“Yeah, they’re bright in a hollow sky”
Produced entirely from the (figurative) road without the aid of any of my usual photography stuff, but then I got lazy and didn’t post it for three weeks. A proof of concept, maybe.
It’s a cipher.
This is another from my first-ever Holga roll. In addition to setting the counter to 645 (vertical rectangles 6×4.5cm) instead of 6×6 and therefore overlapping exposures, this one was accidentally set to bulb, resulting in blurring and overexposure. I think the effect is interesting, though unintentional. Isn’t that the point?
Black and white can make you crazy.
(Chaos in the Windy City I can be found here). This was another attempt to represent the chaos in the Art Institute of Chicago on New Year’s Eve. Anyone who has followed this blog for any amount of time probably recognizes by now that I am big fan of the square aspect ratio, particularly for my more abstract work, and this is no exception. Something about it just makes sense. I actually didn’t even see htis installation because of how crowded it was (this photo was when we were on our way out right before closing time, so the herd had thinned a little).
When I was processing this batch, I spent a lot of time with alternate versions. I had a lower-contrast high-key version, and a higher-contrast version that was a little more balanced across the tones. I couldn’t make the decision between the two almost identical shots, so I decided to come back to them later. After a month, I still couldn’t decide, so I ended up splitting the difference. This version is descended from the low-contrast version, and I think the low-contrast high-key aesthetic might be growing on me.
Big photo-related life event coming up on Tuesday. I will provide more details for those following along at home, but for now, suffice it to say that a print of this photo will likely be traveling as checked luggage on Monday morning, along with some other prints, a small 35mm developing tank, empty bottles labeled “developer” and “fixer,” and n uncut but developed roll of APX400. Curious?
Can anyone confirm or deny my suspicion that real developer and fixer, even in quantities smaller than three ounces, will not fly with TSA regulations? I wouldn’t be using them anyway, at this point I’m just curious.
Nikon D200, Nikkor DX 35mm f/1.8 G, long exposure with the assistance of a countertop, security people out of the frame to the right looking at me very suspiciously.
Another from the “abandoned quarry,” which is apparently not at all abandoned.
Films aren’t “filmed,” they’re “photographed.” Early filmmakers drew heavily from the work of early photographers (particularly in the area of very careful composition, as any of the Lumiere brothers’ films will show you). I think some of my work is heavily infuenced by my favorite American films of the 1970s (Taxi Driver, The Warriors), particularly in their warm color tones and their persistent examination of the aesthetic decay of the American metropolis (typically, and in both of those cases, New York). When I watch a good film, I find myself constantly noticing things I could try to recreate or reinterpret in a photograph (and my criteria for what makes a “good” film have a lot to do with its aesthetic merits). To me, this instantly recalls the supersaturated tones and visual metaphor of Rear Window, though that film is neither urban nor from the 1970s.
Nikon D200, Nikkor 35mm f/1.8.