Jim Sincock Photography

Untold Stories 16 ©  JIm Sincock

Untold Stories 16 ©  JIm Sincock


Rfotofolio is please to share the work and words of photographer Jim Sincock.


Would you please tell us about yourself?

I grew up in Wisconsin and recently moved back after nearly 20 years of living in Colorado. I started my career in photography in the late 1980′s after art school first as a portrait photographer, and then quickly moved on to commercial product photography.  I had also done some custom black & white printing for other photographers, both on my own and at commercial photo labs. I’ve always done my art photography and exhibited some in the 80′s and 90′s, but really only began focusing on my art 100% in 2012.  Selling at fine art festivals has been my main focus, but I’ve also had my work in several exhibits, and have won a couple awards for my photography.

How did you get started photography?

I think the interest really began when I was really young and would look through a shoebox full of old photos that my grandmother had.  I was fascinated with the look of old tintypes and images from old Brownie style cameras with their strange focus, blurs and light leaks.  Up until junior high I was mainly into drawing and painting, but when I got a camera for my birthday one year, that changed my focus.  After high school my dad learned about the Milwaukee Center for Photography, which is where I ended up getting my education.

Which photographers and other artist work do admire?

I admire a lot of photographers and artist, but Julia Margaret Cameron, Edward Weston, Ansel Adams, Man Ray, Edward Steichen, Alfred Stieglitz, and Sally Mann are a few photographers.  Other artists include Anselm Kiefer, Robert Rauschenberg, Joseph Cornell, Marcel Duchamp, Andy Goldsworthy . . . .

And what about their work inspires you?

It varies with each, but I’d say each of the artists I mentioned show a sense of passion for their creative vision which, to me, shows through in their art.

Please tell us about an image (not your own) that has stayed with you overtime?
There are several images which have stuck with me over time, but the one that is coming up for me at the moment is “Criss-Crossed Conveyers” by the painter and photographer Charles Sheeler.  For me, the graphic composition of the gritty industrial landscape almost takes you away from what the reality of the scene actually is.

Criss-Crossed Conveyers by the Charles Sheeler.

Criss-Crossed Conveyers by the Charles Sheeler.


Please tell us about your Wet Plate work.

The look and feel of wet plate images have always fascinated me.  From the tintypes I saw as a child, to images I learned about in photo history classes.  For a while I used the old Polaroid Type 55 Pos/Neg film with some chemical staining to give me a somewhat similar feel.  I also made dry plate glass negatives using liquid emulsion.  Then a few years back I learned people were still doing the traditional wet plate process and I moved in that direction.

My still life work is like old dreams or memories, and the look and feel of wet plate helps to convey that story.  It is similar for my landscape work as it conveys a certain dream-like feel I choose to portray in some of that work, although sometimes I prefer a crisp clean image shot on large format film.

Untold Stories 14 © Jim Sincock

Untold Stories 14 © Jim Sincock

Ever Changing © JIm Sincock

Ever Changing © JIm Sincock

What challenges do you face as a photographer?

I think that getting the proper exposure for my work is one main challenge, which also ties into where the art market is financially in this economy.  I definitely find that there are more art buyers at the art festivals I sell at, then there are at gallery exhibits I’ve been in.  But even at the art festivals, the seasoned pros often say how the market is nothing like it used to be.

Would you tell us about your workspace?

Well, my wife and I just moved back to Wisconsin and I’ve yet to set up a workspace, but my last studio was a tiny studio which I built in our backyard.  It was a great little space at around 104 s.f., with a tiny darkroom for wet plate, film processing, and for making smaller salt and cyanotype prints.  It worked quite well for my still life work, or even head & shoulders portraits.  But once I started framing prints for art fairs, it got a little too small.  In the past I’ve had studios from 600 to 2400 s.f. with full B&W darkrooms.  My ideal workspace is one where I can have a few shots set up at anytime, a full darkroom, and plenty of space for matting framing.  And great natural light is also a plus.

How did you come to build your camera?

I recently built an 8×10 sliding box camera for my wet plate work, which is based on Alan Greene’s design in his book, Primitive Photography.  I had been shooting 1/4 plate size, but wanted something a little bigger for some of my tintypes. The used 8×10 cameras I was finding were over-priced, so I decided to make my own. Before getting Greene’s book I made a couple prototypes. The first one was made from a cardboard box, with a Leitz copy lens stuck on a sliding front piece. Pretty funny, actually!  I shot paper negatives in it and it actually worked. The next one was made out of black foam core and was more of a sliding box camera style.  The film holder was also made from foam core and black mat board, so it was only used with paper negatives.  It is a fun process to make your own camera.  I think it is a great way to get a better understanding of the technical aspects of photography.

