Artist – Craftsman

Dreamer – Seth

The Dreamers project is an ongoing series of photographs that explores what people of different ages want to be when they grow up if they could be anything.

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Megan

This is a series of photographs exploring the meaning of digital identity, and how that identity increasingly shapes our perception of individuals today.

In nearly all popular online forums for communication, users have the ability to select avatars, or pictures to represent themselves in dialog. Often the images that people choose are not pictures of themselves; rather, they serve as signifiers for some aspect of their persona they would like to highlight.

As these venues for communication become more popular and greater amounts of time are spent communicating virtually, rather than in real life, the avatars individuals choose begin to distort the image that comes into our head when we think about those individuals.

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As we spend time paddling, we become a part of the river and it becomes a part of us. I travel with groups of about 120 people – children, craftsmen, teachers, and leaders. We witness the power the river has to bring vitality to the communities on its banks, as well as the effects of our culture’s abuse.  I hope to convey some of the beauty of that place so others understand the importance of our waters.

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This is a series of photographs selected from a record produced by a New Media installation. This series is different in intent from that project; visit that page to fully understand how these were created.

These images explore the uncanny valley and our perception of what constitutes a human face, as opposed to what a machine sees as a human face. The “uncanny valley” is a term used to describe the point at which copies of humans are realistic enough to be repulsive, yet are not perceived as human. An entity in the uncanny valley is somewhere between barely-human and fully-human.

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These are found scenes photographed in the dump in Centralia, PA. In 1962, the town lit its dump on fire (as it had done several times in the past). This time the fire spread to an open coal seam below the dump and spread to the abandoned coal mines below the town. The fire is still burning today. The government bought out and razed most of the homes in the 80′s and 90′s; today the town has approximately nine residents.

These were photographed with Polaroid 669 film, which is no longer produced. I then made emulsion lifts, carefully stretching the images out then wrinkling them to give them the feel of discarded paper. I then made high-resolution scans of the emulsion lifts and enlarged them to approximately 12×12″.

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Ambrotyping, also known as wet-plate collodion, is a photographic process invented in 1855. Process-intensive, the photographer either needs to be working just outside a darkroom or has to carry a portable darkroom with them, as the plate can not be allowed to dry before development. All of the chemistry is poured by hand, making numerous imperfections unless complete mastery of the process has been reached.

These are portraits I took of people who I taught the basic wet-plate process to. These are made on textured glass, which causes the chemicals to pool, accentuating any imperfections in the plates and introducing new patterns on the images.

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