March 16, 2013

The 40x40 master of Sliver Moon Blues on display at an exhibit last year.
The 40×40 master of Sliver Moon Blues on display at an exhibit last year.

by Gavin Seim: It’s now year 5 of a 10 year plan to build my American Pictorialist brand one day at a time. I thought I was setting out to take photos. Turns out there was much more I was after. I discovered what I really wanted was not pictures, but furniture. Grand prints that convey the majesty of creation. That’s easier said that done, but I feel Chroma and Silver galleries look better each year.

I got my first camera about 20 years ago now. It’s been a long road. But I may see a speck of light in the tunnel. It took mew a decade or so just realize that what I’m making is not pictures but fine furniture. To begin to really find my style. Something I hope to have mostly nailed down in the next three years both in my pictorials and my American Portraits which are something I don’t intend to give up. They are separate brands, but both have similar goals. Both are furniture for the wall.

The goals are starting to become more clear thanks to teachers like Ken Whitmire, painters of the past, history itself and many others who have shared their experience along the way. I’m learning that I have to focus. I have to remember what I’m trying to produce.

There’s lots of images being made and I don’t need to compete with that. I just need to make work I release as breathtaking as is possible. I’m getting to the stage where I know if the image is Signature worthy or just a nice snapshot before I press the shutter. Understanding that line has tuned out to be critical to my process.

Teaching has pushed me as well. Producing workshops like EXposed helped me see much better. What’s next is further refinement. Being more picky in the image making process as well as in the presentation. I’ve been focusing on slowing down for a few years now. I got into film and large format. I stopped making so many images and learned to focus on one whether it was a pictorial or a portrait.

But I think it’s time to take that further. By focusing on only releasing only 6-12 new pieces each year, the time spent on each will become flexible. Refinement and stunning presentation will be my focus and it takes a great deal of time to do that to my satisfaction – If I intend to stay sane I have to release less to make them more.

In recording the new Photographics Film I have been reminded that the elements that make a great photograph are not bound by one most import, but by a series of many including space, position, line, tone and presentation. If any one of these fails the image will often fail to be a stunning work of art and simply be a photo. I won’t forget that.

I am blessed and thankful that I can take my time. I just keep trying to move forward. In doing so I believe it will be better than I ever imagined when I picked up my first camera nearly 20 years ago. I had no idea where this would lead. Perhaps I still don’t. I still have 5 years to nail down the the American Pictorial. And if I don’t make that deadline, I’ll keep working.

Gavin Seim

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February 2, 2013

Gavin-Seim-Family-Portrait-2012-880x476Once upon a time there was a guy, his family, a bunch of cameras, a Super Camper and lots of passionate ideas. No sponsors. No backup team – Just the open road, a sense of adventure and three months to take full advantage of.

I’m Gavin Seim. We’re out to explore as we attempt to make images and film that do justice to the beauty America. There’s lots of projects on the menu so we can pay bills and keep gas in the tank. We live mostly by the seat of our pants and enjoy the ride.

On Feb 2nd 2013 we set out for the road trip of 2013 – It’s a tad intimidating but quite amazing. We don’t hang out in RV parks or campgrounds. Months on the road in the Super Camper with my wife Sondra and our kids, Cyrus (5) Ariana (3) and Asher (1). There’s new products to test, new images to make, new stories to tell. Last year the big project was the EXposed Light Workshop. This year we’re working on a brand new film called Photographics. By the way,  you can learn more about our rig and tips on how we camp in this article.

With Facebook pages becoming less effective and the fact that I can’t send out the Light Letter every day, I wanted to share our journey with you in more detail than ever before. So rather than clutter up the journal with endless micro posts, I’ve decided to try something new – A Road Trip Journal.

This journal details our adventures by reverse date. The stuff you normally don’t see. The snapshots, clips, odd happenings and craziness. The things I’m sometimes reluctant to share, being such a perfectionist. That’s what you’ll find here. I hope you join in this adventure. Bookmark this page and come back because we’ll keep updating as long as we can still pound the keys. You can also join my Light Letter below for more updates and stories. Lets roll.

[xyz-ihs snippet=”newsletter”]

FINAL UPDATE: What it’s Like Coming Home Day 89-91 05/01/13 – 05/03/13

Cyrus at Cabelas
Cy likes the shooting gallery at Cabela’s. Teach them early.

It’s bittersweet as I drive down the hill towards familiar grassy slopes and familiar cities on the map. We watch a Spring sunset and flowers spattering green hills. Three full months on the road we’ve been. An adventure of that won’t be forgotten. Yet a part of me feels somehow less for it coming to an end. Like my spirit of adventure is fading because I long for that slow hot shower, a bed where my toes do not hang over the edge and where my wonderful wife’s elbows do not hit me in the side every time she rolls over.

