A Matter of Perception: "Invisible Light" Infrared Photography Reception at NSH Gallery

Human perception registers a miniscule amount of the electromagnetic spectrum as visible light. Between blue and red, from 400 to 700 nanometers, arise all the hues coloring the world as we see it.

But the electromagnetic spectrum is vast. So what doesn’t meet the eye? What are we missing?

"Glowtree," infrared film photography by Paul Barden.

The answers lie in the North Santiam Hall Gallery at LBCC.

Just outside the range of human visibility, between 700 and 900 nanometers, infrared light can be captured digitally or with specialized, infrared-sensitive film.

Named after the elusive nature of the light, "Invisible Light" exhibits the infrared photos of five local photographers. Works by Sandi O’Brien, Paul Barden, Rich Bergeman, Jack Larson and Phil Coleman will be showcased in the gallery until Feb. 24.

At a reception held in the NSH Gallery on Jan. 20, an inquisitive mixture of LBCC staff, students and community members conversed with the photographers about their work. The photographers spoke about their methods and backgrounds, explaining the basics of infrared photography to the crowd.

According to Coleman, digital cameras have an intrinsic sensitivity to infrared light, but are manufactured with a filter. Converting a camera is as simple as sending it to a company to have the filter removed and replaced with one only passing infrared.

Organic matter such as trees, plants and animals reflect a large amount of the light. Chlorophyll is highly reflective of infrared, causing a glowing effect that can make trees appear crystalline or covered in snow.

“The peculiar tonal shifts fascinated me, especially when photographing the natural landscape,” said Paul Barden.

“There’s this exquisite, crystalline, magical look to the work,” said Julia Lont, gallery coordinator. “It’s so recognizable as a literal translation of nature but it it shows us something we don’t see.”

Bergeman, a retired LBCC journalism and photography instructor, hatched the plan for the exhibit as he noticed the growing amount of infrared photos collecting dust in his closet. Enlisting four other photographers and the help of Lont, Bergeman and the others filled the space with about 60 photographs.

Bergeman recently spent two months at a residency following the path of pioneer James Swan, who explored the Willapa Bay area in the 1850’s. Many of these photos are on display.

“I thought it was kind of interesting to photograph in the footsteps of a dead man with a camera that was seeing light that you couldn’t see with your own eyes,” said Bergeman.

Barden refers to himself as the outlier of the group, having returned to the use of film in 2012.

“I realized I was missing a lot of the hands-on craft that simply isn’t part of the digital workflow,” said Barden. “For me, I felt there was a major ingredient missing.”

Unlike Barden, Larson found his niche within digital photography.

“With digital, the opportunities for play are infinite,” said Larson.

"Orb," by Jack Larson.

Though Larson and Barden’s cameras may be very different, the processes they use to finish the photos are similar.

“No matter what we’ve chosen as our starting point medium, every one of us has also chosen a specific editing suite to finish the work.,” said Barden.

Larson cites “Silver Efex” as the “granddaddy” of the editing platforms for infrared.

Both Bergman and O’Brien learn how to read the landscape through the lens of each particular camera they use. Infrared poses a new and intriguing challenge for them.

“When you look at the back it’s all in pink instead of black and white, so it’s been very fun to learn how to see like the camera sees,” said O’Brien. “I love the mystical quality that you can get out of it. It just looks otherworldly.”

O’Brien is fond of trails and stairs for their ability to pull the viewer into the photograph.

Her photo, entitled “In My Dreams,” won the photography division at The Mayor’s Art Show in Springfield, Ore. It is the only one of her photographs in the current exhibit taken with infrared film. Her others are digital.

“It needs to be evocative,” said O’Brien. “People like that magic look.”

"In My Dreams" by Sandi O'Brie

At A Glance:

• Infrared photography available for viewing in LBCC's NSH Gallery

• Reception held Jan. 20

• "Invisible Light" will be exhibited until Feb. 24

• Works by local photographers Sandi O'Brien, Paul Barden, Rich Bergeman, Jack Larson and Phil Coleman

• March 2 NSH Gallery will exhibit mixed media drawings and portraits by Ialtui Shea

LBCC Ceramics Legacy at Benton Center Thrives

A class works on their pots in the studio.

Under the direction of its new instructor, Renee McKitterick, the Benton Center Ceramics Studio continues to thrive.

