TRAVELING PORTFOLIO PROJECT

[jd callow]

I just sent him an email from his address listed on the portfolio page. If no response I will call him and ask what the hell happened.

lee\c

As stated above I am sorry for the delay. I have been very busy, but should have found the time to forward it on. Please accept my apology. I never recieved the email from lee!?

 

[David A. Goldfarb]

Thanks, John.

Meanwhile: Poco, you're up next.

 

[lee]

I never recieved the email from lee!?

NO problem I sent it to the Yahoo account that is listed in the portfolio page listing. Just did not know if you still read this and thought I would try you that way.

lee\c

 

[Ole]

Glad to hear it's on the move.

Now - what should I put in the portfolio? Time may be short when it comes my way, and I don't really like the thought of having it sitting around when I spend a fortnight away on work.

So what'll it be? A lith print? A generally "nice" print on superb paper, or just a "normal" print? It will be B&W anyway, but could be any shade from yellow to blue...

 

[Poco]

Well, the big day has arrived! I finally got my hands (washed for the occasion) on the portfolio! I want to thank JD for sending it to me.

The most immediate thing that stuck me on the first go-through of the contents is how incredibly versatile the medium is. It's hard to believe the process that allows for Sean's wonderful, explosive use of grain can be in any way related to that which created Joe's delicate P print -- to site just one example.

I have my own print picked out, but will likely keep the portfolio for a week before sending it on to David.

-Michael

 

[David A. Goldfarb]

Hey, Michael. Thanks for checking in. I've had a print ready to go for a while, but maybe I'll have another one by then. Let me know the day you send it and its projected arrival time, and maybe we can organize a New York area gathering for local APUGgers (including non-participants) to take a look at it.

 

[Poco]

Sorry for the delay. I ran into equipment problems when my Seal 200 gave up the ghost (I love the thing ...sniff ...sniff) but I've found someone who'll give me access to a press on Thursday, so the PF will go out Friday.

Thanks for everyone's patience!

 

[David A. Goldfarb]

Thanks, Michael.

 

[David A. Goldfarb]

After a little over one year of travel from New York to the UK, Norway, back to the U.S., Mexico, back to the U.S., New Zealand, back to the U.S. (ahem...), Australia (or was it OZ-US-NZ?), and back to the U.S., the APUG Traveling Portfolio (or the Travelling Portfolio, for those of you Commonwealth types) has finally made its way back home.

It's just great to put some prints next to the names that have become so familiar in the past year, particularly of those who work in media that don't lend themselves to participation in the Postcard Exchange. For those who do participate in the Postcard Exchange, it's impressive to see what everyone is putting forth as their best work. Online galleries serve their function, but there really is no substitute for actual prints, and the various print exchanges going on here set APUG apart from most of the other photography websites out there.

I think it's probably about time for us to start discussing the prints, now that we've made a complete round, but I'd like to live with them for a few days before posting anything myself. I think this forum is a good place to do it, but if we want to set up a gallery that's an option too.

A few technical and business issues about the portfolio.

The case has held up well. I'm sure it will make a few more rounds at least.

The "contribution" envelope--this was a bad idea. Michael "Poco" Veit reported to me that it was empty when he got it, though he put in a cash contribution himself, which I did receive. I don't know how much was in there before, but I suspect it got pilfered in customs or transit somewhere. It's no major loss to me, since I received enough contributions to cover most of the cost of the shipping case, but in the future, I think we should not use the portfolio for sending cash, since that could invite unwanted hands leafing through everything for more.

I think we have to accept that after passing through 20 stops, possible customs inspections, and thousands of miles of jiggling in transit (possibly on the back of a burro in the Mexican heat), the prints/mounts will undergo some wear. My own print was hinge mounted and migrated a bit in the mount, so it looked a bit ragged, but the attraction of hinge mounting is that I can easily unmount and remount it on a fresh board. Some of the boards that have been in there for quite a while may have acquired crunched corners along the way. I think I'll find some sort of stiff folder for holding unmounted prints, since I'm worried that they could be damaged, particularly if someone (I'm thinking customs inspectors here) were to leaf through the stack of prints and stuff them all back in carelessly.

