Category: chocolate

  • Barn

    Barn

    Barn

    Polaroid 250 Land Camera
    Polaroid 80 Chocolate Expired
    Bear, DE / November 6, 2010

    Polaroid 250 Land Camera
    Expired Polaroid 80 Chocolate Peel Apart Film
    Enlarged and printed on
    Hahnemühle William Turner 310 gsm paper
    Float Mount

    Sizes and Pricing

    Limited Signed Edition of 10 Float Mount*
    24″ x 19.5″

    Edition 1 – 4: $425
    Edition 5 – 8: $500
    Edition 9: $625
    Edition 10: Held by the artist

    Unmounted signed 24″ x 19.5″ prints: $100
    Unmounted signed 10″ x 8″ prints: $40

    The only editing done on the photo was dust removal using Photoshop CS5. All colors match the original Polaroid.

    15% of all proceeds will be donated to Preservation Delaware.
    Printing and mounting by Colourworks.

    * Why float mount instead of frame? Float mounts were chosen to showcase an enlarged
    version of the Polaroid image, as if the Polaroid itself was mounted on the wall.
    Float mounts are archival, museum quality, and hang with traditional wall hooks.

    A floated image mounts on the wall beautifully, especially when the image is a Polaroid:

     

  • Branching

    Branching

    Polaroid 250 Land Camera
    Polaroid 100 Chocolate Giambarba Expired
    Bear, DE / March 16, 2011

    Polaroid 250 Land Camera
    Expired Polaroid 100 Chocolate Giambarba Peel Apart Film
    Enlarged and printed on
    Hahnemühle William Turner 310 gsm paper
    Float Mount

    Sizes and Pricing

    Limited Signed Edition of 10 Float Mount*
    24″ x 19.5″

    Edition 1 – 4: $425
    Edition 5 – 8: $500
    Edition 9: $625
    Edition 10: Held by the artist

    Unmounted signed 24″ x 19.5″ prints: $100
    Unmounted signed 10″ x 8″ prints: $40

    The only editing done on the photo was dust removal using Photoshop CS5. All colors match the original Polaroid.

    15% of all sales will be donated to Preservation Delaware.
    Printing and mounting by Colourworks.

    * Why float mount instead of frame? Float mounts were chosen to showcase an enlarged
    version of the Polaroid image, as if the Polaroid itself was mounted on the wall.
    Float mounts are archival, museum quality, and hang with traditional wall hooks.

    A floated image mounts on the wall beautifully, especially when the image is a Polaroid:

     

  • Windows

    Windows

    Polaroid 250 Land Camera
    Polaroid 100 Chocolate Giambarba Expired
    Bear, DE / March 16, 2011

    Polaroid 250 Land Camera
    Expired Polaroid 100 Chocolate Giambarba Peel Apart Film
    Enlarged and printed on
    Hahnemühle William Turner 310 gsm paper
    Float Mount

    Sizes and Pricing

    Limited Signed Edition of 10 Float Mount*
    24″ x 19.5″

    Edition 1 – 4: $425
    Edition 5 – 8: $500
    Edition 9: $625
    Edition 10: Held by the artist

    Unmounted signed 24″ x 19.5″ prints: $100
    Unmounted signed 10″ x 8″ prints: $40

    The only editing done on the photo was dust removal using Photoshop CS5. All colors match the original Polaroid.

    15% of all proceeds will be donated to Preservation Delaware.
    Printing and mounting by Colourworks.

    * Why float mount instead of frame? Float mounts were chosen to showcase an enlarged
    version of the Polaroid image, as if the Polaroid itself was mounted on the wall.
    Float mounts are archival, museum quality, and hang with traditional wall hooks.

    A floated image mounts on the wall beautifully, especially when the image is a Polaroid:

     

  • Produce

    Produce

    Polaroid 250 Land Camera
    Polaroid 100 Chocolate Giambarba Expired
    Bear, DE / Fog / April 20, 2011

    Polaroid 250 Land Camera
    Expired Polaroid 100 Chocolate Giambarba Peel Apart Film
    Enlarged and printed on
    Hahnemühle William Turner 310 gsm paper
    Float Mount

    Sizes and Pricing

    Limited Signed Edition of 10 Float Mount*
    24″ x 19.5″

    Edition 1 – 4: $425
    Edition 5 – 8: $500
    Edition 9: $625
    Edition 10: Held by the artist

    Unmounted signed 24″ x 19.5″ prints: $100
    Unmounted signed 10″ x 8″ prints: $40

    The only editing done on the photo was dust removal using Photoshop CS5. All colors match the original Polaroid.

