Jessica Eaton

More here!

Veronika Spierenburg - From right to left

Veronika Spierenburg, From right to left, site-specific action, National Library Helsinki,  blu-ray video, 16 min, 2009

See more of Veronika's work here.

Gwenneth Boelens

Hand-Wall, 2007, 16 mm film (original) or digitized on monitor, duration 4 min 35 s

 "Scanning the environment by eye-sight is an essential characteristic of Boelens’ work and taken literally in her filmic work Hand-Wall. As if to ascertain over and over again the limitations and restrictions, a person’s hand wanders along the walls and the windows of an undefined room. As the eye follows this movement a loose impression emerges – a feeling of the space that nevertheless remains insecure and is additionally interrupted by the look outside." (from The Entire Business of Coming Closer press release 2008)

Installation view Klemm's, Berlin

Negative. Rather than Truth, 2010, wood from reproduction table, ceramic notepad, magnifying glass, metal, crayon on glass, ink-jet prints, 68 x 58 x 74 cm   "Negative. Rather than Truth alludes to the idea of a source image through a handmade negative. The title refers to its status; it is an attempt to get to a distillment of reality. It did not yet materialize as an image; it rather precedes the image." 

You can see more of Gwenneth's work here and here. 

archive • Green Screen Wizard

green screen wizard has some good samples of what you can do with it's software. more here.


[all from Green Screen Wizard]

archive is a column by asha schechter

betty ras

work by betty ras. see more here.

[all betty ras. top to bottom: still from honderddrieënnegentig ansichtkaarten in real colour (hundred and ninety three postcards in real color) 2005. el gaucho. 2010. other places of heart. 2009-10.]

brea souders

great new work by brea souders.

there's something very attractive about the colors and the smooth lines of the surfaces, which seem to transform the subjects of the photographs into symbols.

recently, brea has been working on this project during a residency in france. she says the work explores: "living as a foreigner in a place where I have deep ancestry. The images created
here have taken a looser and more dream-like turn, reflecting the feeling of becoming untethered and the desire to fit in but also not fit in."


[above, top to bottom: sunburn in naples, under my thumb, church hands. all by brea souders.]

intersections: photogrammatic

these images by rebecca najdowski and gregory kaplowitz are very iheartphotogram.
i like how gregory kaplowitz's look kind of like outer space phenomena.

[top two from the project 'night for day' by rebecca najdowski, bottom three from 'spagyrics' and 'untitled landscapes ii' by gregory kaplowitz.]

danny durtsche

i am intrigued by this work by danny durtsche. mysterious spectra!

[above: spectrum (moved, scaled, and rotated 4,096 times) (installation view), 2009
untitled, 2009
T.F. (rotated 3,600 times), 2009]

sarah palmer

let's start off the week with sarah palmer's project "as a real house."
sarah says she explores memory and the photograph to understand "how time is trapped inside, like a fossil in rock."

[above: doppelganger (kingston), birth of a world, black cat/white cat, and as a ruled surface, by sarah palmer.]

Making Time : Pia Howell

Do you have a day job? What is it?

Yes! I work full time for BAGGU. I'm in charge of our wholesale department and work with almost all of our international distributors. I also give aesthetic input and just designed a pattern for a bag that will come out this summer. BAGGU usually feels less like a day job, actually, and more like something I've helped to grow over the past few years.

Do the people you work with know you are a photographer?

The people I work with are all creative themselves and know that I'm an artist. Since I don't use a camera for my main photo work anymore and really just make contact prints, I don't usually call myself a photographer. I just say that I make photographs, among other things. Anyway, I think a lot of people who have only seen my images online can't tell that they are photographs made in the darkroom.

Does the work you do during the day affect your personal work?

Sometimes; I do appreciate working for a company that cares so much about color and simplicity. Mainly, though, I feel like I've learned so many valuable lessons about how a small creative business works. My mind has really been opened up to the possibilities for art and design crossover lately.



If you could rearrange your time, what would be the ideal balance between your personal and professional work?

Ultimately I'd love for personal and professional to become one and the same. But for now, I fantasize about working full time in 4 days and having 3 left over to make my own things. Sometimes I find it hard to switch back and forth, to slip away from analytical thinking and into visual reverie.

Images: Pia Howell

Top to bottom: After Max Bill (2009), Framed Trio (2010), Silver Marlboros (2009)

Making Time : Eric Marth

Do you have a day job? What is it?

For the past few years I've worked as a clerk and bibliographer at a small used bookstore called Riverby Books. It's a bright and busy store in my hometown of Fredericksburg, Virginia. The shop is owned by a lovely family, and I'm one of a few employees. We stock the shelves (and the stairs) with good books, reading copies of interesting and classic titles. We're interested in rare and unusual books as well, examples of fine printing and binding. Paul, the owner of the shop, is a bookbinder and keeps busy with making and repairing books for our customers, and putting things together for projects of his own. It's been a very good place to be and a great place to work.

In the growing months of 2010 I worked on a produce farm in Westmoreland County, Virginia called Blenheim, the ancestral home of the Latane family, who farm there today. Blenheim is part of a series of farms on Potomac River once owned by the Washington family. Their place was first the home of William Augustine Washington, the nephew of President George Washington. The farm is very near to Wakefield, President Washington's birthplace.