The prints that held up best were those that were in close-fitting sealed acrylic sleeves, as are frequently used in art fairs where prints are in bins for patrons to leaf through. These also make the prints easy to handle.

I think the number of participants (about 20) is just right for now. The portfolio is pretty much full, and even if there were more room, more participants would make the travel time even longer. If there is enough interest to start a second portfolio (such as the alt-process traveling portfolio that was recently discussed), I'm happy to advise anyone who wants to organize the next one.

Finally, for APUGgers in the New York City area, I'll be announcing a get-together shortly so that participants and non-participants can take a look at the portfolio. I'm thinking Sunday afternoon, February 15.

 

[bmac]

So glad it made its way back, and looking forward to trip #2!

 

[jd callow]

"The "contribution" envelope--this was a bad idea. Michael "Poco" Veit reported to me that it was empty when he got it, though he put in a cash contribution himself, which I did receive. I don't know how much was in there before, but I suspect it got pilfered in customs or transit somewhere. It's no major loss to me, since I received enough contributions to cover most of the cost of the shipping case, but in the future, I think we should not use the portfolio for sending cash, since that could invite unwanted hands leafing through everything for more. " David G

I took the money out (23.00) and sent a check to David for $25.00 some time in Dec.. I assume it never arrived. If this is in fact the case please let me know.

 

[David A. Goldfarb]

JDC--

Did I cash the check? It's possible that I did and forgot about it, or maybe it came after I got back from vacation, and I deposited it and had forgotten what it was for. Absent mindedness is one of those inherent risks in my profession, after all.

In any case, the money is no big deal. I'm just concerned about attracting pilferage in transit, since I've had baggage pilfered on airlines.

 

[jd callow]

I'll make sure the check was cashed. meanwhile, an empty envelope labeled donations would appear to be a mystery.

 

[Poco]

"an empty envelope labeled donations would appear to be a mystery."

I don't see why it would be. You sent David the equivalent of its contents in check form and he's confirmed getting my own contribution which could have been the only new one in there, so I don't see a problem.

The first go-around of the portfolio was great! I, too, look forward to some kind of discussion on its contents, but wonder how exactly that would work. Memories fade after a year. What happened to the idea about setting up a gallery with scans (snaps with a digital would probably be better) so that we can all be reminded about what we're talking about?

 

[David A. Goldfarb]

I think I know what happened. December was long after most of the donations for the portfolio had come in, and I was keeping track at the time of donations for Sean's Christmas gift. I suspect that you probably sent me the check, John, and I counted it on the list of contributions for the lens instead of the portfolio. "Mystery" solved.

 

[David A. Goldfarb]

I'll be sending the portfolio off on its second round probably this Wednesday.

Brian has stepped down as co-moderator, since at this point we just need to maintain the list and try to keep track of where it is, so I've revised the intro page (go to the "Links" section to find the new version) to reflect that and other info about the portfolio. I'm also revising the mailing list to reflect address changes and to streamline the order a bit and minimize travel time and shipping costs.

A few thoughts on the experience of seeing it go around the first time (i.e.--I'd rather talk about what I got out of looking at the portfolio than initiating a critique of the submissions. On the other hand, if you want a critique of your own work, maybe it would be good to post a scan, if you can, in the Critique Gallery and post a request for responses here in the forum). Apologies in advance to those whose work I don't mention.

I really enjoyed the three platinum/palladium submissions by from Jorge Gasteazoro, Clay Harmon, and Joe Lipka. I'm always surprised by the range of possibilities with pt/pd, and for some kinds of subjects it's such an expressive medium. Jorge's image was of very much the kind of structure that I like to photograph myself, so that one resonated particularly with me. I've been a little ambivalent about platinum for a long time, but maybe I'll give it a go.

