Transbuff1985 Loc: east central Iowa

Nice photo danersmiff pg87

PAToGraphy Loc: Portland ME area

@ Bill and RichardQ
I can't imaging the work it took to find out if you captured what you thought you did OR the intense time necessary to do calculations to "get it right" in the camera.

William Loc: Mississippi

I appreciate the comment because
the lens/darkroom experience was
a 16 year old's dream of the diff@
erance to express my ideas of art
and the UHH experience defined/it
the labor involved. the time factor
the memories took effort to achieve
but D released my film/ideas work
to work the conceptions of the time
your friend Bill@

UHH rewired my work forever

(Download)

Photogirl17 Loc: Glenwood, Ark.

Your work only gets better..

PAToGraphy Loc: Portland ME area

p.88 I never developed my own film but I remember waiting to get film returned and the disappointment when I didnt get what I thought I did. D and UHH changed my "hobby" into something more. So many possibilities I'd never have discovered.

William Loc: Mississippi

@

William Loc: Mississippi

there was a time with no choice
did you go B/W or color works@
the developed was organic the D
is pure mental extended ideas/D
Bill@

William Loc: Mississippi

texture/idea/red

oops no texture

(Download)

William Loc: Mississippi

texture has grit/true/grit

nerver tried that

(Download)

PAToGraphy Loc: Portland ME area

Started w B/W. Love the creative freedom w my D

PAToGraphy Loc: Portland ME area

Well, Bill, now here’s something u could try. You might even get to wear a little red suit too. Gross!!!

RichardQ Loc: Colorado

Thank you, Pat, for the sympathy. I never saw most of the photos I shot, unless I opened a magazine and so I had to have rock-solid self-confidence or I would not have lasted a week. At the end of every shooting day (which often involved two separate assignments, each exposing 12 to 15 sheet films), I had to unload the exposed film sheets in a hotel room closet, and sometimes notch a code into critical negs for the darkroom crew, then package and address the films so I could take them to the local post office. Then I was free to have dinner or collapse. If my negatives were not up to par, however, I instantly heard about it. I was shooting "on-site" assignments, like the off-shore rig a few frames ago. Leaving NYC for a week of (maybe) five or six assignments, I had to carry all my gear alone -- tripod and light stands tied with web straps, flashbulbs and extensions, 15-double-sided film holders (loaded, of course), a box of extra sheet films, view camera with three lenses, cords for the flash extensions packed into a fiberboard case -- plus a very small briefcase for a shirt, underwear, toothbrush, and the like. I flew everywhere, often at the last minute because the on-site time was critical. Luckily, there were no security problems at the airports in those days. I carried a booklet of "flight checks" honored by all the airlines, so I could rush straight to the gate, fill in the flight number, the codes for cities, date and run with all my junk straight to the plane. They all had a carry-on luggage compartment at the front of the cabin. Obviously, all these arrangements would be impossible, or unnecessary, today. I did that for five years in the mid-1950s when I was in my 20's. Perhaps you can imagine what my wife and kids thought of that as a career. But boy, it was exciting!

PAToGraphy Loc: Portland ME area

It sounds like what I had imagined. It would be challenging but it must have been hard on family. My Dad traveled a lot and I know that wasn't easy for us. And so much of his work was "classified" we might know where but not what oar why.

B_meyer5.55NY

Someone in this group has seen the powerful artwork of Chihuly.
We viewed the red-spiked teepee at Garvin Gardens in Hot Springs, Arkansas last year. Very impressive. We never tire of his art.

PAToGraphy Loc: Portland ME area

You are correct. Several on the forum have seen his works in a variety of places - including the red spikes. Such talent and artistic vision!