Elephanta Island Mooring

January 24, 2020 at 11:43 am
Moored craft off Ele­phanta Island. Provia 120 slide film shot with Fuji GA645. May 2019.

Raleigh, February 2015. Tri-X 400 120, GA645

February 26, 2015 at 2:13 pm

This is the roll of Tri-X 400 that I picked up from the Imag­in­gUSA Kodak booth. I haven’t shot any medium for­mat Tri-X before (to my rec­ol­lec­tion any­way) and I was very impressed with the breadth of tone that could be pulled from the scans.

As always, I loved walk­ing around with the GA645. Just a great cam­era. So sharp, so reli­able — my only com­plaint is that it shoots 15 instead of 16 on a 120 roll (and 30 instead of 32 on 220). But being able to use the same equip­ment for 120 & 220 with­out adapters is pretty awe­some. Which reminds me.…I have a roll of FP4 220 that needs to be used!

Downtown Nashville, February 2014

February 25, 2014 at 9:40 pm

Since mov­ing here, I’d been want­ing to pho­to­graph the peo­ple who go down­town. It’s a mix of tourists and natives — there are enough great parks, muse­ums and activ­i­ties to bring the locals but the rep­u­ta­tion of Broad­way draws in the visitors.

These are a bit of the find­ings on a warm after­noon in Feb­ru­ary. Some on the Shelby St Bridge, one from Cum­ber­land Park (this really neat space basi­cally under the bridge) and the rest from walk­ing around Broadway.

All FP4+ in the GA645.

Fishing in Ocean Springs, October 2013

November 26, 2013 at 4:05 pm

[slideshow_deploy id=‘1744’]

A nice cloudy day on the Mis­sis­sippi Gulf Coast. Delta 3200, Fuji GA645

Photo Exploration: Orange|Blue Wall

June 3, 2013 at 9:25 am

This late after­noon image was made in Decem­ber 2011 with Provia 100f slide film. The sun was still bright but the year was draw­ing down and all the col­ors were start­ing to fade. Espe­cially in Asheville, where once the fall leaves dis­ap­pear it can get rather dreary.

How­ever, this wall in the Asheville River Arts Dis­trict was a mas­sive anti­dote to the gray. Seem­ing imper­vi­ous to tem­per­a­ture or sur­round­ings, the wall stood (and stands) not with an active pur­pose, but maybe just with an iden­tity. A bit of an unm­mov­ing block of color hold­ing court with itself. I had walked this neigh­bor­hood many times to get out from behind my desk and get a bit of fresh air, and although I had pho­tographed the wall with dig­i­tal and neg­a­tive color film, I had never really felt like I had made an image that was fully present in both color and tex­ture. How­ever, this one last walk of the year I had slide film loaded and the time was right.

One of the hard­est, for me, chal­lenges when shoot­ing an image like this is to get it all lined up prop­erly. Any tilt up/down or left/right will be very notice­able in the fin­ished image, and tak­ing care in the moment to true your lines pays div­i­dends later. I think I still have a bit of ver­ti­cal mis­align­ment, with the top titled slightly away from the film plane, but over­all the wall and the film seem to line up pretty well. Expo­sure with the in-camera mech­a­nism, check focus and with a click the image is made.

Orange|Blue Wall, Provia 100f. December 2011

Orange|Blue Wall, Provia 100f. Decem­ber 2011

I’ve dis­cussed the benefits/process of slide film before, espe­cially regard­ing the view­ing of an image and see­ing the minia­ture world within. With this image the expe­ri­ence was nearly tran­scen­dent. It was like hold­ing pure light, this amaz­ing trans­par­ent yet solid emul­sion of orange and blue. I am no way with Rothko’s tal­ent, but I imag­ine his won­der at a com­pleted color field paint­ing to be much the same as when I first held the devel­oped image above.

It was made with a Fuji GA645, quite a work­horse medium for­mat cam­era. If you aren’t famil­iar with one, think of a wide-angle rangefinder with aut­o­fo­cus capa­bil­ity. Extremely sharp ele­ments and very accu­rate meter­ing. It is a fun cam­era that I’ve used many times over.

This image is mean­ing­ful for two rea­sons — the first is that after many attempts with a sub­ject, I was finally able to find the right com­bi­na­tion of mate­r­ial and process to get a sat­is­fac­tory image. The sec­ond rea­son is this pho­to­graph helped push my bound­aries a lit­tle bit. Remov­ing peo­ple, nature, and many extra­ne­ous items from the image I was pre­sented with slight tex­ture and com­ple­men­tary colors.

Natchez, February 2013

March 22, 2013 at 5:00 pm

A vist to my birth­place. Ektar 100.

Photo Exploration: Valle Crucis Apple Barn, March 2012

September 17, 2012 at 4:46 pm

I’m going to try and dis­cuss, at least once a week, a photo selected at ran­dom. This time is a photo from March 2012 of the Apple Barn at Valle Cru­cis Con­fer­ence Center.

This was with Neopan 100 in the Fuji GA645. Prob­a­bly early morn­ing, around 7–7:30am. I like to get up in time to catch some mist and early light when I am for­tu­nate enough to spend time at VCCC. For­tu­nately, it is easy to do since the scenery is beau­ti­ful and plentiful.

This build­ing is one of the most rec­og­niz­able bits of archi­tec­ture in the val­ley. A beau­ti­ful red in real life with a metal roof, it is easy to get caught admir­ing the color of the build­ing. But this visit to VCCC, I wanted to shoot black and white to delve into the space and form of what I could see. By lim­it­ing myself I was, as is the usual case, able to see a wider dimen­sion of sub­jects than oth­er­wise possible.

Engag­ing a well-known sub­ject can bring up feel­ings of inad­e­quacy, par­a­lyz­ing the pho­tog­ra­pher who wor­ries that every­one has seen every­thing before. While that can be true, it is also true that no one has been where you are at that moment with that vision and equip­ment before. So walk­ing around and con­sid­er­ing how your gear com­ple­ments the sub­ject in that moment can loose a moment of joy and per­cep­tion when a frame starts to come together. In this case, it was my walk­ing around the long side of the build­ing and view­ing the wall as a sin­gle plane with­out cor­ners or sides. Pat­terns started to emerge — the win­dows, the stone, the lines of the roof and the lines of the bot­tom open­ings. Of course, it was also appar­ent that the struc­ture was old, weath­ered, man-made and imper­fect. The jux­ta­po­si­tion of pat­tern, mate­r­ial and the impo­si­tion of time upon this struc­ture drew me to start set­ting up a photo.

Even though the GA645 is a fairly sim­ple and com­pact rangerfinder, there is still the same process to work as if it was a larger for­mat SLR. Meter the shot, pre­pare the cam­era, check the meter again. Check the fram­ing again and then take the photo. Granted, this can be done in a mat­ter of a sec­ond or two if one is in a hurry, but since the build­ing wasn’t going any­where I was able to take my time. The sat­is­fac­tion of the work cul­mi­nates when the shut­ter is finally released.

By pre­sent­ing the Apple Barn with­out dis­trac­tion of other build­ings, peo­ple or color I think I have been able to dis­till the oft-reproduced view into some­thing that is tan­gi­bly mine and my vision. I found with this piece a sim­ple view of a space where I have spent count­less hours reflect­ing on my own journey.

Royal Arch Trail, Chautauqua Park, Boulder Colorado. June 2012

June 18, 2012 at 10:33 am

From the base of all Chau­tauqua Park through some other trails up to Royal Arch in Boul­der, CO. Neopan Acros 100 (shot at 400) and Velvia 100F. All in the GA645.