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.
I think this is a nice example of what my cross-processed Provia is doing to skies. Pretty neat, isn’t it?
Minolta XD5, MC 50mm f/1.8, Provia 400F (expired September 2004) cross-processed (C41).
Which literary character does this remind you of?
This is sort of a soul sister to “434” in subject matter and processing terms. It’s strange to buy new equipment in the middle of a photographer’s block- it forces you to revisit your surroundings (which you’ve photographed thousands of times) to try to find new angles and interpretations. One of these days I’ll get a new idea and I’ll be off like a greyhound again.
See it larger here.
Nikon D200, Nikkor 50mm f/1.8.
New equipment doesn’t provide new things to shoot at.
The sign on the door:
“KEEWAYDIN COMPUTERS and KEEWAYDIN AQUATICS We are undergoing an upgrade in our facilities and cannot operate our business here temporarily. Please call 237-5560 for further information. Deliveries remain here as usual.”
Nikon D200, Nikkor 50mm f/1.8 (which really is a razor at f/4).
There is a season, turn, turn, turn.
Those (admittedly, few) of you who read this regularly probably know my digital photography story. I sold my digital SLR along with virtually everything that went with it (lenses, filters, batteries, chargers) about eight weeks ago, but it had been mostly sitting and collecting dust for months before that while I played with various 35mm cameras and processes. I did have plans to order a new body (starting over on a new system- hint: F-mount) in May. I was going to order a used body now one generation “obsolete,” thinking prices could only go down, but I was keeping a hawk’s eye on the prices at the largest two used dealers here in the States. In that last few weeks, I had actually noticed prices of used bodies climbing instead of falling for the camera I wanted, which makes no sense for a camera that was introduced four years ago and was replaced in 2007. To my amazement, the used camera bodies started vanishing as fast as dealers could get them in, and prices continued to rise steadily. Though I was worried that prices would rise out of my price range, there wasn’t much I could do. Until Sunday, that is. In my routine searching, I found that Best Buy was selling the cameras brand new for $150 less than used ones in respectable condition were trading for on reputable sites (no, eBay is not reputable for cameras. I have learned that the hard way). I hurriedly freed up some cash, and this is the picture I wanted to post today (although it isn’t much of a photograph by traditional standards). Again, long-time readers will recognize the significance: The camera I’ve been plotting about for a few months will be delivered to me as soon as Saturday.
Unfortunately, there are a few issues with this. First, since I’ve pledged not to use cheap zooms after my Pentax two-lens kit days, I’m not interested in the 18-200mm kit lens deal (which wasn’t on sale at Best Buy anyway). Instead, I ordered the body only. While I will technically have the body as early as Saturday, I will not have a lens (or, for that matter, a CompactFlash card). This will obviously make picture-taking difficult (though technically not impossible). Even better, the two lenses I plan on ordering in the near future are either hard to come by or almost impossible to find (35mm f/1.8, which I’m still not sure is officially out yet). This means it may be a little while before I can actually take pictures with the thin. I have a few schemes in mind to “borrow” a compatible lens for a day or so, but we’ll have to see how those turn out. I’ll probably crack and order a 50mm f/1.8 in the next day or so (and a CompactFlash card- that would probably be a good idea too).
Pentax digital SLR system, which is long gone.
Photography is nonlinear.
This is not new. It came from the same area as this one, but on a different day and shot on color film. I felt like experimenting with black and white with toners last night, and so I processed this as a selenium print. I think it’s a little eerie. There’s another process of this same image as a deep red-orange. I like this one better because of the juxtaposition.- the orangey autumn tones have been replaced with a monochrome in icy blue. It plays with the mind, and I like it.
Test roll in my K1000, Fuji Superia X-tra 400, digital selenium process (sorry, no darkroom).
A second from the Bar Harbor area within a mile or so of Acadia. This is one of my favorites because there’s something about deep blues that I find very appealing, and industrial imagery dominating nature has always been a fascinating subject for me. This isn’t some Photoshop bluescale trick either- it’s all about light, timing and exposure.