    15% of all proceeds will be donated to Preservation Delaware.
    Printing and mounting by Colourworks.

    * Why float mount instead of frame? Float mounts were chosen to showcase an enlarged
    version of the Polaroid image, as if the Polaroid itself was mounted on the wall.
    Float mounts are archival, museum quality, and hang with traditional wall hooks.

    A floated image mounts on the wall beautifully, especially when the image is a Polaroid:

     

  • Epitaph

    Epitaph

    Polaroid 250 Land Camera
    Polaroid 100 Chocolate Giambarba Expired
    Bear, DE / Fog / April 20, 2011

    Polaroid 250 Land Camera
    Expired Polaroid 100 Chocolate Giambarba Peel Apart Film
    Enlarged and printed on
    Hahnemühle William Turner 310 gsm paper
    Float Mount

    Sizes and Pricing

    Limited Signed Edition of 10 Float Mount*
    24″ x 19.5″

    Edition 1 – 4: $425
    Edition 5 – 8: $500
    Edition 9: $625
    Edition 10: Held by the artist

    Unmounted signed 24″ x 19.5″ prints: $100
    Unmounted signed 10″ x 8″ prints: $40

    The only editing done on the photo was dust removal using Photoshop CS5. All colors match the original Polaroid.

    15% of all proceeds will be donated to Preservation Delaware.
    Printing and mounting by Colourworks.

    * Why float mount instead of frame? Float mounts were chosen to showcase an enlarged
    version of the Polaroid image, as if the Polaroid itself was mounted on the wall.
    Float mounts are archival, museum quality, and hang with traditional wall hooks.

    A floated image mounts on the wall beautifully, especially when the image is a Polaroid:

     

  • Whispers

    Whispers

    Polaroid 250 Land Camera
    Polaroid 100 Chocolate Giambarba Expired
    Bear, DE / Fog / April 20, 2011

    Polaroid 250 Land Camera
    Expired Polaroid 100 Chocolate Giambarba Peel Apart Film
    Enlarged and printed on
    Hahnemühle William Turner 310 gsm paper
    Float Mount

    Sizes and Pricing

    Limited Signed Edition of 10 Float Mount*
    24″ x 19.5″

    Edition 1 – 4: $425
    Edition 5 – 8: $500
    Edition 9: $625
    Edition 10: Held by the artist

    Unmounted signed 24″ x 19.5″ prints: $100
    Unmounted signed 10″ x 8″ prints: $40

    The only editing done on the photo was dust removal using Photoshop CS5. All colors match the original Polaroid.

    15% of all proceeds will be donated to Preservation Delaware.
    Printing and mounting by Colourworks.

    * Why float mount instead of frame? Float mounts were chosen to showcase an enlarged
    version of the Polaroid image, as if the Polaroid itself was mounted on the wall.
    Float mounts are archival, museum quality, and hang with traditional wall hooks.

    A floated image mounts on the wall beautifully, especially when the image is a Polaroid:

     

  • Afternoon Storm

    Afternoon Storm

    Polaroid 250 Land Camera
    Polaroid 100 Chocolate Giambarba Expired
    Bear, DE / May 19, 2011

    Polaroid 250 Land Camera
    Expired Polaroid 100 Chocolate Giambarba Peel Apart Film
    Enlarged and printed on
    Hahnemühle William Turner 310 gsm paper
    Float Mount

    Sizes and Pricing

    Limited Signed Edition of 10 Float Mount*
    24″ x 19.5″

    Edition 1 – 4: $425
    Edition 5 – 8: $500
    Edition 9: $625
    Edition 10: Held by the artist

    Unmounted signed 24″ x 19.5″ prints: $100
    Unmounted signed 10″ x 8″ prints: $40

    The only editing done on the photo was dust removal using Photoshop CS5. All colors match the original Polaroid.

    15% of all proceeds will be donated to Preservation Delaware.
    Printing and mounting by Colourworks.

    * Why float mount instead of frame? Float mounts were chosen to showcase an enlarged
    version of the Polaroid image, as if the Polaroid itself was mounted on the wall.
    Float mounts are archival, museum quality, and hang with traditional wall hooks.

