Personal explorations with an old classic Polaroid Camera for a book in progress

I call this series, “Positive/Negative” a series of photographs made in my studio on instant film, with the idea of scanning and manipulating the resulting paper negatives to make digital prints.

I make a photograph using an old fold-up Polaroid camera on Ilford’s 3000s instant film - a regeneration of Polaroid's 3000 speed film. It make excellent black and white prints, but there is more, better than the prints, the process includes this beautiful paper negative that most people discard as trash.

I keep that trash, and carefully let it dry, because it is fragile. After it dries I scan it, and then begin manipulating it in Photoshop. Add contrast reverse it to become a positive, apply curves and hues until I get the look I want.

I make my prints using an Epson 3800, then sometimes I select images to manipulate further, by flipping once and then putting them together with a reversed image. The
results have a rosharch look to them.

Then sometimes I add a positive to the negative, or a negative to a positive.

I play. And, still have a lot more to play with.

J Running

I love the results have not really seen it elseware

SELF ASSIGNED CREATIVE PLAY THAT WILL HOPEFULLY END UP IN A BOOK

I call this series, “Positive/Negative” a series of photographs made in my studio on instant film, with the idea of scanning and manipulating the resulting paper negatives to make digital prints.

I make a photograph using an old fold-up Polaroid camera on Ilford’s 3000s instant film - a regeneration of Polaroid's 3000 speed film. It make excellent black and white prints, but there is more, better than the prints, the process includes this beautiful paper negative that most people discard as trash.

I keep that trash, and carefully let it dry, because it is fragile. After it dries I scan it, and then begin manipulating it in Photoshop. Add contrast reverse it to become a positive, apply curves and hues until I get the look I want.

I make my prints using an Epson 3800, then sometimes I select images to manipulate further, by flipping once and then putting them together with a reversed image. The
results have a rosharch look to them.

Then sometimes I add a positive to the negative, or a negative to a positive.

I play. And, still have a lot more to play with.

J Running

LOVE THEM

SELF ASSIGNED EXPLORATIONS

I call this series, “Positive/Negative” a series of photographs made in my studio on instant film, with the idea of scanning and manipulating the resulting paper negatives to make digital prints.

I make a photograph using an old fold-up Polaroid camera on Ilford’s 3000s instant film - a regeneration of Polaroid's 3000 speed film. It make excellent black and white prints, but there is more, better than the prints, the process includes this beautiful paper negative that most people discard as trash.

I keep that trash, and carefully let it dry, because it is fragile. After it dries I scan it, and then begin manipulating it in Photoshop. Add contrast reverse it to become a positive, apply curves and hues until I get the look I want.

I make my prints using an Epson 3800, then sometimes I select images to manipulate further, by flipping once and then putting them together with a reversed image. The
results have a rosharch look to them.

Then sometimes I add a positive to the negative, or a negative to a positive.

I play. And, still have a lot more to play with.

J Running

BEAUTIFUL !!

GENETIC IMPRINTS is a series of photographs of models with animal Skulls. When I made the first photo of the series I told my model that these photos are about life not death.

In the beginning, before there was language, there was a non-verbal way of comprehending the world. There was the image. Now, except in our dreams, we tend to translate images into words.

Recently, I made a series of photographs in my studio of women with wild animal skulls. Now that I have made these images, as I am trying to find words to describe them, it comes to mind that these photos are more about something from our distant past – from all the way back to the time of the ice.

I recently read the idea that, back at the time of our emergence, the female - the woman - was more than a fertility deity. More than a mother, she was also the first practitioner of medicine and magic and that, in fact, she was the Creator. Back in our stone age emergence, God was female and this fact still imprints our genetic codes.

For me, the image comes first. I see it in front of me – a woman holding an animal skull. I suggest to the model that this is about life, not death. She works with some direction at first but soon it seems to me that as she carries and caresses her animal totem she becomes a soul carrier and spirit guide.

I react to this by submitting myself to the model and her intuitions. We become collaborators as we respond to our GENETIC IMPRINT.
John Running

Look for your self And there are many more. Go to my website www.geneticimprints.com

Self Assignment for a book in progress

GENETIC IMPRINTS : : MUSE OF THE IMAGE

The image comes first.

In the beginning, before there was language, there was a non-verbal way of comprehending the world. There was the image. Now, except in our dreams, we tend to translate images into words.