The last few days lacked the grand adventure you look for at the end of a long trip. The kids got a stomach bug and did what you do when you have that. Sometimes we had two going at once – The miles were long and we needed to get home soon for Wall Portrait Conference. We drove hard that final day. Perhaps longer than we’ve ever done. Over five hundred miles from Twin Idaho to Ephrata WA. It took us about twelve hours between breaks, gas and pauses to clean up the mess from sick kids in the back seat.

“What a lousy way to end such a grand adventure” I thought – But somewhere along the road I stepped into the sunlight and realized it was not. Sometimes we get sick, but it passes. Sometimes things go wrong, we have to make repairs, or we come in late. All of those things happened on this trip. More than once. But they’re part of the memories, part of the adventure. They’re surrounded by moments of laughs and wide eyes glistening at the wounder of creation.

The moment I pull in I’m starting a new vacation. We worked hard on this trip. We played hard. It was a gamble too, but our new film PHOTOGRAPHICS is already showing in the black and the trip is all but profitable both emotionally and fiscally. All that time on the road, but so happy to have a place to call home.

We walk in after 91 days on the road and switch on the lights. The house is still here, warm, waiting. Nearly as we left it but for a few extra cobwebs. A bed, a shower, a late night movie with my wife after the kids are finally asleep. We really are home. Next it’s time to process the film, repair the gear, make the prints and get organized.

On Sunday we’re off for a week again to learn and teach at Wall Portrait Conference. But really we’re home right now. It’s only a couple hours away and among people we know. That home feeling is back. It’s odd. Truly surreal to walk down the isle at the store and for once in so long see people you know. Get a hug from your mom when you walk thru a door, or see neighbors wave as you drive down the street. I honestly feel strange not being the stranger here. But that passes and fades into tales of the adventure and silent longing for more.

As the sun shines on our first day home, a breeze blowing, spring flowers popping out, I realize that the world is still alive and that both home and away are something grand. Appreciating your adventure is how you look at it. There’s nothing like a place to call home, but there’s also nothing like the open road, your wife riding shotgun and kids kicking the back of your seat as the road rolls by. This is living, all of it.

Until the next trip, Gavin Seim.

Coming down from the Death Road new Zion. Amazing views.
Coming down from the Death Road new Zion. Amazing views.
Picked up a hitchhiker from France named Tebu who's roaming America. He's headed for Moab. No room in the truck cab, but he fits in the back and his gear in the camper. This guy is hauling way too much weight.
Picked up a hitchhiker from France named Tebu who’s roaming America. He’s headed for Moab. No room in the truck cab, but he fits in the back and his gear in the camper. This guy is hauling way too much weight.

 

An evening at the Salt Flats. It's a stark place. but grand none the less.
An evening at the Salt Flats. It’s a stark place. but grand none the less.

 

The kids are hams. Just like dad.
The kids are hams. Just like dad.
The last sunset, overlooking the hills neat Pendleton Oregon.
The last sunset, overlooking the hills neat Pendleton Oregon.
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November 29, 2012

Those of you that follow my work know that I love working with 4×5 large format film. I still use digital, but 4×5 scans blow it away in terms of detail for my wall prints. More about why I love film in this article.

Today, I made a “quick video” looking at how I prepare images for wet scanning using my Epson V700. The V700 is not sold as a wet scanner. Epson wants you to buy the V750 for that. But the truth is the scanners are the same in nearly every area other than the wet attachments. To top it off, the wet scan upgrade from BetterScanning is said to be better than the stock one that comes with the V750.

Why Wet? Think about your car when you’ve just washed it – When it’s wet the scratches are less visible and everything looks pretty and shiny. Wet scanning has a similar effect. The film is suspended in liquid, which helps reduces small dust and scratches. Furthermore it gives me optical clarity that is not impeded by the surface of the dry film. That produces a better contrast and more detail – There’s an interesting discussion on this topic here.

My process works well and the resulting images go into Lightroom and Photoshop for final details. I have had drum scans done and plan to use them, in time, for VERY large prints in the 100 inch plus range. In my experience a good drum scan (which can easily cost over $100) is better than my Epson wet scans but probably by only 10-15%, so unless I am making a giant print it’s not an issue, even for a quality fanatic like me.

