Kallitype Update: Layering on Color

Hafa Adai! Jen Perena here, fresh off the plane from Guam….well, actually I have been back in Rochester now for a few days, but with the jet lag (Guam is a 15-hr time difference), I am all kinds of messed up time wise, and I have been mostly sleeping since arriving home, so it seems like only yesterday I was on the beach….

My two weeks in Guam went very fast; there were ups and downs: we were lucky with awesome weather and lots of sunshine (only sprinkled on us once); but my back went out on day 3 of the training workshop I was delivering and I had to be hospitalized (briefly – I was released 6 hrs later….); my husband was able to fly over from the Philippines to celebrate our 24th anniversary with me and we had a great day touring the island followed by a very nice dinner; but I gained too many pounds to count stuffing myself like a pig from the decadent and delicious island food; my training workshop was a great success thanks to the hard work and dedication of my students; and then I arrived home to roughly a foot of snow, 38 degrees, drizzle and gray skies. Hafa Adai! (Which means hello and welcome in the local Guamanian Chamorro language).

Anyway, I have been using the time I have been unable to sleep productively! Finally I made some progress watercoloring the ‘vegetation’ set of kallitypes I made in between Italy and Guam.

Me, bundled up because I don’t want to put on the heat yet, watercoloring one of my kallitypes

Getting back into it reminded me of the challenges I faced the last time I hand colored some of my kallitypes a few years back: when to stop and leave it alone! And, surprisingly, I used some of the darker images as practice, and I kind of like them better than the lighter, more underexposed ones, which I thought would work better. But you be the judge. Here are a couple samples:

This is the print that I deemed overexposed – but the color against it looks really nice
This is the slightly underexposed print and I don’t like it as much. What do you think?

Check out my  #kallitypegirl Instagram page for a few more examples of recent hand-colored kallitypes and let me know what you think! I’ll leave you with one photo from Guam to get you through what looks to be a cold and dreary week:

View of Ypao Beach on Tumon Bay, northern Guam (also the view from my hotel room….)

Adios! (Guam was colonized by Spain in the 1600’s and a lot of the Spanish language lives on in their day to day speech!)  And Happy Thanksgiving everyone!

Kallitype Weekend Update

Hi everyone! Jen Perena here, fresh out of the darkroom. Well, 15 hours ago I actually left the Silver Den, but it FEELS like I am fresh out of the darkroom!

I finally resumed making work this past weekend (after almost a month of not making any work!), with a goal of finishing all of my printing so I can fully concentrate on water coloring the pieces for the ‘vegetation’ half of the show. I’m not 100% sure I accomplished that because I left work drying on the rack, and it always dries down darker, but I feel good about it.

Here are a few pics (iPhone photos of the work fresh out of the wash, so please excuse the reflections…) of what I made on Saturday. I spent 5 hours in the darkroom and made 8 prints that day. This set had close to the “right” exposure times (3.5 minutes) based on the richness of the final tones, though they look a bit too dark and flat to me:

Kallitype of large aloes or some kind of agave or succulent; I love this one but it is a little too dark for hand coloring
This one definitely has the right exposure, but could benefit from a teeny bit more contrast for my liking

 

Kallitype of snap peas and squash blossoms – also a tad too dark for hand coloring

 

Kallitype of kohlrabi – pretty good, but see if you can detect the ‘invisible’ root (it was purple and came out so dark it looks barely there)

On Sunday I returned to the darkroom, but when I checked the rack, I felt that the dried-down images from Saturday were a bit dark, so I reprinted everything at 3 minutes, plus added a single drop of the dichromate contrast booster to the emulsion chemistry. After washing each one, I felt they looked closer to what I am going for in terms of slightly underexposed so I can watercolor into the grayer areas. Unfortunately I didn’t get any photos of the second set; after 6 (more) hours and 9 (more) prints I was pretty tired, and it slipped my mind.

Next week at this time I will be in Guam; I am heading there for work for 2 wks and will be back Nov 17. I will try to make at least one post during that time…but it won’t be about my work (kallitypes nor watercoloring nor actual reason I am there)….more likely tropical waterfalls and beach scenes, which I know you will all love as November gets colder and grayer! But soon, I promise a sneak peek at my watercoloring!

 

It is called the American Flag

My work has focused to explore the different ideas about identity, what defines it… and how it is molded. These questions came back to my mind when I started to live in the US.  How people identify themselves as “Americans”. I’ve found it surprising how many people feel like they are from everywhere in the globe, less from the USA, but that doesn’t stop them from feeling less patriotic…

The project “It is called the American Flag” was arising to reflect about this idea of “be american”, to show the relevance of a symbol in our everyday environment and maybe with images show different ideas around them. I need to say, to me it is impressive how many flags are outside homes or public spaces, and I’m pretty sure I’m not the first foreign person who has noticed. When I asked about it, the first answer from my friends was something like it is common to see them outside conservative houses, but that doesn’t apply for everyone.

Definitely the creative process of each artist is different between them. To me working and continuing to post about an ongoing project is difficult because it is not complete. I need to organize my thoughts and clarify my ideas, about what I’m trying to communicate, to express… to show. Also how I want to do it, which are the best media, which are the best ways to work on it. In short I need to create a visual and mental map.

At the end I decided the best way to approach this subject would be through instant photos because they represent to me a unique piece of visual culture, but the snapshot themselves could be seen as common and valueless. I started by taking instant photos of every flag around me, starting with the ones around the places where I had been living since I arrived in Rochester, creating a set of maps…  To me these maps represents the nets that I’ve been creating around, showing them as a net that connects different areas and different periods of my life here.