Take a Look … Monalog Collective’s Virtual Opening at the Gallery 270

If you missed our virtual opening at the Gallery 270 it’s not to late to view it here!! Meet our members and see examples of our work with discussion, expertly guided with questions and commentary by gallery director Tom Gramegna. guided with questions and commentary by gallery director Tom Gramegna.  Check it out here:

https://media.publit.io/file/Monolog-Virtual-Show.mp4

The in person opening will take place on November 11th at 7pm.  If you are going to be in the New York City area, we would love to meet you!

Monalog Collective Show at the Gallery 270, Westwood, NJ, October 1st – Late December

The second stop of the Monalog Collective’s traveling member exhibit is at the Gallery 270 in Westwood, New Jersey. The show is called The 21st Century Handmade Print: The Monalog Collective.  The 270 is a unique gallery, and Director Tom Gramegna has a real passion for photography that’s infectious! Here’s a description of the 270’s mission.

“Gallery 270, founded in 1998 in Westwood, NJ, flourishes just 20 miles from the nexus of the fine art photographic marketplace. While over a hundred galleries actively sell photography in NYC, Gallery 270 succeeds by catering to experienced and novice collectors seeking an increasingly rare quality in the field – value.  The gallery exists to serve its’ varied community while fostering an appreciation for, and the desire to own, the work of the distinguished photographers of the 20th Century and the emergent photographers of the 21st Century from around the world.  We place particular emphasis on modern emerging photographers employing traditional processes such as platinum/palladium, cyanotype and gum bichromate, where the hand of the artist is so much more intimately engaged.

We hope you will join us on October 15th at 7pm for the show’s virtual Opening … more information to follow! There will also be an in person Opening on November 11th and virtual events to be announced … again more information to follow.  The gallery is located within Bergan County Camera on 270 Westwood Avenue, Westwood, NJ and is open Monday through Saturday, 10am – 5pm.  For more immediate information the gallery can be reached at info@gallery270.com or by phone at (201) 358-5076.

A Photographic Process Glossary

Many black and white analog photographers don’t realize the range of processes available to make their creative dreams become a reality. Some of these wonderful processes date back to mid nineteenth century, but are still in use today to make beautiful photographic images. The following descriptions of some of these of these processes was prepared by Monalog members Chris Karfakis and Gary Samson as part of the catalog that accompanies the current Monalog Collective exhibit.  Enjoy!

Members of the Monalog Collective use a wide variety of historic photographic processes to create their fine art images. Below is a brief description of some of the processes employed.

Albumen Print: The most important print material of the 19th century, the albumen print, was the discovery of a French photographer, Louis Desire Blanquart Evrard, and was first announced on May 27, 1850. Hen’s egg white is applied as a sort of sizing to the paper before it is floated on silver nitrate to sensitize it. The image prints out on exposure to UV light, so no developer is required. Most albumen prints were gold toned for added permanence and to shift the print color to a more pleasing tone. A negative the same size as the required print was used to make a contact print. The negative was loaded into a contact printing frame with the sensitized paper and exposed to sunlight for several minutest o sometimes many hours. The back of the frame was hinged so that the density of the print could be checked without losing registration with the negative. Once the print was at the proper density, it was removed and processed.

Wet-Plate Collodion Process: Invented by Fredrick Scott Archer in 1851, a glass plate is coated with collodion that includes soluble iodides. Once the collodion has set up, the plate is placed in a tank of silver nitrate for several minutes there it becomes light sensitive. The plate while still wet is placed into a light tight holder so that it can be exposed in a camera within about eight minutes. After exposure, the plate is immediately developed using iron sulphate revealing the image in 15 to 20 seconds. The image is then fixed, washed, and varnished before use.

Ambrotype: is a wet-plate collodion process invented by Archer and Cutting in 1854. These images are made on black or ruby glass or clear glass (backed by black material) and appear as positives. Using a thin piece of plate iron that has been japanned instead of glass also results in a positive image called a Tintype or Ferrotype. Modern wet-plate photographers often use black enameled aluminum plates to create their images.