How do you overcome a creative block?  

With my landscape work, sometimes it is just a matter of sitting in nature, just observing, and not really having a goal.  With my still life work a lot of times just playing with lighting and different objects on the set can help.  Other times I just need to set it all aside and to come back to my photography another day.

How important is it to your art form to have a “creative community”?

It is probably more important to me than my art form.  The work I do is very much a solitary process, and I’m a bit of an introvert, so it is good to have some type of creative community to be able to connect with from time to time.

How does your art affect the way you see the world?

It helps me to slow down, see things more deeply, and to be more aware of the world around me.  Working on my still life images also allows me to express a surreal dreamworld and take a step back from the real world.

Where can we see your work, and would you like to share any upcoming projects?

I recently received a fellowship award from the Racine Art Museum, and will be spending much of 2014 working on a new series for my exhibition at the museum in the late summer of 2015.  I also moved into a new photo studio space in Racine, Wisconsin which is in a historic factory building which is home to over forty other artists, and many types of small businesses and manufacturers.  One new series of images will based on the old building and other old factories in the area.

In the Forest © JIm Sincock

In the Forest © JIm Sincock


Thank you, Jim  for sharing your work, we look forward to seeing more of your work in the future.

To learn more about Jim Sincock please visit his site. Jim Sincock Photography

To learn more about the book Primitive Photography by Alan Greene please visit Primitive Photography

To learn more about the photograph Criss-Crossed Conveyers by the Charles Sheeler, please visit the Metropolitan Museum of Art



Coming. . .

Ever Changing © JIm Sincock

Ever Changing © JIm Sincock

Jim Sincock Photography

The Only One

Lone Oak 1985 Edna Bullock ©Bullock Family PhotographyLLC

Lone Oak 1985 Edna Bullock © Bullock Family PhotographyLLC

Beth Moon

©Beth Moon

Dettifoss by Bill Schwab

Dettifoss © Bill Schwab

Flat Top Hill by Keith Taylor

Flat Top Hill ©  Keith Taylor

Coast © J.Rosenthal

Coast © J.Rosenthal

© Agnes Courrault

© Agnes Courrault

 ” One touch of nature makes the whole world kin.” William Shakespeare. 


To learn more about these artist, please click on the photographers name.

Agnes Courrault


Keith Taylor

Bill Schwab

Beth Moon

Edna Bullock 




A sunday visit to our gallery

Rfotofolio thanks the photographers for sharing their work and words.

To see our interviews with these artist please click on their names.

Dianne Yudleson

Jill Enfield

Tami Bone


Curve3 © J.Rosenthal

Curve 3 © J.Rosenthal

Curve © J.R

Curve © J.Rosenthal


” I would say to any artist: ‘Don’t be repressed in your work, dare to experiment, consider any urge, if in a new direction all the better.”  Edward Weston. 


Anne Berry Gallery

© Anne Berry

© Anne Berry


“The least I can do is give a voice to those who can not talk.” Jane Goodall.

To read our interview with Anne Berry please visit  “Behind the Glass with Anne Berry”

Innovator, Wynn Bullock

Wood, 1972 Wynn Bullock© Bullock Family Photography, LLC

Wood, 1972 Wynn Bullock© Bullock Family Photography, LLC

Tree Trunk, 1971 Wynn Bullock© Bullock Family Photography, LLC

Tree Trunk, 1971 Wynn Bullock© Bullock Family Photography, LLC

Point Lobos Tide Pool 1957,Wynn Bullock © 2013 Bullock Family Photography LLC

Point Lobos Tide Pool 1957,Wynn Bullock © 2013 Bullock Family Photography LLC

Under Monterey Wharf   Wynn Bullock© Bullock Family Photography, LLC

Under Monterey Wharf Wynn Bullock© Bullock Family Photography, LLC


“Searching is everything – going beyond what you know. And the test of the search is really in the things themselves, the things you seek to understand. What is important is not what you think about them, but how they enlarge you.” Wynn Bullock

To Learn more about the work of Wynn Bullock please visit his site. Wynn Bullock Photography



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