    A floated image mounts on the wall beautifully, especially when the image is a Polaroid:

     

  • Anachronism

    Anachronism

    Polaroid 250 Land Camera
    Polaroid 100 Chocolate Giambarba Expired
    Bear, DE / May 21, 2011

    Polaroid 250 Land Camera
    Expired Polaroid 100 Chocolate Giambarba Peel Apart Film
    Enlarged and printed on
    Hahnemühle William Turner 310 gsm paper
    Float Mount

    Sizes and Pricing

    Limited Signed Edition of 10 Float Mount*
    24″ x 19.5″

    Edition 1 – 4: $425
    Edition 5 – 8: $500
    Edition 9: $625
    Edition 10: Held by the artist

    Unmounted signed 24″ x 19.5″ prints: $100
    Unmounted signed 10″ x 8″ prints: $40

    The only editing done on the photo was dust removal using Photoshop CS5. All colors match the original Polaroid.

    15% of all proceeds will be donated to Preservation Delaware.
    Printing and mounting by Colourworks.

    * Why float mount instead of frame? Float mounts were chosen to showcase an enlarged
    version of the Polaroid image, as if the Polaroid itself was mounted on the wall.
    Float mounts are archival, museum quality, and hang with traditional wall hooks.

    A floated image mounts on the wall beautifully, especially when the image is a Polaroid:

     

  • Razed

    Razed

    Polaroid 250 Land Camera
    Polaroid 100 Chocolate Giambarba Expired
    Bear, DE / May 21, 2011

    Polaroid 250 Land Camera
    Expired Polaroid 100 Chocolate Giambarba Peel Apart Film
    Enlarged and printed on
    Hahnemühle William Turner 310 gsm paper
    Float Mount

    Sizes and Pricing

    Limited Signed Edition of 10 Float Mount*
    24″ x 19.5″

    Edition 1 – 4: $425
    Edition 5 – 8: $500
    Edition 9: $625
    Edition 10: Held by the artist

    Unmounted signed 24″ x 19.5″ prints: $100
    Unmounted signed 10″ x 8″ prints: $40

    The only editing done on the photo was dust removal using Photoshop CS5. All colors match the original Polaroid.

    15% of all proceeds will be donated to Preservation Delaware.
    Printing and mounting by Colourworks.

    * Why float mount instead of frame? Float mounts were chosen to showcase an enlarged
    version of the Polaroid image, as if the Polaroid itself was mounted on the wall.
    Float mounts are archival, museum quality, and hang with traditional wall hooks.

    A floated image mounts on the wall beautifully, especially when the image is a Polaroid:

     

  • Foundations

    Foundations

    Polaroid 250 Land Camera
    Polaroid 100 Chocolate Giambarba Expired
    Bear, DE / July, 2011

    Polaroid 250 Land Camera
    Expired Polaroid 100 Chocolate Giambarba Peel Apart Film
    Enlarged and printed on
    Hahnemühle William Turner 310 gsm paper
    Float Mount

    Sizes and Pricing

    Limited Signed Edition of 10 Float Mount*
    24″ x 19.5″

    Edition 1 – 4: $425
    Edition 5 – 8: $500
    Edition 9: $625
    Edition 10: Held by the artist

    Unmounted signed 24″ x 19.5″ prints: $100
    Unmounted signed 10″ x 8″ prints: $40

    The only editing done on the photo was dust removal using Photoshop CS5. All colors match the original Polaroid.

    15% of all proceeds will be donated to Preservation Delaware.
    Printing and mounting by Colourworks.

    * Why float mount instead of frame? Float mounts were chosen to showcase an enlarged
    version of the Polaroid image, as if the Polaroid itself was mounted on the wall.
    Float mounts are archival, museum quality, and hang with traditional wall hooks.

    A floated image mounts on the wall beautifully, especially when the image is a Polaroid:

     

  • Polaroid Now Showing in Lewes and Rehobeth, DE

    “Afternoon Storm”

    September 1 – September 15, 2011
    Packard Reath Gallery
    Lewes, DE

    &
    September 17 – September 30, 2011
    Gallery 50
    Gallery 50, Rehobeth, DE

    As part of Photomonth 2011 (advanced skills category), a show juried by:
    Lee Wayne Mills
    Ellen Elms Notar
    John Burger
    Dinah Reath
    Jay Pastore

    $600
    June 19, 2011
    26″ x 20¼”
    Polaroid 250 Land Camera
    Expired Polaroid 100 Chocolate Giambarba Peel Apart Film
    Enlarged and printed on
    Hahnemühle William Turner 308gsm Paper
    Museum Mount
    Limited Edition 1 / 5

    The only editing done on the photo was dust removal using Photoshop CS5. All colors match the original Polaroid.

    15% of all proceeds will be donated to a local preservation society.

  • razing the barn — part 1

    razing the barn — part 1

    On Saturday, May 21, 2011, beginning at 3:00 in the afternoon, the barn at 2335 McCoy Road was razed. This is part 1 in a 2 part post about the razing and details the events photographed with my Polaroid 250 Land Camera using Polaroid 100 Chocolate Giambarba Expired (10/2009 if I’m correct).