Carbon Transfer Print: A layer of bichromate gelatin containing a pigment (carbon black, for example) is exposed under a negative. The gelatin is selectively hardened by light passing through the negative. When the gelatin is gently washed in warm water, the unhardened areas are dissolved away, leaving a positive image of pigmented gelatin. In the late 1860’s, the process became practical when pigmented gelatin layers called “tissues” became commercially available. The resulting prints have exceptional stability and are quite permanent.

Platinum/Palladium Prints: The platinotype was first introduced by William Willis in 1873 and he continued to improve the process through 1887 via a series of patents. The process is based on the light sensitivity of certain iron salts which, when exposed to UV light, reduce platinum compounds to metallic platinum. The resulting prints have exceptional stability. The process was admired for its delicate tonality, enhanced using matte paper. The image color can range from steely gray to warm brown hues depending on the temperature of the developer and the kind of developer used.  This is a contact print process requiring each sheet of paper to be hand coated and then printed with a negative the same size as the desired print size.

Gelatin Silver Print: The gelatin silver process was introduced by Richard Leach Maddox in 1871 with subsequent considerable improvements in sensitivity obtained by Charles Harper Bennett in 1878. The gelatin silver print or gelatin developing out paper (DOP) is a monochrome imaging process based on the light sensitivity of silver halides. They have been made for both contact printing and enlarging purposes by modifying the paper’s light sensitivity. A brief exposure to a negative produces a latent image, which is then made visible by a developing agent. The image is then made permanent by treatment in a photographic fixer, which removes the remaining light sensitive silver halides. And finally, a water bath clears the fixer from the print. The final image consists of small particles of silver bound in a layer of gelatin. This gelatin image layer is only one of the four layers found in a typical gelatin silver print, which typically include the overcoat, image layer, baryta, and paper support. Gelatin silver paper is the paper of choice for most fine art photographers working in traditional analog photography today.

Bibliography:

Care and Identification of 19th-Century Photographic Prints by James M. Reilly

Kodak Publication no. G2-S, 1986

The Book of Alternative Photographic Processes, Third Edition, by Christopher James

Cengage Learning, 2016

Wikipedia

Chris Karfakis and Gary Samson

Monalog Collective Show at the Stirner Modern Gallery, Easton PA, September 3rd – September 26th

Monalog Collective will be having its first group show called Expression Through Tradition: The Monalog Collectiveat The Stirner Modern Gallery in Easton, PA from September 3rd – September 26th.

Please join us on September 3rd at from 6:00 – 8:00pm for the show’s Opening.  Also, on September 17th at 7:00pm there will be a talk by Monalog member and photo historian Chris Karfakis, and there will be a gallery walk through on Sunday from 12:00 – 5:00pm.  The gallery will also be open Wednesdays and Thursdays from 12:00 -6:00pm; Fridays from 12:00 – 8:00pm; Saturdays from 10:00am – 2:00pm and 5:00pm –  8:00pm and Sundays from 12:00 – 5:00pm.

The show is also co-sponsored by The Halide Project as part of the month long September Philadelphia 20/20 Photo Festival.

To learn more about our show and the Stirner Modern Gallery go to www.stirnermodern.com. To find out about Philadelphia 20/20 Photo Festival go to www.2020photofestival.org, and to see information on our show go to https://www.2020photofestival.org/satellite-shows.  Finally, to learn more about The Halide Project go to www.thehalideproject.org.  And if you have any questions please feel free to contact us at info@monalogcollective.com.

In the meantime take a look at the exhibit announcement below; we look forward to seeing you at the show!

