Moriah Burchfield, leaning on a ghost.

moriah-burchfield-on-the-front-porch-of-my-burned-house-photograph-by-patrick-scott-vickers-4x5-inch-black-and-white-spotted
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.


moriah-burchfield-on-the-front-porch-of-my-burned-house-photograph-by-patrick-scott-vickers-4x5-inch-black-and-white-close-up-before-spotting

Suzanne Mancini. Is it true you only draw self portraits?

a-brown-paper-drawing-of-suzanne-mancini-by-patrick-scott-vickers-before-she-moved-awaybrown paper drawing by patrick scott vickers ≈ 0005.031.2012

I used charcoal and Prismacolor for the white highlights. Like most of these style of portraits, and in particular of Suzanne, this drawing was a single sitting and it took a little less than forty-five minutes. Suzanne was too busy to try to duplicate a pose more than one sitting, and forty-five minutes makes for a time that doesn’t seem quite so formal.
This became the way I would do most of my drawn portraits, as being able to say to people, “Oh, you don’t have to sit still and it’ll take less than an hour.” tended to put people at ease. Maybe. I’m not sure people are ‘at ease,’ with me.