As a Bronica user, I was interested to note that there were 3 out of 21 prints made with Bronicas, which struck me as a surprising large number.

Ole: Efke R50--that's smooth stuff. Perfect for the figure study you included. Just when I feel settled with the films I use, another one comes along that I ought to try. Maybe that will replace Ektapan when I run out.

I've seen a few of Les' interpretations of his Antelope Canyon neg now, and his work is always a reminder that the negative is the score and the print is the performance.

I was glad to see one of Jay de Fehr's portraits in the flesh. Jay's been developing a very characteristic personal style, but I hadn't detected the color of the prints from the scans on the web. Fomatone in selenium yields a very reddish brown. Any more red and it could be mistaken for a uranium print.

All the prints were interesting, and there's no substitute for seeing the real artifact. A few really made me think of trying something different from what I've been doing.

To those who aren't participating in the Traveling Portfolio, I'd really encourage everyone to get involved in one of the print exchanges, like the Postcard Exchange, Blind Print Exchange, Print Exchange Gallery, or to consider starting another traveling portfolio if sufficient interest exists. The ability and interest in exchanging real prints really sets APUG apart from all the other photo groups on the web. I know my own work has improved since I've been doing it.

 

[David A. Goldfarb]

I just mailed off the portfolio this morning, so Les is up next, and then Ole.

 

[David A. Goldfarb]

First off, congratulations to APUG for reaching 1500 registered users today.

Second, particularly to all the new folks who joined recently, not everybody on APUG was arguing and complaining this past week.

Here's Bruce (Camclicker) Osgood looking through first round of photos in the APUG Traveling Portfolio on the left, with Tom Duffy on the right looking through my file of postcards from the APUG Postcard Exchange. I'm the guy who always seems to be on the other side of the lens, but that's my photo that Bruce has in his hands there. That postcard-sized oil painting in the upper right hand corner is by my sister, Candice Colbert, and is based on a photograph of me, so I guess I'm in there somewhere.

 

[Les McLean]

The portfolio arrived yesterday (26th Feb) in snowy Northern England. I'm in the darkroom making the final prints for my forthcoming exhibition in London this weekend so I'll make a print for the portfolio then and post it early next week.

I've had time for only a quick look but did enjoy what is in there and will spend more time this evening enjoying a more relaxed look, probably with a small amount of the amber falling down water.

 

[David A. Goldfarb]

Thanks for checking in, Les. Before sending it on to Ole, be sure you can reach him by e-mail. He said he was going to be at sea for two weeks or so, but I suspect he should be getting home by around now.

Cheers!

 

[Ole]

No worries, I'm home now!

 

[David A. Goldfarb]

A couple of general notes--

I've sent Sean an update of the mailing list, so Sean or I will post when it's up. Be sure to check before sending it out to the next person. I've updated addresses and I've tried to streamline the order a bit so that the mailing will go faster, but without disrupting things too much, so people won't miss too many prints as a result of the change in order.

Also, I heard from first round participant, Cem Topdemir, who decided to pull out for the second round, since he moved back to Istanbul and was unsure about what his mailing and e-mail situation would be. He completed his obligatory 6-month military service safely at a desk job and is opening a commercial photography studio.

 

[David A. Goldfarb]

Just to let everyone know, I'll be traveling for two weeks (I'll be in Kraków for a conference and to do some research) and don't know what kind of internet access I'll have.

I know Sean's been busy with the site update and probably hasn't had time to post the new mailing list, but in the meanwhile--Les has the portfolio and should send it to Ole when he's ready, and then after that in the new order, should be Sean, Nige, and then Jorge, and I'm sure I'll be back before it gets that far. Those who have access to the current list will note that I moved Sean and Nige up in the order to cut out one international hop, and when you get the full list, you'll see that all the U.S. participants are in one block moving mostly West to East.

 

[Jim Chinn]

Holy cow David. I didn't realize that there was two weeks worth of anything in Krakow, Wisconsin!

 

[Nige]

holy mackeral... I better print something in preparation!!