Stirner Modern Gallery

Presents

EXPRESSION THROUGH TRADITION

An Exhibition of Photographs

By

THE MONALOG COLLECTIVE

The Monalog Collective is a group of like-minded photographers that formed to promote Black and White photography and the industry that supports it. This exhibition of photographs, made by twelve Monalog Collective Members, includes modern and historic applications of traditional emulsion-based processes. All images are original and hand-made by the artist. Each photographer has selected a specific process that best captures and expresses their vision of and feelings for a desired subject that is then revealed and shared via a tintype, ambrotype or print.

 

 

 

 

 

 

Theater of the Everyday In New York

Manhattan often seems like a stage where performers and exhibitionists of all varieties put on a non-stop show.  I started documenting these “performers” in 2008, as the country slid into a recession.  I needed something to distract myself from the increasingly grim economic news, so I began to seek out small-venue circus acts, magicians and clowns to photograph.  After a few months of photographing organized performances, I started to see theater everywhere: in the streets, in public spaces, in the subway, at festivals where people showed off costumes, in Times Square, at political demonstrations…the spectacle was endless.  I worked with my quiet, discreet Leica camera, photographing in a fluid, fast-moving style that suited the mercurial nature of my subjects.

As an observer who tries to be as inconspicuous as possible, I’m drawn to those brave individuals who display themselves and are able to escape from the constraints of the mundane world, at least for a little while. There was something very old-fashioned about street performers, acts on seedy stages, or wildly costumed individuals in the Greenwich Village Halloween Parade that called out for a photographic medium from the pre-electronic age.

All of the photographs were made on black and white film that I processed and printed myself, both for the timeless, classic appearance of that medium and its permanence as a historical record.  Each image is a unique, hand-made object that can never be duplicated exactly, which is a large part of the beauty of traditional black and white photography.

Paul Margolis

Ed Eckstein’s Photo Book “Divided We Stand” Published By Albumen Gallery

From the recent press release, Monalog member “Ed Eckstein’s photo book ‘Divided We Stand’ offers a compelling testament to the hostile environment of the 202 US presidential election. Online PR News – 03-May-2021 – London, UK – Alongside the photography exhibition (https://albumen-gallery.com/exhibitions/ee-divided-we-standexhibition/) ‘Divided We Stand’ at London based Albumen Gallery (https://albumen-gallery.com/) Albumen Publishing has published a hardcopy photobook (https://albumen-gallery.com/books/) of the same title. The book features all photos by Ed Eckstein (https://albumengallery.com/ed-eckstein-2/) shown in the exhibition. The Divided We Stand project compellingly documents campaign rallies at various locations in Pennsylvania during October 2020. Pennsylvania – Ed Eckstein’s home state -was one of the battle states that were pivotal in the fight for the White House.”

“Commenting on the Divided We Stand project Ed Eckstein says: ‘A presidential campaign grounded in the politics of division over a toxic mix of passions and polarization. Hopes for a healing process seems right at this moment very unlikely. Sadly, Americans cannot agree on a shared reality, many are in echo chambers consuming information tailored to existing biases. Partisan warfare impels people to deny the legitimacy, even the humanity of those with different viewpoints.”

A Conversation with Monalog Member David Haas

On Friday I had the opportunity to have a wide ranging conversation with David Haas. We discuss his living a true photographic life as a college professor, professional fine art silver printer and photographer, who’s images reside in individual, corporate and museum collections. Check it out!

A War Without Blood and Gore: World War II Reenactor Photographs

The title of this project, A War Without Blood and Gore, comes from a line in a Vietnam War-era protest song by the American singer-songwriter Phil Ochs entitled “Draft Dodger Rag.” It goes: “If they ever give a war without blood and gore, I’ll be the first to go.”

I photographed World War II re-enactors at events organized for the public in 2014 and 2015, as well as aboard a restored1944 Liberty Ship wartime freighter – a time frame that roughly paralleled the 70th anniversary of the last year of the war. They used as many authentic period artifacts as possible – weapons, vehicles, uniforms, etc. – to recreate the lives of the soldiers, sailors and aviators who fought in the Second World War.

