pod of chemistry can dry out.) as i contemplate my next step, i will share with you that i do find something interesting about the 19th century and alternative processes. perhaps it's because i live in london, and london is largely a 19th century architectural city, or that i have a 19th century home in upstate New York. there was something honest about that time...farming the land and being self sustainable. i find that it's the perfect metaphor for image making. if i cant find film anymore, i'll make my film. if i cant buy paper anymore, i'll make my own paper. im discovering (in thought process only at the moment) that this is very self empowering. there will be another learning curve to get over, but in a way, i cant wait to see what new road this journey will lead me down.

this doesnt mean the end of Polaroid. just the opposite. Polaroid's new strategy is to embrace the digital age, and let go of 'analog' technologies. they have been criticized for being one of the last to jump in. it has been rumored that Polaroid is trying to either sell or license the technologies to a Fuji (who is the only other producer of instant film), or the like. i hope this certainly happens, but i hope that the positive/ negative technology is kept alive. if you'd like to learn more and let your voice be heard, please visit Save Polaroid.

trying to see the silver lining, i also think that digital is simply unavoidable now, and it will change how i approach image making once again, especially in the world of color. i havent worked in color using traditional film, but im just dabbling my little toes in color digital. im actually excited to see what the possibilities are; they seem endless...quite contrary to my simple strategy of 1 lighting schematic, 1 camera, 1 paper and of course my beloved Polaroid film. Sleep sweet my dear prince. sleep sweet. -m.

My First Cover!

2008-05-27T17:02:00.004-04:00

This past fall, SHOTS magazine did an artist feature on me, in addition to giving me the cover of the issue, SHOTS 97! There is a candid 8 page interview about how I approach my work with an emphasis on the balance between my life as a fashion designer and my life in fine art photography. It is an issue not to be missed!

I wrote about the demise of all of the materials that I've used consistently for years. Agfa, the paper that I've printed on for almost 20 years has vanished, and the most lethal of all blows was Polaroid's very recent announcement that they will no longer produce instant film. I have shot exclusively on Polaroid films since the beginning of my fine art photography career. It was a career choice to only work with Polaroid film.

This is my's second feature in SHOTS. The first was an artist portfolio published in SHOTS 79 in 2003.

The issue can be purchased directly from SHOTS (check or money order to Shots, PO Box 27755, Minneapolis, MN 55427 USA, or using credit card/paypal via the website. $6 domestic/ $10 international). Please specify issue #97.

Please click on cover image read the interview. Please comment regarding your thoughts on the issue and the interview.

The Concept Ballet Drawings

2008-05-25T07:53:00.010-04:00

Im thrilled to publish my first creative blog today, and to share what I've been working on in my spare time.

Im rediscovering drawing. Im drawing in pen and ink (requires a different thinking process). All of my drawings for my photography/ personal artwork are literally done on my Burberry notepads or on hotel stationary. The latter is pretty cool because you see all of the places that I have traveled. But now, I'm feeling the need to draw in 1 location and have all of my drawings together in a series of Moleskine sketchbooks.

With that said, I've started sketching concept ballet costumes that are designed around 3 chief elements: the corset, ruched tulle, and the mutation of the leotard. The leotard is always the base, the foundation and the building block. The construction of the seams are sewn to the outside. I am essentially using the corsets as waist cinchers that are boned and laced, giving a nod to the classical corseted tutu, but done with a modern sensibility.

These sketches were done in my Moleskine using a fountain pen and a marker. Please click on the thumbnail to go to the Concept Ballet Costume Index, but come back because I'd love to hear your thoughts and comments.

The Orphan Works legislation

2008-05-22T16:36:00.004-04:00

A dear college buddy of mine from Parsons recently made me aware of the Orphan Works legislation being proposed in congress, and i wanted to share it with you. It's been in the works for 3 years. Big business is gearing up for a huge rights grab from content creators like us. If this bill passes as it is written, many artists, photographers, illustrators and creatives will be effectively put out of business. They are taking away our rights to own our artwork, and decriminalizing the stealing (unauthorized use) of any artwork anyone wants to use. If someone steals your stuff, and uses it on a re-elect George Bush campaign, they don't have to pay you unless you catch them, sue them in court and win, then you get what the fee should have been in the first place. but you cannot say, hey, I dont want my artwork used for that purpose, i dont believe in it.

This legislation is soooooo bad for us. For instance, the images and drawings that lives in my portfolios and sketchbooks would have to be registered with a govt. agency in order to be protected, as would the thousands of drawings and images i have created in my lifetime. If I lost my sketchbook, or publish pages from it on the internet (which i often do), someone else could theoretically publish it (after a quick search of the registry database and not finding it) in any context they wish and not give a penny. That would be legal under the new law.

Please see links that explain the legislation:

Brad Holland full interview:

http://www.sellyourtvconceptnow.com/orphan.html.

It only takes just a few minutes to send a boilerplate web letter to your congress person/ senator. You'll find the form on the Illustrator's Partnership.

Refer to Bill H.R. 5889 when writing a House Rep.
Refer to Bill S. 2913 when writing a Senator.
(Same Orphan Works bill, different #'s for Senate and House.)

I strongly urge you to vote AGAINST the Orphan Works bill and protect our rights, our copyrights, to all that we have and will create.

Don't Let Congress Orphan Your Work!

IT'S BEGUN!

2008-05-18T05:21:00.004-04:00

in a funny way, i thought i'd never start a blog! who has the time to read these things, and who has the time to write them? but i decided that, just like with anything, it's about discipline and commitment. so having said that, i've made the commitment to start a blog to share thoughts with visitors to my site and to provide a forum to discuss the creative process. this blog will be open to all artistic disciplines. i'll also be sharing the everyday things that happen in my creative life... from being a design director at burberry, the british luxury goods company, to making images, drawings, costumes, and video vignettes. i'll also be sharing thoughts on things that are shaping our lives as artists.

I would love to encourage participation from all. let's hear from you...whether you agree or disagree, what's most important is that your voice be heard.

i look forward to seeing old friends and hearing from new ones.

ps: im not a formal typist, so my posts in this blog will be done chiefly in lower case letters. apologies upfront to those that find it uncouth.