Susan Szegda née Crawford ≈ 1992 a portrait. With restoration.

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That is a scan from my 35mm Kodak Tri-X negative. It had been stored in my little house in Mississippi and unfortunately some little critter really liked the gelatin on the Tri-X.
Here’s what a closeup of the area around Susan’s right foot looks like, with the tones adjusted to really show off the tracks these negative eating weasels left:

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These are very much like the tracks one gets from critters crawling around the agar in a petri dish. Yay.

And here’s round one of a restoration attempt:

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Suzanne Mancini, Profil Perdu. And thank you.

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I mentioned earlier in the blog that Suzanne was willing to model for me when we didn’t know what would happen. I hadn’t drawn whole single portraits for some time. Some years of time. But she was willing to give it a try, and I can’t remember which was the first drawing, nor do I know if I have a picture of it, but I guess it went okay, because we tried again.
And because she was generous with her time and self I made some work that made me comfortable to offer to draw other friends, who were also brave enough to try an experience of being drawn, which is kind of a rare one. Being drawn. I was about to write, ‘these days,’ but then I reckon that being drawn has always been a rare experience, though relative to what, I’m not quite sure.
I mention Suzanne’s help and contribution to thank her again, thank you Suzanne, but also thank you to all of my friends who have sat there and let me try and spell with color a something of themselves on a sheet of paper.
Have you sat for your artist today?
There should be bumper stickers.

Your artist. I like the idea that everyone has an artist around here someplace. Now, where did I put that thing?

p.s. something essentially the same as this was posted at Tumblr. I’m don’t know if that means or matters.

 

Moriah Burchfield, leaning on a ghost.

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When I first posted this photograph of Moriah, I posted a dusty one, and I’ve time to spot the dusty one and repost it. I’ve also included a close-up of the spotted versus the unspotted versions.

I find spotting photographs very relaxing, but certain aspects of the process frustrates me. Due to the way I work, removing the dust very clearly shows how her T-shirt has developed several dark spots that are separate from shadows.

Sometimes, in materials from Mississippi, I’ve seen those dark spots like a fungus or mold appearing on prints and negatives. On this image there’s a combination of environmental damage and various limitations of my abilities with the equipment that resulted in those spots, and they’re all over the fabric. Those are not as relaxing to remove.


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