Most of the re-enactors were men in their 20s and 30s, although there were some women and children dressed in “home front” period clothes or in the uniforms of various women’s military branches; many of them told me of hearing the stories of grandparents who’d been in the war. I got a sense of their longing for those “good” years, for a simpler time, when there was a sharp delineation between good and evil. World War II was perceived as the last war that the U.S. decisively won, when the entire country pulled together in a common existential struggle.

The re-enactors were very knowledgeable about the World War II period and happy to answer questions. They gave various reasons for re-enacting: some wanted to pay homage to the war’s veterans and their sacrifices; others were living history buffs who wanted to bring a past era to life for modern audiences. I also suspected that a number of them liked the camaraderie, the chance to camp out and to fire off guns with blank ammunition in a harmless and more or less socially-acceptable way. It was unsettling to see German uniforms, some of them with SS collar tabs. However, these German-uniformed re-enactors assured me that they didn’t share the philosophy or have any admiration for the Nazis; they felt that somebody had to be the enemy.

I photographed the re-enactors with cameras that would have been used during World War II – 35mm and medium-format rangefinders — and black and white film that I processed and printed myself. I believe that, in many ways, this project documenting re-enactors reflects the present United States, with all of its ambivalences and uncertainties, as much as it recreates the vanished world of the 1940s.

Paul Margolis

Christoper James To Jury The 2021 Photo Review Photography Competition

Christopher James, an internationally known artist and photographer whose photographs, paintings, prints, and alternative process image-making have been exhibited in museums and galleries in this country and abroad will be the juror for the 2021 Photo Review Photography Competition. Christopher is presently University Professor and Director of the MFA in Photography and Integrated Media program at Lesley University College of Art and Design in Cambridge, MA. He is the author of the widely acclaimed The Book of Alternative Photographic Processes.

The Photo Review, a highly acclaimed critical journal of photography, is sponsoring its 37th annual photography competition with a difference. Instead of only installing an exhibit that would be seen by a limited number of people, The Photo Review will reproduce accepted entries in its 2020 competition issue and on its website. Thus, the accepted photographs will be seen by thousands of people all across the world and entrants will have a tangible benefit from the competition.

Also, the prizewinning photographers will be chosen for an exhibition at Philadelphia’s noted Woodmere Art Museum. Plus numerous Editor’s Selections will be exhibited in several Photo Review web galleries.
Because their work was seen in The Photo Review, past winners have been given one-person exhibitions, have had their work reproduced in other leading photography magazines, and have sold their work to collectors throughout the country.

Awards include a $500 purchase prize for inclusion in the Haverford College Photography Collection, one of the largest and most comprehensive college photography collections in the United States, selected by William Earle Williams, the Audrey A. and John L. Dusseau Professor in Humanities, Professor of Fine Arts and Curator of Photography, at Haverford College; a $500 gift certificate for printing at Booksmart Studio; a Wacom Intuos tablet; a Wandrd PRVKE Pack 31 Photo Bundle; a Wandrd PRVKE Pack 21 Photo Bundle; a Pelican Air 1535 Carry-On Case; a $200 gift certificate from Shades of Paper, a leading supplier of inkjet photo paper; a $200 Gift Certificate for Red River paper; a $200 Gift Certificate to Tog Tees; a 24″x50′ roll of Museo Silver Rag; a Think Tank Streetwalker V2 backpack; a Think Tank Retrospective 7 shoulder bag; a 20″x24″ silver gelatin fiber print from Digital Silver Imaging; and a feature on the Laurence Miller Gallery’s Picture of the Week email blast.

The entry fee is $35 for up to three images and $8 for each additional image. In addition, all entrants will be able to subscribe to The Photo Review for $40, a 20% discount. (Higher rates apply for non-US subscribers.)
All entries must be received by May 31, 2021.

You can download contest rules and submit images at www.photoreview.org/competition. For further information call The Photo Review at 215/891-0214, 340 East Maple Avenue, Suite 200, Langhorne, PA 19047, info@photoreview.org.