Other Tools: I use Silver Fast scanning software instead of the default Epson software most of the time. In general I find it’s very powerful. Silver Fast support is a bit lacking, but it’s a bit like a Photoshop for scanning and gives lots of control. That said you can get great wet scans with the default software. I use Kami fluid to mount with. It works well and goes a long way. Here’s the rubber roller and I like Purosol and Kimwipes for keeping all my glass clean. I use Duralar sheets to sandwich the negative between fluid and glass. A DataVac is good for serious air and these awesome craft tweezers make picking up the film a snap.

Film is not easy. But it’s coming back because it’s very rewarding and results in stunning, unique images loaded with detail, especially from the larger formats. Here’s a couple recent images I did on 4×5. Of course if you come to my gallery sometime, you’ll be able see the detail in all it’s glory – Enjoy, Gav

Ghostlands – Eastern OR – 4×5 HP400 Film. Full details here.
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September 24, 2012

Vintage 1968 photo magazines I bought. It’s refreshing to see articles on how to make good photos, instead of how to fix ones that were made wrong.

by Gavin Seim: (rev 05/13)

It was Spring of 1968. Motor Trend had just crowned the GTO car of the year, Eddie Adams just made one of the most iconic images in history and in a few months the Detroit Tigers would win the World Series. Pentax was telling us they made “fine photography easy.” and the Polaroid swinger was happily swinging off shelves. Topics ranged from the quality of drugstore printing to the latest spot meters. And yes, publishers knew that bare breasted woman sold photo magazines. Even then.

It was in the Spring of 2011 when I jumped back into film. I had cut my teeth on it back in the late 90’s. That was around the time the Unibomber was captured, scientists cloned sheep and Titanic sunk into theaters with a splash. As I grew, digital did too and soon took over the game. It was fresh, exciting and before long, even practical. Soon professionals everywhere were laying down their film for what were essentially 35mm SLR’s with a bit less detail. It was in some ways a downgrade, and yet digital does offer many advantages.

So I decided to go back and take film seriously. Loading it up for my travels to use it alongside digital. At first it was for the simple reason that a well scanned large format negative could produce vastly more detail than today’s digital. So I bought a classic 4×5 Linhoff and went to work. And it was indeed work, I picked one of the harder formats but it would turn out to be well worth it.


– 4×5 HP400 Film, Linhof Technika IV

 

Popular Photography 1968, ad for the Contaflex 126.

A few months earlier in ’68, the world saw Charlton Heston tell his primate overlord “Get your stinking paws off me, you damned dirty ape!” A classic was born, that would be somewhat tarnished by less impressive sequels. Meanwhile The soft focus filter was in vogue. Forty-four years later my wife would stand next to me in the living room looking at a cover portrait from a 1968 magazine and say. “It’s blurry.”

Back in the twenty-first century we’re making coffee and I grab my Olympus 35RC rangefinder to take a photo of my kids helping out on the kitchen counter. My daughter giggles adorably and I realize I forgot to wind the film. I react quickly before they move and release shutter. One frame and it’s back to lattes.

I’m in New Orleans with my Linhof. Jan, 2012. It quickly draws a crowd and I’m happily chatting. Photo by Jason Eldridge.

I was not the first to be out there rooting for film in this digital era. Many of the best Pictorialists never stopped using it. People like John Canlas, Ian Ruther and a few others had also been sharing their passion for silver for awhile. But I was not so into the romance, I just wanted the quality. People acted like I was a little crazy, but they still were a bit breathless when they saw my Linhoff Super Technika IV that came out around 1956. It started to become a part of my brand. Not just in my pictorials, but in my portrait work.

Next I started talking about film. I started talking about how I blended it with digital. Scanning, editing, printing. I have nothing against the traditional darkroom and I hope to build one when I have more space. But I’m a digital kid and I have a workflow there. There was a method to my madness. I needed to be able to get great images made and printed large in reasonable time for a reasonable cost.

Soon I had a Jobo ATL1000. A remarkable machine in which you load with a small batch of film and a very small amount chemicals and return about thirty minutes later to finished images, color or black and white. The next step was to scan on my V700 using a wet scanning attachment and then into Lightroom and other tools for the finished image. The result was amazing resolution from this 60’s era camera that has not changed much in half a century. I can get around 100-200MP of detail from 4×5 and a beautiful organic feel that digital somehow misses.

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September 10, 2012

 

My friend Barry Howell guests this week and shows off the classic 35mm SLR in black and talks about how cool it really was. I even bought one myself to add to my collection. — Photo Couch Podcast #33, Direct Link.

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Photo Couch is the companion podcast of Gavin’s f164 project. An audio/video journal. Nothing fancy. Just short musings, tips, and thoughts on photography. You can listen here on the blog, or subscribe for free and get all the latest episodes. If you want more, you can also check out Gavin’s full podcast, Pro Photo Show.

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