January 2016 marked the completion of McKitterick’s first year as head of ceramics at LBCC. A highly experienced and accomplished artist, she spent three years teaching as an adjunct at the University of New Mexico before taking the position.

“To be honest, UNM is a bigger institution but their ceramics department is not nearly as good,” said McKitterick.

A dynamic and renowned studio, the Benton Center ceramics program is unique. Comprised of a strong community of dedicated staff, volunteers and students, it has a large, state-of-the-art studio, complete with an outdoor area and four different kinds of kilns. The program is a success among LBCC students and within the Corvallis and Albany communities.

“It’s a bright light; I call it our marquee at the Benton Center. We invite the community in,” said Jeff Davis, LBCC’s regional director for Benton County.

The studio is open, welcoming, and dedicated to the success of the students.

“A wide range of students find ways to contribute to the program. It’s really a community learning at its best,” said Jay Widmer, recently retired head of ceramics at LBCC. “There is a sense of community, a spirit of helping others learn. It’s unusual.”

Over his 36 year tenure Widmer sculpted the ceramics department into the thriving studio it is today. Ceramics began at the Albany campus in 1977, after which a small branch of the ceramics department opened at the Benton Center. According to Widmer, the first classroom in the center was small and crowded.

Widmer built the first of many kilns on the Benton campus and continued to improve the studio, working with architects to design a new studio at the Benton Center during the renovations in 2003. Ceramics in Albany closed in the late -'80s and became a primary focus of the Benton Center.

“It’s been the greatest job imaginable for me as a clay artist and teacher,” said Widmer. “I am proud of it.”

Both McKitterick and Davis attribute the success of the department to the dedication of their predecessors and the strong foundation created by its 36-year lifespan.

“I owe a debt of gratitude just coming into a situation where people had created a tradition and culture of a really positive environment,” said Davis.

Though it was intimidating to take over such a well-established program, it proved to be an easy transition for McKitterick.

“Everyone was very welcoming, and because of that I hit the ground running,” she said.

McKitterick discovered a studio stocked with dedicated, helpful volunteers, some who had been involved for 10 to 15 years.

“People give themselves to the studio and that’s how it can function at such a high level,” said McKitterick.

At the studio LBCC students have the opportunity to take several classes, including Ceramics I, Ceramics II, and 3-D Design. Students learn hands-on critical thinking, deductive reasoning and problem-solving skills through their work with clay.

“It’s challenging but rewarding work,” said Emma Fajer, LBCC student.

New students learn the entire clay process, from hand-building and throwing to glazing and firing. This term students have the opportunity to learn kiln building, constructing a soda kiln and adding a new firing process to the studio's repertoire.

Classes are available to the public and are open to diverse skill levels and ages. According to Davis, a student 96 years of age recently attended.

“I think we all benefit from a sense of play, whether it’s music or poetry, or something creative,” said Davis.

Jesse Rose, an LBCC student who took both Ceramics I and II, found applications in other classes for the terms, concepts, and ways of thinking he gained in-studio.

“Ceramics compliments other classes really well. It gives a really good break from the monotony of quizzes and tests. You get to exercise a different part of your brain,” said Rose.

The creative expansion is not limited to students. When McKitterick applied for a residency in Jingdezhen, China, the “Porcelain Capital,” she found the support of the Benton Center behind her.

“Her work is breathtaking. It’s exceptional.” said Davis.

The talented teacher believes each student has a story to tell. Putting tools and clay into the hands of the students, she encourages them to mold these stories into life.

Many students taking her classes are not art majors and the students have a rare chance to explore their creativity. To her, this makes their time in the studio even more vital.

“For this quarter, you are an artist. We are going to treat you like an artist,” said McKitterick.

She wants everyone to have the experience.

At a Glance:

• Friday, Jan. 29 from 7 to 8 p.m. in the Benton Center, room 244 ceramics instructor Renee McKitterick will present a slideshow of her fellowship in China and her work with porcelain.

• Saturday, Jan. 30 from 10 a.m. to 3 p.m. at the Benton Center Ceramics Studio instructor Renee McKitterick will hold a workshop to demonstrate techniques she learned in China.

Emma Fajer works on her pottery in-studio.

Students learn to work with clay.