The Power of Self-Representation: Deirdre Visser and Skywatchers
Dickerman Prints is grateful for the opportunity to have collaborated with the Skywatchers project - a multi-disciplinary endeavor that brings to light the complex interaction of social, political and economic forces in San Francisco’s Tenderloin neighborhood.
After printing a series of self-portraits for a recent Skywatchers exhibition, we had the pleasure of chatting with Deirdre Visser - Director of Community Engagement for Skywatchers, local Bay Area educator and curator at the California Institute of Integral Studies (CIIS). Her latest project, "I am a Skywatcher, Too," communicates the stories of different subjects through self portraits.
To make the project as approachable as possible, Deirdre kept her setup simple — a white sheet in the corner of the Luggage Story Gallery and a digital camera on a tripod.
After helping set the proper exposure, Deirdre would hand off the remote control shutter release and let her subjects become the photographer. Then, once they had created a collection of images, Deirdre would show them the photos and let them choose their favorites for printing.
Deirdre Visser with the self portrait series
What does this project ultimately mean to you personally and how exactly did you get involved?
"I got involved in the Tenderloin about 5 years ago through Anne Bluethenthal's Skywatchers program, an awesome multidisciplinary performance project in which neighborhood residents — particularly folks who live in Community Housing Partnership sites — work collaboratively with professional artists to create works that draw on the histories and concerns of the residents. Anne is a colleague and a dear friend, and Artistic Director of ABD Productions/Skywatchers. I started coming to Skywatcher events as the official photographer and as I got more involved in the program, I started helping with strategic planning and organizational development, but all of those processes are rooted in the Skywatcher community.
Two years ago I did a portrait project with Skywatcher participants, but in that case — though they chose their favorites, and wrote accompanying text pieces about what it means to be seen, and what passersby don't see — it was me making the photographs. It was always clear that the next step was to create the structure in which they would make self-portraits.
While I feel very much a part of this community in some ways, and love the collaborative work we do and the relationships we build, I don't have to daily confront the very deep challenges of the neighborhood."
How did you get people to participate?
"Over three weeks before Christmas and Hanukkah, I opened up the space at Ellis and Leavenworth and invited neighbors to come make a portrait. We gave them an 8x10 print, and promised that all would be represented in a late January exhibition.
I often headed out onto the streets of Ellis and Leavenworth, asking people to come into the gallery and take a photo ... welcoming anyone that wanted to participate. I also set up the same sheet, camera, and tripod scenario for the gallery's holiday party - and that inspired a few group portraits that became apart of the series."
What kind of post work was done?
"Hardly any, if at all. Most of the time, I would send the images off to Seth Dickerman and let him work his magic with the images. " -Deirdre Visser
"This was a wonderful project to print. These are very moving self portraits by people who do not normally have the means or wherewithal to have their portraits made at all. I was happy to use my skills to print these portraits with the care and attention which they deserve. I wanted them all to be heroes!" -Seth Dickerman, Photographic Printer
Besides Rita, is there anyone else you built a special connection with in particular? Or, did you become close with all your subjects?
"I have an especially close relationship with Rita because I was in a position to help her navigate the health system at a crucial juncture in her life. It was a very intimate time over many months, as medical advocacy can be. While I love and respect many of the other Skywatcher ensemble members, Rita and I are a special case."
Do you believe that this project brings positive light to a community that is often ignored and associated with negative affiliations? ( ex. the Tenderloin is referred to as one of the roughest areas of SF )
"Folks who hold power in our society are much more able to control their own representation; my desire is to create the framework for everyone to have an opportunity to represent themselves. For this project I stood out on the sidewalk and invited neighbors to make a self-portrait in a very simple studio setting I created. Everyone got an 8x10, and through Seth's generosity, many participants got larger proof prints as well.
The Tenderloin is many things, and sometimes what's lost in the telling by those who don't live there is our shared humanity. I hope that viewers can see that in these images."
Do you have plans to continue this line of work or do you have another community building project in mind for the future?
"I don't yet have the next thing in mind, but I think we've started something that I'd like to build on. I also think there's room to consider a book project with these portraits, perhaps accompanied by their writing.
Next up on my plate with Skywatchers is a leadership training project which I am working with Anne and the Skywatcher team to design and implement. The intention is that participants increasingly take control of the program planning."
More About Skywatchers:
"More than five years ago Anne Bluethenthal and ABD Productions (ABD) initiated the Skywatchers project in collaboration with Community Housing Partnership (CHP) in order to engage formerly homeless residents of the Tenderloin in high quality creative experiences that illuminate their lives and stories.