Recently, I made a series of photographs in my studio of women with wild animal skulls. Now that I have made these images, as I am trying to find words to describe them, it comes to mind that these photos are more about something from our distant past – from all the way back to the time of the ice.

I recently read the idea that, back at the time of our emergence, the female - the woman - was more than a fertility deity. More than a mother, she was also the first practitioner of medicine and magic and that, in fact, she was the Creator. Back in our stone age emergence, God was female and this fact still imprints our genetic codes.

For me, the image comes first. I see it in front of me – a woman holding an animal skull. I suggest to the model that this is about life, not death. She works with some direction at first but soon it seems to me that as she carries and caresses her animal totem she becomes a soul carrier and spirit guide.

I react to this by submitting myself to the model and her intuitions. We become collaborators as we respond to our GENETIC IMPRINT.
John Running

Look for yourself - I love the series see more at www.geneticimprints,com

Self assigned for a book in progress

GENETIC IMPRINTS : : MUSE OF THE IMAGE

The image comes first.

In the beginning, before there was language, there was a non-verbal way of comprehending the world. There was the image. Now, except in our dreams, we tend to translate images into words.

Recently, I made a series of photographs in my studio of women with wild animal skulls. Now that I have made these images, as I am trying to find words to describe them, it comes to mind that these photos are more about something from our distant past – from all the way back to the time of the ice.

I recently read the idea that, back at the time of our emergence, the female - the woman - was more than a fertility deity. More than a mother, she was also the first practitioner of medicine and magic and that, in fact, she was the Creator. Back in our stone age emergence, God was female and this fact still imprints our genetic codes.

For me, the image comes first. I see it in front of me – a woman holding an animal skull. I suggest to the model that this is about life, not death. She works with some direction at first but soon it seems to me that as she carries and caresses her animal totem she becomes a soul carrier and spirit guide.

I react to this by submitting myself to the model and her intuitions. We become collaborators as we respond to our GENETIC IMPRINT.
John Running

See mor at www.geneticimprints.com

Self assigned for a book in progress

GENETIC IMPRINTS : : MUSE OF THE IMAGE

The image comes first.

In the beginning, before there was language, there was a non-verbal way of comprehending the world. There was the image. Now, except in our dreams, we tend to translate images into words.

Recently, I made a series of photographs in my studio of women with wild animal skulls. Now that I have made these images, as I am trying to find words to describe them, it comes to mind that these photos are more about something from our distant past – from all the way back to the time of the ice.

I recently read the idea that, back at the time of our emergence, the female - the woman - was more than a fertility deity. More than a mother, she was also the first practitioner of medicine and magic and that, in fact, she was the Creator. Back in our stone age emergence, God was female and this fact still imprints our genetic codes.

For me, the image comes first. I see it in front of me – a woman holding an animal skull. I suggest to the model that this is about life, not death. She works with some direction at first but soon it seems to me that as she carries and caresses her animal totem she becomes a soul carrier and spirit guide.

I react to this by submitting myself to the model and her intuitions. We become collaborators as we respond to our GENETIC IMPRINT.
John Running

see more at www.geneticimprints.com

Document my friend Diane's struggle with breast concert

I spent many days with Diane, her Chemo therapy, double mastectomy, radiation treatment, and recovery.

A book in f progress

Self assigned for a book in progress

GENETIC IMPRINTS : : MUSE OF THE IMAGE

The image comes first.

In the beginning, before there was language, there was a non-verbal way of comprehending the world. There was the image. Now, except in our dreams, we tend to translate images into words.

Recently, I made a series of photographs in my studio of women with wild animal skulls. Now that I have made these images, as I am trying to find words to describe them, it comes to mind that these photos are more about something from our distant past – from all the way back to the time of the ice.

I recently read the idea that, back at the time of our emergence, the female - the woman - was more than a fertility deity. More than a mother, she was also the first practitioner of medicine and magic and that, in fact, she was the Creator. Back in our stone age emergence, God was female and this fact still imprints our genetic codes.

For me, the image comes first. I see it in front of me – a woman holding an animal skull. I suggest to the model that this is about life, not death. She works with some direction at first but soon it seems to me that as she carries and caresses her animal totem she becomes a soul carrier and spirit guide.

I react to this by submitting myself to the model and her intuitions. We become collaborators as we respond to our GENETIC IMPRINT.
John Running

See more at www.geneticimprints.com

Document my frien Diane's struggle with breast cancer.