    Construction Unlimited, the owners of the barn and the property around it, had been planning on razing the barn for weeks. But, delays and then a week of rain had out it off. Finally, the day was set. Unfortunately, they decided the barn would be razed in the afternoon, which meant that all the gorgeous morning light that hits the eastern facing front of the barn would be lost. I had no idea, really, how the Polaroid 250 and Chocolate film would handle the strong sunlight. At 2:30, after a morning of putting together new deck furniture, I hurried over to the barn to see what was going on. They were just getting started attaching a rope to one of the inner rafters. The rope would then be attached to a bulldozer. I quickly set up two cameras, the Polaroid 250 and my Nikon D90, on two tripods and the Flip video camera on a third tripod. Thankfully they decided to start by pulling the rafter in to the south which meant that the sunlight was slightly behind me and I would also set up the cameras in the share of a tree. Anticipating a dramatic crash at any moment, I have way too many photos that look something like the below image. I chose this one because it seems like the earth mover is in the process of bowing in deference to the barn. And, indeed, the barn won this round: the rope snapped in half without the barn even budging (Barn 1 – Machine 0).

    We then shifted to the eastern face of the barn. I started to become much more conservative in pressing the shutter, especially because they tied the rope to some metal dangling off the wall (if you look closely just below center you can see the rope draping into the grass). The result: the metal was pulled off; the barn didn’t budge (Barn 2 – Machine 0).

    Next, they sent an employee to get some chains and we switched back to the southern face. While waiting for the chains, they thought that attacking the barn with the earth mover would work. They splintered off a (massive) beam (Barn 3 – Machine 0).

    With the chains attached, the barn started to lose ground—though the earth mover struggled. It was incredible to watch 200+ year old construction resist the earth mover—especially because we knew the new construction across the street would have toppled with just the rope attached. It was also, quite sad (Barn 3 – Machine 1).

    We then shifted to the north face and it was here that I got quite worried about the photos. I was now facing into the sun and I had no idea how the Polaroid 250 would handle it. Worried the photo would be completely blown out, I made a slight adjustment on the brightness wheel to darker. I’m pleased with the darker colors and really likethe lens flare in the bottom left corner. After some planning, they attached the chains to the north-east support beam (Barn 3 – Machine 2):

    The moment the barn fell with great destruction was completely chaotic. I had just set up the cameras in a new location so I could get the barn and the earth mover in the frame. I was still getting ready when all of a sudden the earth mover was moving. I was cocking the level, snapping the shutter, pulling the paper, and pulling the photo through the rollers in a frenzy, while simultaneously trying to hold the shutter down on the D90 (my wireless remote shutter was not working—must get wired one immediately). This photo, which has an unfortunate dark area, succinctly captures the chaos. It is slightly out of focus, has tons of movement, and may even be a double exposure (if possible on the 250) (Barn 3 – Machine 3):

    And here, the final shot in that pack of film, is the barn partially razed. When in the field I usually peel the goopy border off the photo immediately, but I knew it was my last shot so I decided to keep it on:

    In Part 2 of this series, I will detail the rest of the razing as documented with my Canon AE-1.

  • photographing 2335 mccoy in the rain: one soggy experience

    This has been a week of waiting and disappointments. The weather has predicted thunderstorms with 70-80% chance of precipitation all week. A gift of a week for someone who wants to photograph in the rain. And, yet, every day that Wendy has been home from work (so she can watch Hydan when I go out to photograph), the clouds would roll in, and as I watched them approach Bear, DE, on weather.com a giant hole would form right over Bear. Rain to the north, south, east, and west. Twice I drove out and sat in the back of my Prius, hatch open, back seats down, camera on tripod pointing at the barn at 2335 McCoy when the weather said 100% chance of rain. Maybe a drizzle for 5 minutes. Yesterday when the rain didn’t come I spent an hour or so testing new Impossible Project film.

    So, today, after so much disappointment and curses to the rain gods, I didn’t even think about photographing the barn in the rain. I got up, scanned in my images from yesterday’s shoot, ate breakfast with Wendy, composed a long blog post, ate lunch with Wendy, and then went outside to work on the raised bed garden we’re making. Not 10 minutes in to the gardening and I hear thunder. What a tease, I thought. Then a bit of lightening and some more thunder. I looked at the weather app on my iPhone and lo and behold another storm approaching.

