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All responses Most smiled responses
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i don't generally do this, so i don't have a set number in my head to quote. most people who legally use my images do so through a usage agreement where i retain the copyright as the creator of that artwork. this is a lot more economically feasible for most individuals or companies. i imagine pricing for full copyright transfer would depend on the type of image and how much work i was doing for this person all at once or over time, among other factors. all i do know is that if i ever do this, it would be very expensive! it's sad to see how little value so many artists place in themselves when they give away their copyrights for a pittance.
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you can be inspired by something that has nothing to do with what you are doing or attempting to do, and i frequently find that to be the case with my inspirations and how they relate to my projects.
i don't remember having any particular influences that guided me toward the holga, but after i began using it i was drawn to the multiple exposure aspect of image making with that camera and at that point drew upon some influences who utilized multiple exposures in their images like jerry uelsmann and duane michals. i also remembered back to artists who displayed their work in contact print size like andré kertész. these three photographers are all very different from each other and from me, but are all quite exceptional, and i find that i'm influenced more by good art than i am by mediocre art that fits more closely with what i want to do (if that makes any sense). -
i have 6 relatives with the last name antognoli that served in WWII - my grandfather and 5 of his brothers. their names were andy, pete, moe, benny, tony, jerome, and angelo (angelo served after the war ended). we very well may be related to the antognoli with the first initial "d" that you have a photo of, but probably in a round-about way. we have an extensive family tree plotted out, so it might be possible to figure out how i am related to this person with a bit more info - i love family history and old photos!
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you don't HAVE to be schizophrenic to make multiple exposure holga images... but it helps. :)
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asked by artjunkie
you can never please all of the people all of the time, so i'm sure even if i used my powers for what i thought was good, someone out there would think it was evil. and likewise, if you are evil, someone out there will think it is awesome. or at least people think it's awesome when i am evil. :)
as for what specific superpower i would choose... probably mind control. that would solve a lot of my problems for sure! -
gelatin relief is also known by the french word, mordançage. there's not a ton of good information on the internet, but if you do a google search you will find several different formulas for the process. there are a lot of variables in the steps, so each step is directly influenced by the choices you make on the step(s) before it. there is really too much to write here, but if you review and / or try the technique and have specific questions about any single part of the process i'd be happy to help with that... though my way is not the only way to make this process work.
as for incorporating drawing into holga photographs, that all depends on what type of look you are trying to accomplish and the resources available to you. there are a LOT of ways you can make this happen. off the top of my head, here are a few:
1.) if you are really brave you could draw directly on the negative and then print.
2,) you could enlarge drawings to a scale that they would be easily photographed with a holga and layer them in the shooting stage.
3.) you could double expose separate images of a drawing with holga images in the darkroom while printing.
4.) you could contact print a drawing on top of the exposed but not yet developed holga print in the darkroom.
5.) and, of course, there's always digital overlay if you want to bring in line art that way (but most people who follow my work know how i feel about that!).
... and this is just what came to mind in 5 minutes, pre-caffeine (i am sooooo not a morning person). i'm sure there are plenty of other ways to incorporate drawings into holga images. the key is to think creatively and not be afraid to venture outside the box and you can make just about anything possible! -
the voices! oh, the voices tell me to do lots of things!
why does anyone want to do what they do? we all want different things and express that in different ways, and that's what makes us interesting. everyone should listen to the leprechaun in the corner of the sandbox every now and then (obscure simpsons reference). i do what i do because i want to feel better about being on this planet. "what i want to do" changes depending on my mood and circumstance, but what results is a document of where i was both physically and mentally at the time that i did it. -
i shoot without the mask inside my holga, which might account for the lessening of the lines you are talking about. however, every holga is different and i've used some where those lines are more prominent and some where the lines blend more or are non-existent. i mark all my holgas so i know which ones produce which types of effects so that if it matters to me, i know which one to grab for a particular photo shoot.