The CHP residents, too often reduced to statistical data, become storytellers, co-creators, performers, and audience members—working in close collaboration with ABD dancers and associated artists. The connectivity intrinsic to creative collaboration is helping participants build trust in each other, and nurturing the desire for self-efficacy.
The humanizing impact of sharing one’s own story, both to be heard and to see that story in a broader social context, creates the space for participating residents to imagine and manifest change."
Special Thanks to Darryl Smith at The Luggage Store for generously sharing the 509 Ellis space for both the shoot and the exhibition.
Dickerman Prints Gallery Presents: Wanderlust
WANDERLUST
a juried exhibition
WANDERLUST is a juried photographic exhibition featuring the work of 33 talented photographers. This was the call for entry:
For some, wanderlust manifests itself as an unquenchable thirst to explore life beyond your comfort zone. For others, it’s as simple as reading a book, taking a walk at lunch or going left instead of a right on the way to work. Wherever your wanderlust takes you - by foot, pedal, engine or “other” - we want to see it!
Click here for photos from the opening night reception on June 15, 2017.
“Not all those who wander are lost”
Printing Music's Biggest Legends at Dickerman Prints
As one of rock ‘n’ roll’s preeminent photographers, Ethan Russell chronicled the everyday life of music’s most iconic faces: both on stage and off.
Keith Richards Exits “The Starship” 1972 US Tour. Photograph by Ethan Russell Copyright: © Ethan Russell
Ethan Russell's Career as a Rock & Roll Photographer
During a storied five-decade career, Russell photographed Janis Joplin, Eric Clapton, Paul Simon, k.d. lang, Audioslave, The Doors, John Lennon and Yoko Ono, to name a few. He also is the only artist to shoot album covers for The Beatles, The Rolling Stones and The Who.
Astonishingly, much of Russell’s music photography went unseen for nearly 30 years. Only recently have these historic images been dusted off, scanned, restored and printed.
Long removed from his darkroom days, Russell now prints his iconic images at Dickerman Prints: a custom photo lab in San Francisco. By fusing digital technology with traditional darkroom techniques, the lab creates timeless prints on extraordinarily elegant papers.
John Lennon and Yoko Ono “Cat” Photograph by Ethan Russell Copyright: © Yoko Ono. All rights reserved. Used with permission 
Linda Ronstadt. “Hasten Down the Wind.” Malibu 1975. Photograph by Ethan Russell. Copyright: © Ethan Russell
Creating Timeless Photographic Prints With Seth Dickerman
Recently, Ethan Russell and Seth Dickerman sat down for an interview with Rangefinder Magazine. What follows is an excerpt from the article.
"Back in the days when Russell lived in England, he worked with a lab run by a father and son who did traditional gelatin silver prints. Years later when he moved back to San Francisco, he couldn’t find a local printer who could match the quality of their analog work. “It was always a struggle,” Russel recalls. Whenever he needed a print, he flew down to Los Angeles. Then, in 2011, he was introduced to Dickerman Prints, a full-service San Francisco lab founded in 1996 by Seth Dickerman, that had switched to digital process in 2007.
“I was nervous about it,” Russell says of trying digital prints. The first piece Dickerman produced for him was a 30x40” print of Keith Richards in rehearsal, a memorable shot. Richards was beyond pleased with the result. “As soon as I saw it,” he says, “I decided I could move away from analog printing.” He’s worked with Dickerman exclusively ever since.
“We work together, but Seth has a determination and patience that I sometimes lack,” Russell admits.
Russell is in the lab with Dickerman at least once a week, if not more. Depending on demand, Dickerman Prints may produce a single 8x10-inch print for a collector in a week, or up to 60 images for an exhibition.
“Seth will take an image and make it better. He understands the direct relationship between the digital file and the paper.”
Gabriel Agiular, Garnell Boyd, Seth Dickerman and Ethan Russell (left to right)
Choosing the Perfect Paper for Ethan Russell's Rock Legends Photography
While preparing for a recent, Russell wanted something other than his typical framed or mounted prints. The weight of Entrada Rag Bright allowed his large-format photographs to be hung using magnets, while ensuring the print would not ripple when exposed to the elements.
This simple and elegant solution left the prints uncovered, allowing the viewer to truly appreciate the stunning images without distraction.
After seeing the results, Russell is excited to continue using Entrada Rag Bright for future shows. He especially loves how the paper brings out the best in both color and black and white photographs. The Beatles would certainly have approved!
Click here to see more of Ethan Russell's work.
Ethan Russell's photography - printed on Entrada Rag Bright and on display at the 501 Gallery in Sherwood Park, Canada 
The Rangefinder article on Ethan's career and his collaboration with Seth Dickerman - as seen in the January 2017 issues