Another Street Sign

With the way the talking heads in the media are ranting and frothing at the mouth about religious fundamentalism you would be pardoned if you thought it was a new phenomenon. Of course it’s not, the ebb and flow of violent pious beliefs is a historical fact.

One day’s crackpot is tomorrow’s martyr.

On a lighter note; a sure way of recognizing a photograph shot with a medium format film camera is the so-called waist-level shot – so named because the camera is held just above the waist and you look down into the viewfinder to focus and a fine example of what happens is this picture.

The picture was shot about 22years ago so it is also a fine example of the continuity of religious bigotry.

If there is one thing that I find exceptionally hard to understand it’s the large swaths of angry people who believe that their belief in a loving god demands that they abuse and persecute those who don’t have the same beliefs, when in fact such overweaning narcissism is an anathema to all religious teaching with the possible exception of Satanism.
Bronica SQA, 80mm, Kodak Tri-x, asa 400

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A Tale of Resilience

One of the major differences between film and digital photography are the stories one can tell. In the digital realm to tell someone that you underexposed 10 or 12 photos 2 or 3 stops without noticing just means you are not very good at what your doing.

Alternatively, mistakenly putting a 50 ASA film in the camera and metering for a 400ASA film will extract humorous groans from those who have also done it. It becomes an more interesting tale when you compound the mistakes. In this picture which I shot two weeks ago I never noticed that the film was not the much faster HP5 that I thought it to be and I consequently metered and developed it as if it was. But what makes the tale interesting for those who like such things are the extraordinary details. Such as because the film was over ten years out of date I was reluctant to buy new developer and the internet said that Rodinal  film developer could be kept for a few years before it went off. I had an open bottle of it that had been hanging around for about a year and a half so I thought  why not give it a go, even though the chemical’s colour had shifted from light amber to almost black.

The fixer (just as old) smelt a little, but what the hell.

The end result is that the chemicals did their job and properly developed the film , but due to the massive underexposure  when I shot the film the negatives are seriously thin and it took a slow 3200 dpi scan to get a sort of image.

Considering everything, a 4-second handheld exposure, terrible lighting conditions, gross underexposure, old out-of-date film and failing chemicals, I was surprised to get anything and yet I still got a picture. And it looks like a very old photograph  straight out of the camera, which is cool.

Film, it’s amazing stuff.

Bronica SQa, 50mm wide angle, f4, 4 second exposure, Ilford Pan F, ISO 50.

Street Signs

Still with film in the land that time forgot.

Here is a little proof that the Catholic pedophile story was out in the open a long, long time before the early part of this century when the avalanche of abuse stories could no longer be ignored and the world was forced to take notice.

Like yesterday’s photo, this one was also taken in 1994, that’s about seven years before the Australian police and politicians caved in to public pressure and decided they could no longer ignore the fact that boys had been repeatedly abused by the clergy, who under the auspices of the courts had been operating as their legal guardians.

I met and talked to this man after I saw him three days in a row moving slowly up and down a street in Perth, Western Australia. He told me that he was being treated as a crank and trouble maker by the authorities, and while the police at first had tried to stop him from carrying his sign they had soon realized that due to lack of interest from passersby it was easier to just to ignore him.

Castledare, Clontarf, Bindoon and Tardun were all Catholic boys’ schools. All of them had been quietly closed by the 1970s without any priests being charged, that was to come later, much later.

 

Bronica SQA 80mm lens, Kodak Tri-x, asa 400.

On Film, Ism’s and Rituals

Once a site of resistance, the Peace Wall in Prague is now a place where insignificant individuals desecrate symbols of resistance for reasons of narcissism. Let’s face it, the mass of tourists who feel a need to write on walls such as the John Lennon Peace Wall are those who come late to history via a homogenized journey but want others to think they would have risked life and limb if only they had been born earlier, or in a less salubrious location, or under an oppressive regime, or didn’t have to go to uni, or….

The folk law version I heard from the locals back in the mid 1990s was that during the communist era someone did the original graffiti/paintings and the authorities painted over them, and then more were done, the authorities would removed them and back and forth it went. Finally someone who was caught repainting the J.L. mural was badly beaten, which resulted in the violent protests of record.

Ironically, Wikipedia gives a different, more homogenized and palatable version, but by the 1990s tourists had begun to do what organized oppression could not, they were taking the wall away piece by piece, paint chip by paint chip as souvenirs to put away and forget or were tagging what was left with rather stupid minutia.

