Two words: Little… Lotto.

Leslie Hindman Auctioneers is proud to announce the sale of the jazz collection of beloved Chicago radio host Dick Buckley on Thursday, February 17, 2011. Buckley, who passed away on July 22, 2010 at 85, was a radio deejay in Chicago for over 50 years, spreading his passion for jazz to thousands of eager listeners.  He is best remembered as the host of a weekend radio show on Chicago Public Radio. He was known for his encyclopedic knowledge of the subject, his deep voice, and his relaxed speaking style.  His last show was broadcast July 27, 2008.

The sale will consist of over 8,000 jazz LPs, 45s, 78s, EPs, mixed tapes and CDs, including many home-made compilations, comprising Buckley’s personal archive. Also included in the sale are books and reel-to-reel broadcasts of his radio programs. This extensive collection will be offered in 92 box lots of approximately 100 items each, grouped by style, artist, instrument and format.

Interested parties may peruse the items during one of the two days of previews held at the gallery. The auction will take place live on Thursday, February 17, at 5pm. For more information on the auction, please contact Mary “Lou” Williams at 312-334-4236.

We self-assess

…to a degree.

Don’t be alarmed as you read through this: it’s not worded colloquially, nor is it necessarily as some of the test questions will be phrased; instead, each item alludes to (not all) topics.

What is the distinction between “composition” and the “effective placement of objects within the frame”?

What affects the impact that a negative’s grain has on the look of a print, from choosing where and when (and what) to shoot to working in the darkroom?

What are the important details of film developer use?

How important is a sense of finesse when developing film?

Oddly, fixing film has its variables. (Actually, maybe it’s not so odd, partly because we work in a shared facility in a public school.)

That which should not be a variable is the assurance of darkness in a darkroom. How is that under our control?

How might we manipulate the enlarger to produce effective results?

The issue of test strips is huge in terms of time, cost, and efficacy. Think all about test strips.

How much control/leeway does one have in processing a piece of photo paper?

Plan ahead for a blunted essay: what’s your dream project in a photography class in huge school? What are the logistics and the aesthetics of such a project? How purely photographic is it–or is it dependent upon another context (literary, commercial, vernacular)?

Another mini-essay might concern itself with the apparent start/stop nature of the work flow of our process.

“B” on cameras & film

“…how do the tactile aspects of a camera affect the pictures you make with it? For me that is the big hump with digital. I hate the chintzy plastic feel of new cameras. They don’t engage me. I’d rather look through a viewfinder than at an LCD screen. I enjoy dealing with film, unwrapping it like a present, spooling it, and winding the advance with my thumb. Like records and bicycles, film cameras may be old fashioned yet they feel real and unmediated and good. The result of all this, for me at least, is that I make different photos with a film camera than I do with a digital one.”

Shopper’s alert. Repeat: alert.

From the Canadian distributor:

As a result of the unprecedented rise in the price of silver over the past year, the key raw material in Photographic film and paper, Harman Technology – Ilford and Kentmere branded products – have announced a significant price increase effective Feb. 1, 2011. The increase applies to all Silver Halide based products including Ilford and Kentmere black and white papers, films and Scientific products. Chemical and accessory items are not affected by this increase.

I believe it was Stieglitz who wrote (in reference to the growing popularity of hand cameras) “A word to the wise is sufficient.”


W. o’ W.: Odean Pope

“Every time I pick that horn up there’s always something that I discover I can do differently if I really seek.

“If you were on planet Earth for, like, 2 billion years, I feel as though there’s always something new that you can find to do. There’s no end.”


Click on “Re: Moi” (above), then click again on the box at the bottom of that page. You’ll get word, whenever.

Distant Early Warning: New (No-Name) Paper from Ilford/Harman

An insider informs me that Ilford is working on producing a “Fine Art” paper, and it’s currently being tested by a handful of printers, which doesn’t include you or me. If the feedback is good, it may be made available sometime this spring; if not, further refinements may be necessary. The paper has no name yet (let’s call it “Emanon,” after John Lewis’s 1946 composition recorded by Dizzy Gillespie’s big band). It’s a finely textured, matt heavyweight art paper, 300 grams per square meter, not unlike good watercolor paper.  It doesn’t look or feel like a typical silver gelatin paper; a slight curve and faint sheen are the only clues to the emulsion side. (You’ll pardon the lack of illustrations at this juncture.)

Exposure is a tad slower than Multigrade Warmtone (!), with a slightly warm emulsion on an off-white base. The surface texture accepts pencil (as did their Kentmere Art paper), and it dries reasonably flat. It responds well to sepia toning; however, there is little apparent response to direct selenium toner (a feature in common with Ilford Galerie graded paper). It sounds delightful for selected negatives, so start saving up now for your own first package.