Sunday, February 4, 2018

Gallery Review
I saw the Robert Frank exhibit at Blue Sky Gallery on 2/3/18. It displayed his street photography
in various cities, contact sheets, portfolio work as a retoucher for other people’s images, his films, and his
books. I loved the way his work was displayed on the wall. Instead of framing the photos, they were
printed on long, large strips of paper, so every paper had multiple images on it, leading to a unique
viewing experience. The show had much more work than I expected. About 15 different series were on
display. I think his strongest work was London / Wales, The Americans, Me and My Brother, and the work
from the book The Lines of my Hand. I think the weakest work was his Peru series, at least in my opinion.
I just wasn’t as drawn to it as the other series and I didn’t find the photos as interesting. My favorite series
was by far London / Wales. I love the bleakness of the images, especially in contrast with the more upbeat
imagery of The Americans. The photos had a strong atmosphere and showed men in black clothing and
tall hats, foggy streets, and miners covered in soot. Another highlight was the contact sheets. It was
interesting to see what photos he decided to print. I found myself liking many of the photos he didn’t
circle and was curious to know why he didn’t choose them. I saw The Americans at the Portland Art
Museum last year, so I recognized a few photos from that series, but was surprised to learn that he also
shot many videos, including an 85-minute film, as well as the fact that he made so many books. I would
highly recommend this show because there is a lot of work to look at of vastly different subject matter
from different time periods.


My favorite photo is the above image, which is from London / Wales. I was first drawn to it
because I have an obsession with photos of miners and tend to automatically love any photos of
them when covered in soot. But I love this miner photo especially because of the intense lighting.
The background is completely black and the miner’s face is only illuminated by the lighter he
holds up to his face. The most prominent principle of design is contrast because of the contrast
between light and dark. The most prominent element of design is space because most of the photo
is just black. The composition is asymmetrical because the man is slightly off center and there is
something white in the top left corner. The photo has a slightly unsettling atmosphere because of
the extreme lighting and black background, but the man’s expression is calm and relaxed, which
makes me feel calm looking at it. I don’t think this was the intent of Frank by taking this photo,
though, since most of his work is more journalist.


Other Work from the Show:
from London / Wales


from Household Inventory Record


from London / Wales



full London / Wales display



contact sheet

Monday, January 22, 2018

The word I chose was “Habitat.” I found this word very inspiring because I have two separate homes. My parents got divorced when I was 6 and ever since, I switch between staying at my mom’s house and my dad’s apartment every week. Although it was hard to adjust to at first, I can’t imagine my family situation being any other way now. When people find out my parents are divorced, they usually take pity, but my situation doesn’t bother me because I appreciate that I have two loving and supportive parents in my life. I wanted to create a series of images that would be highly personal and would compare and contrast my life in both places.

Here are my current rough drafts:


Thursday, December 14, 2017

PAM 12/14/17 - Jazz Festival Inspiration


Elmeator Morton, My Mom When She Had a Black Car, 2015, acrylic on canvas board, photo taken
by me on 12/14/17
This painting reminded me of music because it showed movement in the brushstrokes. The
application of paint also suggests an effortlessness, as if each color was painted without any
thought put into it, connecting to the improvisational nature of jazz. I could translate elements
of this painting into my Jazz Festival photos and poster by using graphic and contrasting colors,
photographing motion and camera shake, and focusing on texture and shape.


Minor White, Pilaster and Hood Molding, Dodd Building (Southwest Front and Ankeny), 1938,
gelatin silver print, photo taken by me at PAM on 12/14/17
This photo inspires me to use shadow and intense lighting for my Jazz Festival photos. I remember seeing many urban photos of buildings, sidewalks, and bridges on album covers and previous examples of poster for the festival. I want to take a photo of an interesting Portland building or location that includes texture and harsh lighting like Minor White’s photo.

