I am back on this here blog, no major fanfare. Lived with the idea of “quitting” photography and all that crap, and finally decided, eh, no. Inspired by the person who I introduced myself as this weekend, I think I’ll start posting again.
Here’s our first family collabo on DISimages – Gaffer Baby – “Soft hands, nylon pile and a sturdy adhesive tape.”
Here’s the full No Sleep article in the Wall Street Journal today…
I’m thrilled to announce that an exclusive No Sleep print is available on the amazing site collect.give.
“collect.give (“collect dot give”) was founded in December 2009 as a place to collect contemporary photography and donate to worthy causes at the same time. The photographers featured on collect.give have pledged to donate 100% of the profits from their print sales to worthwhile causes they support.”
All the proceeds of this sale will go to support the ALS Association, an organization leading the fight to treat and cure Lou Gehrig’s Disease. Please consider purchasing a print and supporting this worthwhile cause!
I’m pleased to announce the publication of my first monograph!
NO SLEEP: Hee Jin Kang
Introduction by Jonathan Ames
Published by Kehrer Verlag, Heidelberg
60 color ills.
8½ x 10¾ inches
No Sleep is a series of photographs of abandoned mattresses found around New York City. I’m interested in how these beds, although mute, allude to all the things we do on them – sleep, dream, have sex. Dumped onto the streets, the mattresses are impermanent memorials to the city’s many private stories.
Available now on amazon.com.
You can also find No Sleep at your local bookstores. If not, please ask them to stock it!
Info regarding book launch and signings to come…
“Most of us are good when we’re sleeping. And yet our beds, which hold us in our most vulnerable and innocent moments (even a violent sociopath probably looks gentle while sleeping), can be so easily tossed aside and forgotten, no longer needed.” – Jonathan Ames
German online photography magazine Augenblicke recently published a selection of No Sleep images. Go here to view!
And finally, here are a few short videos of the press and the technicians in action. These guys really know what they’re doing.
A view of the entire press. I like the technician’s flair:
Another technician working his magic on the “DJ” station:
Here’s the cover being printed – so fast and so noisy:
And lo, the printing is done. Now these form prints need to be bound into books! No Sleep – May release in Europe, September in the States. Woo hoo!
After my exciting week in Heidelberg, I took a break in Paris with F. Here I am with my set of form prints:
Danke and Merci!
The cacophony of all the presses running at once is impressive, doubly amplified by the high ceilings. I loved the smell of ink. The place was huge, factory-like, much bigger than it looks here:
Here’s a close-up of one of the presses. A single false move and you’d quickly get eaten by one of these things:
The calibration and viewing area was like a DJ station. Here’s the touch screen monitor where the technician makes incremental adjustments to the cyan, magenta, yellow and black levels. That’s the test print from earlier in the week:
The technician lines up the newly-printed form prints (the actual pages of the book!) to this motherboard thing where each level below corresponds to a strip of the sheet above. I dunno, it was like magic. I would say, this one needs a little more magenta, this one a little more yellow and after some quick-fingered tapping and adjusting, and some hundred sheets later (in like 2 seconds), there it was corrected:
One of the printing screens:
The paper loaded and ready for printing. I chose Galaxie Keramik paper, in case you were interested:
Here we are: the printing technician, Jürgen the color expert, and me comparing the form prints to my reference prints:
By the way, we would check, adjust and recheck, reprint and recheck again each form print of about four images as it came out of the machine and then go into a separate (quiet) conference room for about half an hour while the entire set was being printed (1200 sheets or so I guess). Then we would get buzzed back into the printing room for the next form print. We did this twelve times that day! It was a long day.
Here’s Marijke, my Kehrer designer, looking up inquisitively at the misting system humidifying the space:
Afternoon shift change and another technician pulls a form print out of the press for viewing:
A pallet of final form prints. That’s a lot of paper:
Look ma, I’m making a book!
Printing the cover:
To be continued…