Devil In The Details (my mistake)

Today I made a post about some of the attention that the H&F show is started to get during the final week before the opening. In that post I said that even though the articles highlighted did not get all of the technical details correct that the attention was nice to have.

Later today I got an email from Julia Beizer who wrote the Washington Post Going Out Gurus web posting that I linked to asking about what mistakes that she made. She also was kind enough to let me know that she had contacted the gallery for details that were not clear in the press release. I was very happy to see this email as it shows that Julia take getting things correct as a very high priority. This also shows that she does not want to be wrongly identified as a reporter who missed details.

The truth is, my statement in the post “Pre-Show Attention” post is not fully correct and cast doubt on what was written and represented by both the Post and the folks at Falls Church News-Press. I have left that post as it was, all but for a note to look for a correction here, so that people can see what led to this post. I made a mistake by being so general and I hope to make that clear in this post.

I am very sensitive about how my work is labeled, and how it is presented to other people. The Iraq work is known as “dry-plate” ferrotypes (aka tintypes), which by some in the “wet-plate” collodion community (some of whom I have links to on my Links page) would say are not true ferrotypes. This is an argument for another time, but the point is I like to make sure that I represent my work for what it truly is from a technical aspect. The reson for this is so that those who do know the difference do not think that I am trying to pass the dry-plate work as wet-plate work. These are details that the normal viewer (in fact some high level photo collectors as well) would not be interested in, beyond the fact that they are looking at some form of ferrotype (aka tintype). I need to move beyond the fact the most viewers do not care about the technical aspects of making ferrotypes.

So upon review, and reflection I can say that there are indeed no real technical issues with the short write-ups in the or the Falls Church post. Those who show up to the opening on August 10th and would like to know the photo geek details between wet and dry-plate are very welcome to ask, and for those who have/had no idea that a tintype could be made in two ways…..enjoy the view!

I do want to point out that my initial posting of the media pre-show attention of the H&F opening may have been mainly influenced by the Falls Church New-Press Art Beat nod by Kevin Mellema. I had the pleasure to meet and talk with Kevin at the DCAC Wall Mountables opening, and showed him the work that I have there. He said that he may write about it, and was a bit confused to see that he wrote about work that is not on display at DCAC, but on work that he found on my website. To me this makes it seem that I have Iraq work on display in a space in which it is not. I am happy that Kevin took the time to talk with me, look at my site, and to see enough in my Iraq work to say something about it….but I guess that means that he did not like the “Dream” plates at DCAC šŸ™‚


~ by Phil Nesmith on August 3, 2007.

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