“He was cool Super-cool Ultrablack A tan/purple Had a beautiful shade He had a double natural that would put the sisters to shame His dashikis were tailor made & his beads were imported sea shells He was triple-hip His tikis were hand-carved Out of ivory And came express from the motherland He would greet you in Swahili and say goodbye in Yoruba Mannnn he was so cool & intelligent Cool-Cool, ultra cool, icebox cool, so cool his wine didn’t have to be cooled He was air condition cool Cool-Cool was so cool he made me cool Cool-Cool so cool we nicknamed him refrigerator Cool-Cool so cool he didn’t know After Detroit, Newark, Oakland, and Chicago We had to remind Cool-cool that to be black is to be very hot”
-Don L. Lee, 1969
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“Attitudes necessary for survival were vigorously pounded into the wooly heads of black boys and girls by their loving mothers. The boys were reared to be Negroes, not men. A negro might survive a while, but a black “man” didn’t live very long…. a black boy aiming to reach “manhood” rather than “Negro-hood” rarely lived that long” - Jamil Al-Amin
Digital Darkroom: Printing iPhone Photos Using Traditional Chemical Processes
Lincoln, UK-based photographer Adam Rhoades came up with an interesting way of printing digital photographs using analog darkroom processes. By mounting his iPhone (displaying a photo) onto a 35mm enlarger, he’s able to enlarge and focus his digital photograph on photo paper as if it were a negative being projected.
Using a grain focuser, he’s able to see the individual red, green, and blue pixels of his phone’s display.
There isn’t that much that needs to be done to the digital photos prior to darkroom printing. Rhoades simply flips the image and inverts it to create a “digital negative”, which ensures that it’s printed correctly.
Dramatic vignetting can be seen in the prints, this is partially because of limitations of the rig and the slight darkness of the iPhone screen in the corners. Results vary depending on the size and contrast of the image.
I’ve had the best results with prints that are similar in size to the iPhone screen, much larger and the grid pattern of the pixels starts to show. However, reproducing at 1:1, as with the retina display, the pixels are indiscernible to the human eye.
These prints where made using Ilford Multigrade paper, exposed for between 4 – 10 seconds (depending on size) and wet processed using a mixture of Ilford/Kodak chemistry.
The Surreal Light Painting Photography of a Blind Photographer
Sonia Soberats’ journey in photography didn’t start until she couldn’t see the photographs she was producing. Around two decades ago, she lost her eyesight to glaucoma between losing her son to Hodgkin’s disease and her daughter to ovarian cancer. At the turn of the century, Soberats began taking photography lessons in New York City as a form of therapy and self-expression. Her technique of choice? Light painting.
The New York Times writes that Soberats uses her hands to “see” what she is painting into the frame:
[…] in the studio, [Soberats] works in complete darkness, always with the help of a seeing assistant. She arranges her models, using her hands to feel every aspect of the image, instructing her assistant where to place the edges of the frame.
“I feel your face, your hair, then I’ll ask you: ‘Are you light-colored? Or dark? Is your hair blonde or brown or black?’ ” she said. “So with asking and touching, then I’ll get an idea of what I have to work with.”
Ms. Soberats then asks her assistant to open the shutter, and using various light sources, including flashlights and Christmas lights, she darts about the frame like Tinkerbell, illuminating details within the image. The shutter remains open anywhere from two minutes to an hour.
The technique is a slow one: only three or four photographs might result from a back-breaking 90-minute photo shoot.
Soberats has begun showing her work to the world through solo exhibitions — her first one, titled Visión Intransferible, was held in Caracas, Venezuela earlier this year. She’s also a member of the Seeing With Photography Collective, a New York-based group of visually impaired photographers. You can find more of Soberat’s work here, and beautiful photographs by the entire collective here.