This is a must read for every artist! Great ideas to get you going in 2018!
Camera Records in Time was formed and founded by Traverse Day Robinette and fellow photographer Sam Quinn in the summer of 2009 out of a desire to create an environment where photographers can habitually come together to support one another artistically and receive feedback about their work.
Tuesday, January 9, 2018
Sunday, November 12, 2017
In late July CRIT took a field trip for their monthly meeting to White Pond.
|Dina and Sol, 2017 © Traverse Day Robinette|
|Lee, 2017 © Traverse Day Robinette|
|Chris, 2017 © Traverse Day Robinette|
|Bluegills, 2017 © Traverse Day Robinette|
Tuesday, September 12, 2017
|Kitty, Spring 2017|
|Kitty, Last CRIT Meeting 2017|
|CRIT Summer Gallery Exhibition 2016|
|CRIT's First Book Release 2012|
Saturday, June 24, 2017
|Pictured: Kitty & Chris. Chris shows new 8x10 contact prints.|
|Mollis, 2017 © Chris Maliga|
|Watching the Olympics, 2017 © Lee Kilpatrick|
|Vermont Hideaway, 2017 © Dina Shaposhnikova|
|Shadow Study, 2017 © Traverse Day Robinette|
|Listening & Understanding, 2017 © Ginny Sandman|
Wednesday, February 3, 2016
The act of photographing, the physical exertion of enduring the elements while venturing into secluded environments, is to me a necessary form of release. It often feels as if I lack a vocabulary with which to describe my own emotions. I feel a burden of years I have not yet lived. A long struggle to cope with emotional turmoil, and a troubled relationship with my own body, has driven me toward developing a method of internal exploration through the artistic process. By venturing in solitude into nature, I can allow myself to be vulnerable. I can be aware of my surroundings to an unusual degree, and record the spaces and elements thereof that speak to my state of mind. I can allow my body to move through the expanse, and record its motions as well. As difficult as it often is to want to look at my own form, when it emerges into a photographic element it becomes something foreign. As long as I can watch the rituals of seasons changing, of rain and snow lightly battering the ground, of the wind gently eroding everything it touches, I can momentarily enter into these processes whenever I choose, acting either as witness or as interference. There is a history to the ground that I will never know. In producing these photographs, I seek a small measure of comfort in the present.
|Clutch, © Chris Maliga|
|Sign, © Chris Maliga|
|Fade, © Chris Maliga|
|Entangled, © Chris Maliga|
|Wasteland, © Chris Maliga|
Wednesday, October 21, 2015
Open, © Kate Trenerry
Choke, © Kate Trenerry
Heart, © Kate Trenerry
X-ray, © Kate Trenerry
Ports, © Kate Trenerry
These self portraits were initially shot using a Canon Rebel XSi. They were loaded onto a MacBook Pro and edited in Photoshop. Next, using the MacBook and a traditional darkroom, they were printed by manually adjusting the brightness of the laptop screen to expose photo paper placed directly against it for about 2.5 seconds. This process created the unique stamp that appears on each black and white image. These prints were digitally scanned and appear here.
The steps taken to create these photographs are an intentional entanglement of digital and analog processes. In parallel, the content of the series explores the same relationship between the digital and analog within the context of the human body. Our human existence is increasingly expressed through digital means, the two becoming interwoven reflections of one another. This interdependent identity can hold both conflict and harmony while its value remains deeply personal, to be navigated by individuals as the phenomenon washes over us all.