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Saturday Art Show December 5th

Posted in announcement, photography, Uncategorized with tags , , , on December 2, 2009 by carolmcgorry
Shelburne Farms

Late Leaf Fall, Shelburne Farms, Vermont

Stop by Studio 239 in Bayport this Saturday, December 5th,  between 2 and 6 in the afternoon, to view new black and white prints made along the hillsides of Vermont and shot with my Zero Image, pinhole camera.   (See additional images here in Portfolio.)

The show will also feature the most recent prints from my Shetland Islands series–overlapping, panoramic images of cliffs and bays printed on Japanese Unryu and hung as scrolls; wavy, blue and green grasses, blowing in the ever present wind at Shetland on Canson Rag Photographique; and grainy, black and white pinhole shots of my great-grandmother’s croft.

Email me for directions: studio239@gmail.com.

The shot below, of Burra Voe in Northmavine, is printed on Washi Unryu; the natural swirls in the paper add to the ripples on the water’s surface, to the sense of constant movement in the bay off Yell Sound.

Burra Voe, Shetland Islands

Sheep Dreams

Posted in Uncategorized, photography with tags on October 30, 2009 by carolmcgorry

Sheep Dreams

Sheep.  Sheep.   Sheep.

They’re everywhere in Shetland—on the hillside, next to the road,     near the shore.

You see them in your dreams.

Next week, in Vermont with Stephen Schaub of Indian Hill Imageworks, I’ll be experimenting with an encaustic treatment of some Shetland images, layering prints with wax and—hopefully—burnishing in strands of raw fleece brought home from the isles.

Meadow Croft

Posted in photography, Uncategorized, writing with tags , , , on March 28, 2009 by carolmcgorry

We were just a few hours into spring last Friday morning, and yet had snowflakes.  Crazy winter on Long Island.  Snowstorms.  Cold.

I’ve been working these past months, piloting a couple of film cameras to work with in Shetland this May.  I don’t think I would otherwise have tortured myself, photographing in the frigid air, and the snow is sometimes so uninspiring.  So I stayed near home and ended up photographing, again and again at Meadow Croft, John E.Roosevelt’s one-time summer home in Sayville.

I’ve passed this spot many times-less than a mile from my home-and never really walked in, but one Sunday, my friend Carol asked me to meet her there, to stop in at the wood shack at the far end of the estate where Barney offers tastes of the Loughlin wines grown there.  I left sooner than Carol, to walk around and try out my Olympus XA and LOMO 35mm cameras.  I bought the 1979 Olympus for just $75 at an online auction and the LOMO new and am trying to decide which effects I want.  They both have good lenses and work quickly, although the XA has a coupled rangefinder for precision focus, whereas the LOMO is a scale focus and I have to estimate the distance in feet and set the lens, a bit wacky, but maybe I want this.  (For more on these cameras, see thefigitalrevolution.com.)

Before Carol showed up, I walked around the open fields in front of the Dutch Revival house and then back toward the two-story garage.  I was photographing the garage from a predictable distance-more than 20 feet-easy, infinity on both cameras.  But then I noticed that one of the windows on the otherwise locked garage was open, less than an inch.  I pushed the window up a bit, just enough to prop the XA and LOMO on the ledge and shoot into a room where the light fell obliquely onto a back wall.  I guessed at the distance and shot a few frames, but, by the time Carol came up beside me, my fingers were burning from the cold, even with gloves on, and I could no longer advance the film levers.

We walked to Barney’s shack which is warmed by a  wood-burning stove and then took our wine in plastic cups back up to the house to sit in the rockers on the porch…feet up on the rail…no one in view.  I went back to Meadow Croft all winter; even though it was so often cold, because it was eerie and mysterious and silent.  And last week I borrowed an Olympus XA-4–a later XA model that like the LOMO is scale focused but it has a 28mm lens–more in the frame and more depth of field.

Further test shots to follow.

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