The wall looks much different today, I guess because it’s now a site of entertainment, an ode to the corrosive power of any dominant ism no matter the label

The reason for these pictures is that I have begun to regress and have once again fallen in love with film. Not for the nostalgic reasons so popular today or because film is better, but for the ritual of loading film, taking light meter readings and being restricted to the amount of shots (12 in the case of this camera) to a roll of film. These actions slow everything down, makes me more selective and contemplative about composition and why I want to shoot the image. It also costs 30 to 50 cents a shot and a lot of work goes into making the final picture so each image is important. The process is therapeutic you might say, in its own odd way.

https://en.wikipedia.org/wiki/Lennon_Wall

Bronica SQA, 80mm, Ilford HP5, developed in Rodinol. 1994

Reality Biting

There is this enduring myth in many parts of the world that Germany or Germans in particular are brutally efficient and that the trains always run on time. I say myth because today I experienced the reality, and the reality was time consuming, irritating and uncomfortable.

I caught the 10:15 train from Berlin Zoo to Frankfurt/Oder with arrival at my destination expected to be 11:32.

In a small town called Briesen the train stopped; an announcement told all that the train would no longer continue and that all passengers should leave the train.

Exasperated like everybody else, I wanted to know how we could continue the journey. The ticket collector had no idea; in fact, no one had any idea what was going on.

As I was only day tripping I thought what the hell I’ll have a look at Briesen.

That took 15 minutes.

Now what?

As you can see by the clock in the photo I’m almost an hour late already and there is no train in sight.

Deutsch Bahn did belatedly offer a bus service, but by the time this photo was taken no bus had arrived, although another Frankfurt/Oder-bound train had disgorged its bewildered passengers to gather with the others waiting with wilting hope for alternatives to materialise.

It seems very clear to me now that ‘ruthless efficiency’ thing was something belonging to German folklore. Although maybe I’m being unfair to Germans in general, it could be that efficiency and good customer service are not part of Deutsche Bahn’s mission statement, which means disrupted journeys and customer confusion is not their problem.

I finally caught a train returning to Berlin at 12:45.

It began to rain at 12:30.

There is no protection from the weather at Briesen station

 

Fujifilm X20, f4, 1/100sec, ISO100

A Post Revisited

I received a comment and a request to enlarge on a post done on May 26th of this year. I put the post up just after I bought a battery grip for my camera in effort to induce myself to break the long established habit of shooting in the landscape position and shoot more in the portrait position.

In this post I explained I spent the day shooting with the camera in a vertical position to become overly  familiar with the compositional elements of this format.

Why did I think this necessary? Because one of the main problems I’ve always had with shooting in this style was negative space either at the top or bottom of the frame, as is evident in the first picture of the car, which was also the first image shot on the day. The unwieldiness due to the large expanse of black at the top of the picture easily demonstrates my lack of familiarity with the format when shooting street work.

The second image (according to the metadata), was shot about an hour later, and still evident is my need to fill the bottom of the frame which in this case left the top a little empty .

The frame is getting fuller and more controled by the third image, which was about two hours later. After aprox three hours and a couple of hundred frames the format has been tamed, as is evidenced in the last photo, which is obeying rules of two thirds but ignoring the time-honored tradition of not placing the center of interest in the center of the frame.

Since the May post the battery grip has remained connected to my working camera and I now work comfortably in either landscape or portrait position. In fact, I’ve begun to notice many of my contemporaries still shoot only in the landscape position, whereas now I’m constantly switching as I seek to optimize the compositional elements of the image within the frame.

The first two images were shot using 50 mm and the bottom two images using a 70-200mm.

I’ve also found that a when shooting in the portrait position a lens’ length of 50mm or more is often an easier option than a wide-angle lens.

Why Bother

I was asked the other day why I bother with experiments such as the posts on the 25th and 26th of September. For those who didn’t read the post, I’m trying to emulate old film style grain in camera with a modern digital camera.

But why?

Because for me it has always been about the finished product, not the medium and for my current project(s), that special softer grainy look usually only found in higher speed film is both what I like and especially what I want/need to make the thing work.

If you take the time to compare today’s image with that of the 25th it becomes obvious that getting that “look is not as easy as it would first appear.

Today’s image was post-processed to be high contrast grainy without going over the top, keeping it real you might say. But still, because the picture was correctly exposed there is minimal noise/grain, which when you consider that the picture was shot in bad yellow tungsten light at ISO12800, then it is both amazing and a bit dispiriting, because if, like me, you are after that soft edge and very grainy look that’s the predominant feature of high speed film, then normal exposure rules won’t work.

 

24-70mm, f7.1, 1/125sec, ISO12800