More happy accidents.
I’m still not sure how exactly this happened. I was shooting in the studio triggering a bounced flash remotely, and apparently I tried this one with no flash. The auto white balance (which was doing a nice job with the mixed strobe/fluorescent lighting) apparently fell on its face on this one, producing what turned out to be a very interesting yellow cast.
Nikon D200, Nikkor 50mm f/1.8.
Photography is serendipitous.
Holga photography (and “toy camera” photography in general) is often described as a serendipitous art form. While this is certainly true, I don’t quite think it’s fair. All photography is serendipitous, at least for those of us inexperienced enough to suffer the inconvenience of not being able to transfer images perfectly from our mind’s eye to our chosen medium (a 35mm negative, a digital sensor, a piece of 8×10 print paper in a pinhole camera).
Pentax digital system, perhaps a remote strobe, and some headlights contributing to my lighting.
Manipulation may be older than you think.
What a bizarre effect. Two images superimposed onto each other. And the tones- that is a strange-looking black and white image. There are two things that are going on here that are more than meets the eye:
1. Double exposure. The roommate and the glass look like two different pictures. In fact, they are. Two exposures are made on the same negative (with some careful exposure adjustements, since the sum of the light from each expoaure must fall within the desired range), and there it is. In some cases, one doesn’t fully understand the workings of one’s brand-new twenty-eight year old camera, and the exposures only half overlap. The result? This image. No Photoshop trickery, just old-fashioned analog mind games (and user error. Come on, the camera’s older than I am).
2. Cross process. This image (this one too) were fake cross processes, designed to digitally replicate processing slide film in color negative chemicals or vice-versa. While this is the most common cross process, developing color film in black and white chemistry counts too. The results are generally unique (to say the least).
There you haeve it. All sorts of tricks played with film chemistry that have been available for much longer than I’ve been living. Some people have a visceral reaction to “Photoshopping” of digital images, but fail to realize that many of the techniques reflect the sort of manipulations that photographers have been up to since, well, a long time ago.
This is a long one, so bear with me: Pentax K1000 body on its maiden roll (in my hands, at least), Fuji Superia X-tra 400 (color negative film), Clayton F76+ black and white developer. Alright, so not as long as I thought.
Photography is personal.
Good photographs distill the essence of something into an instant. Be it a person, an animal, a car, or a building, the photographs that stick in the memory tell us something about the subject rather than just being a still image of it.
I think this image perfectly captures the attitude of the subject. I guess, to be fair, it’s tough to know whether I’m fairly representing her or not, but I think I’m pretty credible. I am, after all, on the Internet.
Agfa APX 400, Clayton F76+, one of my first self-developed rolls.