Stack assembly:
- sequence prints:
1. Katherine Rogers
2. Caroline MInchew
3. Greg Petropoulos
4. Will Watson
5. Compton Fields
6. Kathryn Spencer
7. Dylan Orlady
8. Geno Schlichting
9. Pradip Malde
10. Ashley Block
11. Chandler Sowden
12. Emily Duncan - place stacks in folders, trimmed and sequenced
- check off prints on folder list so we know when it is complete - trim prints for the folder to 10.5 x 13.5
Folio design and content
- box label
- fold-over cover
- Intro sheet:
1. Title:
2. About the folio
3. Brief description of process and paper
4. Edition number …. of 14
5. List of prints by sequence:
—- e.g. First Last Name, Title, date, pt-pd print on 100% cellulose paper from 8×10/4×5 inch original negative [Geno's will be slightly different]
This portfolio is the result of an upper level photography class that investigated the urban landscape. Using large format cameras (4×5 inch and 8×10 inch), this body of work establishes links between the technical aspects of large format camera work and the platinum-palladium printing process, as well as the cultural aspects of landscape photography. Most often considered as a personally expressive genre, it is not widely understood that landscape photography takes its form out of deeply ingrained cultural and philosophical frameworks. It goes on to examine how the very idea of a vista or ‘scape’, for instance as an object of beauty, or contemplation, or communion with nature, itself conditions the way communities actually shape the environment
Title: Defenestration: photographs from the urban landscape
Colophon: A photographic print in platinum or palladium differs both technically and aesthetically, from the familiar silver gelatin print made on commercial photographic paper. The monochrome image in silver consists of tiny grains of the metal suspended in a later of hardened gelatin on the surface of the paper, which may also have an undercoat of whitening agent. In contrast, a platinum or palladium print is simply formed from tiny particles of these noble metals embedded within the surface fibers of a high quality paper. Unlike the machine-coated silver gelatin papers, the process used here involves sensitizing the paper by hand. What may seem to some photographers a time consuming labor, can convey to others a sense of uniqueness in the making of every print. There is also satisfaction to be found in the integrity and simplicity of the process.
Colophon – From The Ammonium System: a contemporary method for making platinum and palladium prints. Pradip Malde and Mike Ware, 2002.