Now there's something I haven't thought about in a long time. I used to love the smell of that stuff. When I was a kid I'd pester my mother to let me mop the kitchen floor with it.
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Get off my LAWN! "Grumpy Old Farts"
- Thread starter B-string
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- Oct 22, 2015
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Nonono, not me. I mean, I don't know you, but I know you, and I know you mos' def would not take someone like that as anything more than a buffoon.
The only baby (127) camera I have is a Primo JR. I got it along with the R. B. Auto Graflex and other photographic stuff years ago from a client of the lab. He was the marketing director of the local eyesight center and a stand up comedian (serious, here).
You need to have a "special" connection...
I sold the Rollei to a friend of mine a long time ago, with a bunch of accessories that I picked up along the way (lens shade, a couple of Rolleinars, complete set of B&W Bay 30 filters, Rolleifix tripod adapter). I think I still have the Rolleikin 35mm film adapter set, brand new in the leather case (probably worth some $$$).
I can vouch for that. I have a 1970 (I think) SWC, and I have never left this ball of lard! One of the camera stores I worked at in the '80s had a real Moon Hasselblad on permanent display, not the commemorative marketed model.
I think I have a 4x5 transparency (Fujichrome) of the green flash,I wasn't referring to a photo shoot. I've spent many hours setting those up. I was referring to those moments that occur during regular old living life. You see something out-of-the-blue, and want to capture it. That's when you can spend a gazillion hours waiting for the fleeting moment to reoccur.
Case in point.
I was on a large sailing vessel (Windstar) off of St. Bart's, watching the sun set over the horizon. And there it was! The infamous "green flash"! Wow!
For almost every single sunset on every cruise after that, I was ready with a camcorder, hoping to pull a frame or two out of the video when the green flash occurred.
I have never seen another one.
Nice!
We had lots of Hassy gear that got used constantly at the studio and in the field. When the business closed I brought home the aforementioned SWC with a 12 and an A12 back. Plus a bunch of other stuff (Graflex/Heiland flash gear, Starbird lighting boom stand, Nikon F2 Photomic with several lenses including a Micro-Nikkor (3.5), Nikon FE, Busch Pressman D with accessories, pre-war 8x10 Deardorff, pre-war Ries tripod, and some other stuff I don't recall, at the moment.
I have a ton of AA's books. I even have the fourth book of the basic series, the Polaroid one.
One of my favorite books is Examples The Making of 40 Photographs. The best parts are Ansel discussing the mistakes he'd made and what he should have done, instead. Re: the DV photos of Edward's and Ansel's, what I remember for situations like that is to not compensate the exposure for the yellow filter's filter factor. I don't recall which one (Ed or Ansel) didn't do that.
A favorite photo of Ansel's is the one of Imogen Cunningham laying on a bed with Polaroid photos all around. IIRC, it was mentioned she had died from overexposure to Polaroid.
Can't find that particular photo (I think it is in Mary Street Alinder's AA biography), so these will have to do.
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Truth! I have a couple of buddies who've been paid to operate cameras; one doing commercial stills in NYC, one doing portraits, weddings, etc. Both are highly frustrated when I get requests to publish my images. They know I have zero clue what an f stop is, know nothing of composition or technique, and have never owned anything more complex than an autofocus point and shoot.Well, there a different kinds of photo "shots"...
Yet...my shots are in a dozen books from US, UK, and Australian publishers, plus a bunch of magazines, and a once upon a time traveling Smithsonian exhibition. Howcum? Right place, right time, access to the right people.
- Oct 22, 2015
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- 257,037
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- I am an affiliate for Ari Cap.
Well into my childhood as the train to get cameras in the hands of Everybody already left the station. Instamatic cameras and cartridge film cartridges means your great aunt is now competing for keepsakes in what was formerly hobbyist's turf. Polaroid means <ahem> private moments are preserved without the chemist's attention.
My father's Super 8 (and projector, et al) means life's most ̶e̶m̶b̶a̶r̶r̶a̶s̶s̶i̶n̶g̶ adorable moments are replayed to the satisfaction of visiting relatives. By good luck or by pity we are off to bed in jammies as the adults talk of important adult things.
I have a record player
and a radio for lights out
there's champagne here in this coffee mug
and some cognac as yet untapped
My father's Super 8 (and projector, et al) means life's most ̶e̶m̶b̶a̶r̶r̶a̶s̶s̶i̶n̶g̶ adorable moments are replayed to the satisfaction of visiting relatives. By good luck or by pity we are off to bed in jammies as the adults talk of important adult things.
I have a record player
and a radio for lights out
there's champagne here in this coffee mug
and some cognac as yet untapped
- Oct 22, 2015
- 21,167
- 257,037
- Disclosures
- I am an affiliate for Ari Cap.
The pain of El Salvador. Well illustrated.
Weegee, Friedlander, Cartier-Bresson, et al.
I was going every summer for seven years, documenting, interviewing, teaching...accompanying. Worked with the FMLN, ANDES, COMADRES. Then home, spending Wednesday nights in church basements with my slide projector. Trying to raise US awareness, shift public opinion. You get lots of reality therapy that way.
Entertaining during the teachers' strike in 1992. One of my more edgy gigs.
The one in the picture was a local build I got in a pawnshop for $18. Not great, but useable. I left it hung on the wall of the union office when I came home.
Digital photography as it is today is so forgiving in comparison to working with emulsion and chemicals. Film cameras do not automatically adjust for contrast like the phone camera does and that can leave your pictures a far cry from what you saw as 'cool'. Phone cameras are just amazing with their point and shoot ability.
I once had a 12 string with a beautiful Brazilian rosewood body. It wouldn't be allowed today. I'm sorry to say that one got away from me.
- Oct 22, 2015
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- 257,037
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- I am an affiliate for Ari Cap.
The problem is what it thinks I want may not be what I want at all. And less than thrilled with using "touchscreens" with digital previews. Easy to take a spot meter reading with some basic understanding of my intended idea, and adjusting with the zone system calibration I have taped on the meter's lens. Sometimes I think that's mostly for play because I can shoot 80 percent of situations with the same f-stop and get results I can publish.
It's who's behind the camera, same as who's behind the bass.
Yup, that's you...and I agree. Having control over the medium will get you what you invisioned.
The casual user need not know about zones or meters and still walk away with a better picture than they would have gotten with their instamatic.
But who's behind the bass with a camera?
I should pull out my Pentax Digital and use it with the 6D. I have gotten lazy these days and do basic bracketing (easy as there is no film to burn up with varying exposures).
When I was using the view cameras I would make two exposures of each scene (time/lighting/environment allowing), but those two exposures were identical, exposing both sheets in the film holder so I had a backup negative. So, twenty TOYO film holders didn't equate to 40 different images for me. Life got a lot easier when I started using TMX packs in Readyload® holders, similar to when I was making black & white Polaroids with a 545 film pack holder. When I started doing that I could pack 100 sheets of film, easily, and never worry about running out of film.
Rough'n'Ready Tubular Bells, anyone?
We saw this exhibition a few weeks ago. Quite wide ranging in what is on offer..Go see it if you can and have much time to spend going through it.
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