    Because I hadn’t been thinking about it, I wasn’t prepared, so I ran—covered in mud, I must say, from the gardening—to get my cameras, tripods, and film, and hurried over to 2335 McCoy. I parked the car, opened the hatch, and started setting up the cameras. I still had Polaroid 100 Chocolate Giambarba Expired in the 250 Land Camera, which I was planning on using. But where was the other pack? And the Polaroid 644 Twin Giambarba Expired pack? I called Wendy. I left it sitting in the garage. The rain was starting. While she packed Hydan into the car and drove the film over, I took a meter reading and loaded a Holga with 100 speed film and taped it with gaffer’s tape. Wendy arrived with the film just as the rain was getting going. The sky darkened. Wendy left. I took another reading. Damn! I loaded my other Holga with 400 speed film and wrapped it with gaffer’s tape. I set up the travel tripod with the 250 Land Camera, got in the hatch, and waited for the real rains to come. As the rain got heavier I made a few images with the 250 Land Camera and was so frantic to not miss the full storm I forgot that I had one last picture left in the pack when I opened it to load another pack of Chocolate. (I did, however, pause and check to make sure the rollers were clean.) Still heavy rain, but not the real downpour I knew I would need if I were to capture any rain and water running off the roof with the Chocolate film. So, I grabbed the Holga with the 400 film, set it on Cloudy, and rain out into the rain. I must have looked like a maniac to the contractors working on other buildings on the lot. It was my Holga waist level modified by Randy at Holgamods and has a UV filter attached to it, so the filter was getting very wet. I, in just shorts, t-shirt, and baseball cap, was drenched, as well. But, I convinced myself that rubbing my wet shirt on the filter would get enough drops off of it to make a good photo. Midway through, however, winding got very difficult. Then extremely difficult. (I knew something was very wrong and when I opened it later I saw that the film had for some reason rolled at an angle and was crunched and loose on the spool. I hid it in darkness and then wrapped it in aluminum foil. We’ll see how that turns out.) But, when all 12 shots were taken, I got back to the car and a minute later the skies really opened up. I got the 250 Land Camera in front of me, dried it off a bit, and was able to take one photograph before the torrent slowed. And, I tell ya, getting all soggied was well worth it, as the photo captured the rain and water running off the roof—the one thing I really wanted:

    It may be hard to see here, but I just printed a version of the image on 13 x 19 paper and, wow, it looks great. Here are before, during, and after images:

    All my equipment survived intact and none of the film got wet. So, all in all a great experience.

  • Foggy Morning Shoot

    On Wednesday, April, 20, 2011, I woke up and looked at the weather app on my iPhone (as I do every morning) and saw that it was foggy out. I had been waiting for a foggy day to get out early and take photos of the barn and landscape at 2335 McCoy Road in the fog. I leaped out of bed opened the blinds and, eureka, fog! I put Hydan in the cars eat and rushed out of the house to take some photos with a role from my new batch of Polaroid 100 Chocolate Giambarba Expired. The results were both surreal and unexpected. The Chocolate film is supposed to have a sepia tone to it, as in my other Chocolate Polaroid photos. Not this time it seems. The brownish tint is hinted at in the foreground, but the background and sky are a shade of pink. The pink got pinker as the images dried and the dark foregrounds got darker. I’m not sure if this is because the film sat out of the fridge for a week while we were in Boston or if its just a a symptom of the expired film or somehow due to the foggy conditions. Either way, I really enjoy how the fog makes the barn and the distant woods somewhat ephemeral and ghostly.

  • taking out the polaroid 250 and expired film

    taking out the polaroid 250 and expired film

    With the beautiful barn down the street at 2335 McCoy Road, Bear, DE, soon to be restored (thankfully) I have been out as often as I can to photograph it. In the last few weeks the crazy strong winds have blown out the south-western wall resulting in the roof curving inward. The possibility of it falling any day has also expedited my desire to capture it on film. Plus, I’ve met the soon-to-be owners and they are quite happy with me photographing it. So, I’ve felt free to really take my time, wander all around it, and get to know it even more. My goal is to get as many photos on film as I can and use as many cameras as time allows. Along with my trusty Holgas I’ve taken out the Polaroid 250 I bought on eBay in May, 2010, along with Polaroid 100 Chocolate Giambarba Expired and Polaroid 664 Twin Giambarba Expired. My ultimate goal is for the photographs of the barn to make up my show at Colourworks in October. Here are six unedited samples with the Chocolate.

    Update 3/18/11: Here are six unedited shots with the 664 Twin:

    mccoy-polaroid-7

    mccoy-polaroid-8

    mccoy-polaroid-10

    mccoy-polaroid-9

    mccoy-polaroid-12