Field Notes No. 3

Field Notes No. 3

Playing Artist

Each year the Ness County Bank Building Foundation hosts a fundraiser gala to support the ongoing updates to the building. They call it the Skyscraper Soirée. Since I had just finished my first round of photographs when I saw the event invitation, I decided I wanted to donate a print to the silent auction.

In most cases this is a pretty simple process. Choose an image, crop to size, order from the lab, wait for UPS. But when I decided I wanted to do this project, the end goal has always included a fine art show of my favorite images. Admittedly, I don’t know a lot about selling photography in an art gallery, but I do know that it has to be special.

I’m also fortunate enough to know a few photographers who are selling their work in galleries. Leslie Hoyt and Aileen Harding are two dear friends who are experimenting with some alternative photographic printing techniques that feel perfect for this project. I’ve had that in the back of my mind for a while now, but thinking I was years out from actually starting to print images, I had not yet learned the process or purchased any supplies.

Now all of a sudden I need a finished print. Fast.

I reached out to Leslie to see if she could talk me through her process or point me to some good tutorials. In true Leslie fashion, she did much more than that. She invited me to stay with her for the weekend to teach me how to do it! We set a date and I ordered a few supplies.

I was so excited driving to Tulsa I could hardly stand it. I’ve been to play in Leslie’s art studio before and we have so much fun! I was a little nervous too, because by this time I had promised the foundation something really cool and I had no idea how to do it yet. Fortunately, I work well under pressure!

One thing I should mention about printing is that it is never as easy as it sounds or as it should be. Especially when you are pressed for time. It’s like printers can smell fear. So I was prepared for many a test print and plenty of failures.

Leslie assured me that she could walk me right through it as we scrolled through the images I was considering. Suddenly there was a lot of pressure to choose the right one. This is it. This is #1 of the Whispers of the Past Collection. Not only does it have to set a tone, it has to stand alone. There won’t be any supporting images to tell this story. It also needed to showcase the technique.

I finally decided on an image of the second-floor walk-through vault locking mechanism that bears the emblem of MacNeale & Urban, the Ohio safe makers where the safe was manufactured. The large metal lock and intricate details offer the contrast in texture and function that I was looking for. The highlights will be perfect for this technique.

I adjusted the contrast a bit on Leslie’s recommendation and we hit print.

That first piece of vellum glided through the printer with ease. Perfectly centered. Density and contrast exactly what I hoped.

Ok… well that was just luck. We are just getting started.

The next steps include spraying the print with varnish on both sides, being careful to keep it even and not get anything in the varnish before it dries. This is Oklahoma and you have to spray that stuff outside, so yeah… here’s where this one bites the dust.

But out I went to varnish and dry.

Leslie has the cutest dog, Shakespeare. He went in and out with us to supervise the work. In order to make sure he doesn’t kick up anything on the varnish, Leslie has what she affectionately calls “the drying bush” that keeps the prints safe from any Shakespearian shenanigans while they dry.

The Drying Bush

Shakespeare

Art consultant, varnish supervisor, watch dog.

And that went well too.

I’ve cleared two hurdles.

Next she taught me how to apply 23 karat gold leaf to the back of the print. Have you priced gold lately? No pressure, right?

Applying and cold welding 23 karat gold leaf

We practiced with some imitation gold leaf on a piece of scrap vellum and then dove right in. I went really slow and Leslie patiently talked me through the process.

I just cleared another hurdle.

Now to seal the gold leaf.

Out Shakespeare and I go to spray the final coats. Much to my surprise, we cleared another hurdle.

One left.

Now I have to sign it. On the vellum. With a permanent, archival pen.

I am not this lucky. And I’m definitely not yet skilled.

I practiced about ten times and then I held my breath and did it!

Signing the print. No pressure!

All that was left was a final varnish to seal the signature. Shakespeare dutifully joined me for the last step. I didn’t even take the risk on the drying bush. I brought it right inside to dry.

I don’t know how that happened. That NEVER happens.

EEEKKKK!!! I did it!

I’d like to think it’s because this is just meant to be.

So far, each step I take in this journey feels more confident than the last. I’m not naïve enough to think this will all fall together as easily as that print did. But I do think I’m meant to do this, and I’m loving every step of the journey.

P.S. If you are on Facebook or Instagram, check out Leslie’s work. You’ll be glad you did.
instagram.com/lesliehoyt
facebook.com/lesliehoytfineart