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i have two main subjects that i find myself drawn to, and those are cityscapes and portraits / people. i like both equally for different reasons. i've always enjoyed making unique portraits of people that transcend a mere likeness and communicate something about the subject as a person. and i've always been fascinated with details that i find in abundance while roaming cities.
that being said, i like to try all different types of photography because you never know when something will click and a new project will be born.
the only thing i never seem to be able to get into with any type of photography is rural landscape photography. i would rather enjoy nature than photograph it. -
crazy's free. and i didn't know it came in any other form besides bulk. it's aaaaaallllll arouuuuuuund usssssssss............
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all of my holgas are printed myself in the darkroom with black and white fiber paper and then selenium toned. however, if you make a scan of the image you can send it to a lab to print on ra-4 paper.
if you are referring to the mordançage process, then that cannot be done with ra-4 paper at all (at least not that i've found). i tried throwing a color print in the solution once just to see what would happen and it didn't do anything at all. however, many people tweak their solutions to get all sorts of results, so i wouldn't be surprised if someone out there figured out a way to make *something* happen with ra-4 paper.
but, as a rule, everything that i produce is done by hand by me from start to finish, so there are no outside lab prints to be seen here. -
i don't like color film. it's just a personal preference. i won't say that i will never shoot it again though because any time i say i will never do something i end up doing it. and i wouldn't rule it out if i had a particular project i needed it for. but if i want a color image i shoot digitally. i've never shot 120 color film in the holga, but have used it in other medium format cameras for studio work and the like prior to digital.
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there are struggles with everything. and there are solutions to just about every problem. being a good photographer means being a good problem solver. and i think i manage to do that fairly well. as long as you know your gear and specific limitations, you can find ways to compensate / work around the issues and end up with the results that you want.
it's true that i can't control the shutter speed or aperture on the holga, but i can be mindful of the light available to me and either put myself in a good position to use ambient light, or bring in additional lights to achieve the results i need.
as far as exposures, i shot weddings with film before digital, and there were only 36 exposures on a 35mm roll, and 12 on a medium format roll. which seemed doable back then, but now that i can get several hundred onto one CF card, it is hard to imagine going back. that being said, you deal with what you have to deal with and learn to manage. -
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you have to use the holga a lot to get familiar with it (but that's true of any camera). it takes a long while of consistent shooting to be able to get consistent results. and each holga is different at that, so you need to know your particular camera(s). i have 5 and they all behave differently. i have them marked so i know which one to grab if i want a specific look.
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not really. mostly just to make art as much as possible. and to try different ideas no matter how crazy they might seem in my head, because if i can find a way to make it work, it might be something worth pursuing. it's good to challenge myself or i get bored and complacent and all my images start to look alike.
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a lot of artists have influenced my work, but it's not so much their work as it is the way being exposed to their work causes me to think about things. i'm not influenced specifically by other photographers, but by all different types of artistic media. i don't copy other artists, but try to take away something that i can apply to my own situation and methods and make it my own. sometimes it can be something they said about their process, and not necessarily their work itself. and it's not just visual artists that influence me - music influences me a great deal as well. there are really too many artists for me to name.
kertesz influenced my method of printing and display. his exhibit at the national gallery in dc some years ago gave me the idea to present my holga images in contact print format with large mats. my work is nothing like his as far as imagery goes, but this presentation worked incredibly well for me and i just started printing everything for this project that way.
in all, i feel very fortunate to have the smithsonian museums nearby - they are free and have lots of widely varied art that i / we can look at and be inspired by. -
when shooting outdoors / natural light, i don't care what the exact light reading is. i mean, i do pay attention to light, but i do that more for composition and figure i'll worry about exact exposure later because it's the shot that matters. i print them all myself anyway, so i can adjust for exposure and contrast in the darkroom. for anything lit by me, i use a light meter to figure out what output i need to meet the holga's needs and adjust the light output or position accordingly.
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i find that my evil is triggered by other evil. if i'm around puppies all day, i would never be evil. but if i'm around, say, someone named todd gardner, then my evil-meter jumps off the scale and chaos ensues.
as for the second part of your question, the voices are my influences.
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Loading...Erin Antognoli’s Bio
i am a photographer. i am an artist. i am a do-er of stuff. i shoot film and digital, and play with chemicals a lot. i have also been dubbed an urban holga photographer extraordinaire, but i really want to be a holga czar.
see also:
www.eantognoli.com
