Paintings from Sunset Series by Spence Munsinger, Color Field + Blank White Canvas + Realism + Contemporary Abstract Art, original paintings for sale

"Art washes away from the soul the dust of everyday life."
― Pablo Picasso

black lines white snow #8

black lines white snow #8

black line white snow #8

— spence

black lines white snow #7

The texture captured by 6cm x 7cm Kodak TMY400 film is just outstanding. This tree twisting up out of the snow, with the smaller more graceful twisting branches, up out of the white field of the (freshly fallen)snow.

When I first printed negatives, I looked for the point at which I wanted to crop to a better picture – these days, after working with medium format, I’m very reluctant to crop out a better composition. Which means getting is more closely correct when the photograph is taken. The barest trace of the film id is visible at the top, as well as the slight uptwist in the upper right corner, which is characteristic of this specific camera. I’m trying to leave the film as is, as scanned – I think it adds character.

black lines white snow #7

black lines white snow #7

— spence

black lines white snow #3

The detail and the subtleness of the greys in the trunk of the tree make that front tree look almost pasted onto the scene. That’s characteristic of the B&W film used, in combination with D76 Kodak developer. It grabs and accentuates subtle shades, making them just pop out.

The tree seems to twist out of the ground.

black lines white snow #3

black lines white snow #3

— munsinger

sed and awk (I love UNIX…) (technical)

Long term website design… I found I want to be able to add more painting pages and more photograph pages, and to continue to add the new stuff first…

The original design had pages numbered 1, 2, 3, 4, 5, 1 being the newest stuff, 5 being the oldest. Adding a new page meant renumbering all of that, and all of the pages throughout the site that link to it – also changing searched pages names over time, which screws up linking into the site.

I reversed it. The oldest page is “001”. Newest is the highest number. Adding a page means adding say an “008” page, linking the main page to that, and leaving the rest alone.

Changing the pages, about 70 of the individual pages – ahhh. That’s where UNIX tools come in very very handy. Here’s the command that changed one set of links from the old page to the new:

for i in ` grep photographs_5.html * | awk -F : ‘{ print $1 }’`
echo $i
sed ‘s/photographs_5.html/photographs_001.html/g’ < $i > $i.1
mv ${i}.1 ${i}

This loops through and finds any files with the string “photographs_5.html”
echos out each file
changes (using the sed command, standard UNIX tool…) from photographs_5.html to photographs_001.html, creating a new file named [file].1,
then replacing the original file by moving (mv) the [file].1 file over on top of the [file].

I love UNIX.

— spence

too many images…

I caught up. I developed 6 rolls of black and white and two rolls of color, all medium format, by this last Sunday AM. Scanning those 80 B&W, plus another 25 color images, again, not too bad, I can keep up with that.

Keeping the images ordered and findable, that’s no longer simple. The sheer size of the storage required boggles the mind. A 6×7 medium format image file runs 296 MB. That’s a huge amount of detail. Images to print are even larger. But 296 MB is sufficient detail to only miss the original negative a little bit.

That kind of size isn’t needed for every image. Of the 105 images this past weekend, perhaps 11 were interesting enough to be true keepers. Eight of those were because I had noticed a quality of image in photographs of snow on medium format Kodak TMY 400 black and white film, the extreme contrast between the trees and branches, blacks and greys, and the blinding highlights in the snow. In most series of eight rolls of film, maybe three will be good photographs, maybe another 4 useful for form or inspiration or reference.

Most of this stuff could be scanned and saved at a much smaller size. But that only works for me if I can second guess that judgment later on, and I have preserved the original RAW file in the case of a digital photograph or the location of the negative in the case of a film image. That means I’m having to add in organization. Right now I could find the negative, eventually. Maybe. I’d like to be able to be certain.

Probably something like a thumbnail image ties into a unique index number tied into the location of the file on disk, tied into the location of the negative and/or DVD optical backups. Something like that.

— spence


20080527 Tuesday

After having thought about putting the organization of the images into a program like a wiki, or even a wordpress (this weblog) program frame, I decided that’s overkill.

Simplest would be:

A script, probably in perl. Uses ImageMajick and maybe exiv2 to read out metadata, we’ll see. In initial testing the exiv2 data was minimal, but maybe that’s a reflection of the data presented in the image.

Point it at a directory, it reads the files, renaming each to match a unique index number in the filename, then creates a thumbnail/contact print in a website directory, matching name and index number. Assembles a page that includes each contact image, plus metadata, file location, filename. The page name is the date _1 for the first, _2 for the second, etc. Each date-named page is indexed on a master sheet, where comments can be added…

Manually add the index numbers to the folders in which the negatives are stored, and add in any DVD backups and index number (separate, different dataCD database) for these. Add this information to the listing page.

All of this can be served out locally by a simple virtual webserver…

kimberly brooks, technicolor summer

There is a writer, a blogger I’ve been following. An artist. Her articles, interviews and postings are well worth finding and reading. There is a page,, which lists and promotes the articles in and of themselves.

Brooks’ personal site is She is currently doing an exhibition titled “Technicolor Summer”. Lasts until 14th June. Worth seeing.

I was struck by the work. Kimberly Brooks directly promotes other artists in her articles. If she promoted herself, I missed it.

She’s very good. The images are really extraordinary. They have a heat in color and a translucence. The forms and shapes find a feeling of an idyllic Hockney Southern California painting, but they go beyond that to hit a higher note. A bit more abstract, the forms feel less drawn, more solid, and the abstractions ring true and correct. I think they are well worth seeing. I hope she follows this vein for awhile, I’d like to see what else comes from it.

— spence