I spent many days with Diane, her Chemo therapy, double mastectomy, radiation treatment, and recovery.

A book in progress

Document my friend Diane's struggle with breast cancer

I spent many days with Diane, her Chemo therapy, double mastectomy, radiation treatment, and recovery.

A book in progress

GILBERTO AND THE SHARK - SEA OF CORTEZ MEXICO was photographed for a book series on Children of the Sea. I spent a week on the little island of Pardita making the photos for the book

I worked as a documentary photographer. Alone no assistants - living with the family - becoming part of the family

A series of great photos.

I as asked to photograph an Apache Girls Puberty Ceremony. it is often caller the "Sunrise Ceremony" when a Apache girls makes the transition to woman During theis time the girl embodies the spit rit on the Apache female diety White Painted Woman. As part of the ritual she is visited during the night by the Mountain Spirit Dancers - who dandc for her womanhood.

I spent 3 days on the Apache Reservation in Came Verde Arizona, documenting this beautiful ceremoney.

I produced a bood that documents the ceremoney

To photograph Route 66 from Texas to California for the Japanese magazine MONO

I traveled the Mother Road Route 66 for the Japanese Magazine MONO

I loved it! Traveled Routs 66 foe weeks rather than driving through

Self Assignment. To make a meaningful photograph of the small vessel Bernadette holds in her hands. Bernadette is a friend. I asked her to model for me, to have her face painted for "Day of the Dead". She asked could she bring her girls, I was surprised to see all thre arrive at my studio faces painted and dressed.

Bernadette is a friend. I asked her to model for me, to have her face painted for "Day of the Dead". She asked could she bring her girls, I was surprised to see all three arrive at my studio faces painted and dressed. They astonished me as I made photographs

Awesome! I never in my minds eye expected waht I saw and photographed. This photo will be the opening photo in a new exhibit of my work at Northern Arizona University's Special Collections Library and Archive

DIANE'S YEAR is a documentary series of my friends struggle with breast cancer. It is a book in progress.

I spent many days with Diane, her Chemo therapy, double mastectomy, radiation treatment, and recovery.

a moving and explicit documentary of one woman' struggle with breast cancer.

Document my friend Diane's struggle with breast cancer.

I spent many days with Diane, her Chemo therapy, double mastectomy, radiation treatment, and recovery.

A book in progress

SELF ASSIGNED PLAY WITH POLAROID FILM HOPEFULLY A BOOK IN THE MAKING

I call this series, “Positive/Negative” a series of photographs made in my studio on instant film, with the idea of scanning and manipulating the resulting paper negatives to make digital prints.

I make a photograph using an old fold-up Polaroid camera on Ilford’s 3000s instant film - a regeneration of Polaroid's 3000 speed film. It make excellent black and white prints, but there is more, better than the prints, the process includes this beautiful paper negative that most people discard as trash.

I keep that trash, and carefully let it dry, because it is fragile. After it dries I scan it, and then begin manipulating it in Photoshop. Add contrast reverse it to become a positive, apply curves and hues until I get the look I want.

I make my prints using an Epson 3800, then sometimes I select images to manipulate further, by flipping once and then putting them together with a reversed image. The
results have a rosharch look to them.

Then sometimes I add a positive to the negative, or a negative to a positive.

I play. And, still have a lot more to play with.

J Running

WONDERFUL!!

Self assigned playtime a process for a book in progress

I call this series, “Positive/Negative” a series of photographs made in my studio on instant film, with the idea of scanning and manipulating the resulting paper negatives to make digital prints.

I make a photograph using an old fold-up Polaroid camera on Ilford’s 3000s instant film - a regeneration of Polaroid's 3000 speed film. It make excellent black and white prints, but there is more, better than the prints, the process includes this beautiful paper negative that most people discard as trash.

I keep that trash, and carefully let it dry, because it is fragile. After it dries I scan it, and then begin manipulating it in Photoshop. Add contrast reverse it to become a positive, apply curves and hues until I get the look I want.

I make my prints using an Epson 3800, then sometimes I select images to manipulate further, by flipping once and then putting them together with a reversed image. The
results have a rosharch look to them.

Then sometimes I add a positive to the negative, or a negative to a positive.

I play. And, still have a lot more to play with.

J Running

I love them