Friday, October 20, 2017

“‘Apparition: Postcards From Eye See You’ is a series of digital images created during my recovery from a stroke that left me legally blind in 2012. The birth of these images began deep within my damaged brain, as it would begin to make new neural connections, resulting in startling but vivid visual hallucinations from a condition known as Charles Bonnet Syndrome.”
J. Fredric May, Authors Hallucination No.3 “Les”, digital image

J. Fredric May, Authors Hallucination No.89, digital image

J. Fredric May, Authors Hallucination No.19, digital image


Sunday, October 15, 2017



Old Self Portrait






This is a collage I made when I was a lot younger, probably between ages 7 and 9. I used Photoshop to add the spider and lengthen my nails and teeth. It shows my early interest in collage and photography and my humor. My hair was actually red at the time of the photo, which is something similar to me today since I still have my hair dyed. I remember my dad taking photos of me like this one in his studio and then helping me Photoshop them. This one became a poster on our wall for a few years and I would always smile when I saw it because of what it reminded me of and because it is so ridiculous.

Newer Self Portrait




This photo was taken by my mom at the Chihuly Museum in Seattle during spring break of last year. I like this photo because it’s an honest portrait. I never want my photo taken during trips or get togethers, but my mom always takes them anyway. I don’t enjoy being in front of the camera at all and prefer to be behind it. So, in rebellion, I usually make a face at the camera or I don’t smile, but I like this one most because it is truly candid. I remember not wanting my photo taken, but this one is actually my real reaction, not one I put on to rebel. This portrait also shows me in an artistic environment and although it’s not visible in the photo, I had my Holga camera around my neck.


Thursday, September 21, 2017

Jerry Uelsmann
  • Years active: Late 1960s-currently
  • Current Age: 83
  • My favorite work of his was made during the anti-war movement, JFK, Lyndon Johnson, war in Vietnam, fight for civil rights for minorities, counterculture (“hippies”, “free love”, nonconformists), Woodstock, and riots since 1964
  • Began teaching photography in 1960
  • Photographer Henry Holmes Smith was Uelsmann’s teacher in 1957 at Indiana University (IU) and he had a great influence on his work. At the time, photography still wasn’t considered to be an artform. He considered Smith, along with other teachers, Ralph Hattersley and Minor White, to be his primary influences.
  • He was influenced by surrealism, specifically RenĂ© Magritte, Max Ernst and Man Ray, who he was introduced to at IU.
  • He first became interested in photography in high school and started experimenting with singular mode photography in the 1950s. It wasn’t until he graduated IU in 1960 that his experimentation took off.
  • “ I have a great fondness for the ’60s. I was influenced more in terms of the broader culture at the time, and the positive support and attitude toward the arts from colleagues at the university.” http://www.bandwmag.com/articles/jerry-uelsmann-on-the-fringes-of-understanding
  • “My creative process remains intrinsically linked to the alchemy of the darkroom. Basically, I’ve been in the darkroom for 60 years, and although I see the incredible options digital provides, the bottom line is [that] the technique has to fit with the ideas and images. All my work is on film, and the darkroom has been the environment in which I create my work. If I was 20 years younger I would work digitally, but I love the ambience of the darkroom and the fluidity of my working process.” http://www.bandwmag.com/articles/jerry-uelsmann-on-the-fringes-of-understanding
  • “Assembling images in the darkroom further enhances his creative process because he considers creative photography an experimental form of art which gives him the freedom to express his artistic vision on life and of not having to complete a photo at the camera. He photographs different objects specifically for use in his darkroom. He typically shoots various things on light box in order to create a white background and objects on black velvet so as to assemble the negatives later in his darkroom.” http://famous-photographers.com/jerry-uelsmann/

Jerry Uelsmann's Work:


Uelsmann's Influences:
Henry Holmes Smith:
Refraction Print from Portfolio II: The Work of Henry Holmes Smith, produced and published by the Center for Photographic Studies, 1973.

Untitled Refraction Print - 1950   
Refraction Print from Portfolio II: The Work of Henry Holmes Smith, produced and published by the Center for Photographic Studies, 1973.

Max Ernst:
The Antipope, Max Ernst, December 1941–March 1942, Oil on canvas, 63 1/4 x 50 inches (160.8 x 127.1 cm)

Forest and Sun, Max Ernst, 1927, Oil on canvas, 66 x 82.5 cm (26 x 32 1/2 in.)