Blenheim is about four hundred acres, with something like a dozen acres in produce. Much of the farm is woods, and a wonderful place for bird hunting. There's a lot of delicious stuff growing out there, strawberries, asparagus, tomatoes, potatoes, cabbages, elephant garlic, apples, peppers and a lot more. This summer we wrapped up work on a big hoop house and the Latanes grew lettuces and tomatoes during the winter. The family sells at a few markets here in Virginia, and offers weekly shares of produce for about ninety families close by.

Work at the farm slowed as the growing season wound down. This winter I've had a handful of small jobs: sorting cattle for a livestock auction, working some odds and ends for a friend of mine who is a builder, and I'm doing some studio modeling for a life drawing class at the University of Mary Washington.

Do the people you work with know you are a photographer?

Yes, I'm lucky to be close to a lot of the people I work with. My friends at Riverby, at Blenheim, and my friend Jason the builder have known me for a long time! The students at UMW know that I photograph, too.

Does the work you do during the day affect your personal work?

Working at Riverby has put me in contact with a lot of great photography books. And tracking books down for customers has made it easier for me to find the work of photographers I'm interested in. Most of what I've learned about photography has come through books, by studying the work of other photographers.

My recent work has been made on farms in Orange, Franklin and Westmoreland Counties here in Virginia. Working with the Latanes at Blenheim I've had the occasion to make a lot of photographs of their farm and of the family at work.



If you could rearrange your time, what would be the ideal balance between your personal and professional work?

I'm looking forward to the coming of Spring and to working again at Blenheim. Being with people who make a living from caring for their place has been a pleasure, and the work itself has yielded some good photographs.

Images: Eric Marth

See also: New Twine

Making Time : Adam Bernales

Do you have a day job? What is it?

Yes, I help run a small book shop in East LA and typically work other small jobs, waiter, cashier, census enumerator.

Do the people you work with know you are a photographer?

I don't think anyone has ever known aside from the book store.

Does the work you do during the day affect your personal work?

Yes, though I wouldn't know how.



If you could rearrange your time, what would be the ideal balance between your personal and professional work?

I'm not sure there is an ideal balance, it might be interesting if they were the same. If I could rearrange my time I would try to do more work of any kind.

Images: Adam Bernales

Top to bottom: goodnight.htm (2008), Untitled (2007), (708) 387-9677 (2007-2009)

Making Time : Elo Vázquez

Do you have a day job? What is it?

I started working as a Spanish teacher four months ago, but right now I don't have any students and I'm very sad. And tomorrow I start an internship in a small translation company.

Do the people you work with know you are a photographer?

It's a very big school and I haven't been there for long and only a few know about it. But I think I haven't told anyone.

Does the work you do during the day affect your personal work?

Actually, I have an ongoing series called Spanish class. I take a picture of each of my students and I ask them for a handwritten paper where they can tell me anything they want - their names, where they're from, what they like and dislike, what is their motivation to study Spanish. It's hard meeting so many interesting people and knowing that you're never going to see them again, so I guess this is a nice way of never forgetting them and also of merging my work as a teacher and as a photographer.



If you could rearrange your time, what would be the ideal balance between your personal and professional work?

I would work two days in my personal work, two days in my professional work. And then three days in my personal work, three days in my professional work. It's a very nice system I had when I used to work in a pizza place in Reykjavík. I really enjoyed that new whole concept of time.

Images: Elo Vázquez, from Spanish class (2008)

Making Time : Jennilee Marigomen

Do you have a day job? What is it?

I work in the art department at a clothing distribution and marketing office.

Do the people you work with know you are a photographer?

Yes! My boss was actually a big part of how I got into photography. We sponsor a lot of music shows, and in exchange for passes, I would take photos for him using a little camera that I borrowed from the office. When I upgraded my equipment, I took photography classes, and I eventually made the shift from event to art photography.  Everyone here has always nurtured my love for photography, and some of my work is hung up in our showroom and printed as wallpaper in our director’s offices. I’m very grateful.

Does the work you do during the day affect your personal work?

A little bit, but not too much.



If you could rearrange your time, what would be the ideal balance between your personal and professional work?

It would be nice to have my mornings free so that I could be taking photos when the sun is out.

Images: Jennilee Marigomen

See also: Happy Accident

Making Time : Jinjoo Hwang

Do you have a day job? What is it?

I do, I work as a dietetic technician at a private hospital in Los Angeles. I mostly work with renal/diabetic patients along with patients with complicated diet prescriptions or allergies.

Do the people you work with know you are a photographer?

I don't think they do. Or at least there's just very little conversation about photography or art in general in the hospital. I do dress differently from everyone else though, apart from the lab coat.

Does the work you do during the day affect your personal work?

Working as a diet tech and being a photographer demands different skill sets but for me they're somehow processed in the same stream of thinking. I feel like at the end of the day when I sleep, the ideas and impressions in my head homogenize so I don't really consider my job and my personal work mutually exclusive. Recently though, I've been told that if you don't devote your life solely to art or attend a proper art school, it deprives you of your right to call yourself an artist. I thought about that a lot, but now it just sounds obnoxious.



If you could rearrange your time, what would be the ideal balance between your personal and professional work?

I work at the hospital only part-time at the moment, so having time isn't really an issue. It's funny though, there are so many moments at work where I wish it were either appropriate to take a photo and/or I had a decent camera with me. So many interesting, weird, scary, gross, and happy things happen pretty often.

Images: Jinjoo Hwang