Cold Coffee
never breaking news.
In which I turn it up to 11
Five Frames with Erik Gould on Emulsive.org
11 frames that is. Cross post to my contribution to the "Five Frames with..." series on Emulsive.org and 35mmc.com.
NSEW: Divided by Land | United by Film Group show in St. Louis
This Film Shooters Collective show closes today so it's high time I post about it! I am proud to have an image included in this really strong group show at the Kranzberg Arts Center in St. Louis.
Thank you to everyone who worked so hard to put this together.
The Graflex and you.
So many questions...
Want to shoot large format hand held? Want to shoot wide open and large format and hand held? Want to rock it like it’s 1929?
For answers to these and other burning questions check out my introduction to the Graflex on the Film Shooters Collective.
Why it's good I'm not a doctor
Getting a problem wrong and then right.
Technical problems pop up from time to time for all photographers, and like a doctor it's up to you to diagnose the problem and if possible fix it. Unlike being a doctor, the consequence of being wrong is far less dire, especially if you are just taking pictures for your own interests. Still, I'm glad not to be a doctor, and what follows is a good example why.
Some time ago I shot a few rolls of film with this camera: a modified Graflex XLSW that shoots 120 film and has a 47mm Super Angulon for a lens. After inspecting the film I noticed that the images were showing considerable softness at the edges, not at all typical for this lens. The cropped image shows it pretty well. Rather Holga-like, not SA-like.
Cropped image
So I check the camera and I notice that one of the sliders that holds the graflok back to the body had slid to the unlocked position. This allowed a small amount of play as the back could move out of alignment slightly. I decided that had to be it. I even put the camera on a tripod and put the ground glass back in place to check it out. Even though I couldn't see any difference between locked and unlocked I believe I had the right answer.
Look, I used graphics
So problem solved I think I go about my merry way, and I shoot some more film. Again I see edge softness but I compound my error in assuming that because I uncharacteristically shot these rolls wide open, that the large aperture was the cause. I don't know why I assumed that since I have years of experience shooting super wide lenses like this SA and I know that they perform much better than that wide open, but I did and so took no further action.
At least I had the sense to do a test roll under more typical circumstances and found that yes indeed I had not solved the problem. This time the thought occurs to check the lens, front element is tight, lens is tight in the mount. Rear element? Hold up, it's loose. Very loose. Another half turn and it is falling out loose. O.K. then. Tighten it up, check with ground glass, think I got it this time, but test again.
Yes, how about that. Problem finally solved. The advice is often given when speaking to a doctor about a vexing health problem: Ask "what else might it be?" Advice I should heed myself. If you are wondering how the rear element came to be so loose, I believe it was because of all the time the camera spent riding around in my bag attached to the handlebars of my bike. I will pad that out in the future and you can bet I will be checking the camera out more regularly from now on.
ICYMI: 120 Love
Earlier this year I did two things I never do. I entered a photo contest and I showed a contact sheet. This was for 120 Film Love Day. I don't regret it because not only did I win second place and get a 6x9 hoodie, but I also get the chance to share and connect with some cool people who run a great site with a great spirit based in Tokyo. Tokyo seems amazing to me, not only as one of the world's great cities but as a place where photography and film photography thrives. I hope to get a chance to visit one day.
Check out their site and their merch here. Includes a tee inspired by cool photographer and twitter pal Dan Schneider.
They gave me a spotlight on their blog, for which I am thankful.
Dear Comrades, have I told you about Commie Camera Day?
“Pause briefly from your labors and I will share with you some exploits of glory in the name of International Commie Camera Day...”
This is the Benefit St. Armory in Providence photographed with a Chaika half-frame camera. This is the building that I like to point out to anyone who will listen that was moved in 1906 (rolled on logs, mind you) to its present location in order to make way for the east side railroad tunnel, which lies a couple hundred yards to the south. The west portal of this tunnel was the site of the May Day "riot" in 1993, where some student partying got out of hand. This lead to the tunnel being sealed up. May Day became associated with the Communists in the 20th Century. Now that area is a parking lot. So it all comes together. Sort of.
I contributed a small write up about International Commie Camera Day for the Film Shooters Collective.
You can see the whole piece here.
From the Archives: Reading the signs on Allens Ave.
"Give me your license and meet me there".
Some variants from the RI Photo survey Archive. This is a spot I returned to a number of times. I don't recall if I returned because I was dissatisfied with the first attempt or that I just simply liked the location. Now it's interesting to compare the differences. A return visit is in order.
Allens Ave, 1992, #1 4x5 Tri-X
Allens Ave, 1992 #2 4x5 Tri-X
These are the first attempts. I typically would shoot 2 sheets. I must have been on the fence about including cars as I tried it both ways. I printed the first, but now I rather like the second with stretch limo and the man and his young companion on bikes.
Allens Ave, 1993 4x5 Tri-X
A year later I returned, this time with an overcast sky. This is the image that I printed and exhibited for the 1994 show "On Land" at the Warwick Art Museum. The tension of the wires literally ties the composition together.
Note that in 1993, at least for one day, the "Diesel Fuel low prices" was upright.
Allens Ave 1994 #1 4x5 Tri-X
Allens Ave 1994 #2 6x9 (120) HP-5+
Finally in 1994 I returned once more, this time on a sunny afternoon. This time a composition similar to the 1993 take, but horizontal. Also on that day, showing what was to come for me photographically, I shot a frame with the Fuji 6x9 camera (machine as Tod Papageorge says). Echoing I'm sure accidentally the alternate of 1992 I include cars in the 6x9 frame.
Allens Ave, June 2006. 120 Ilford HP-5+ // Signage and signal boxes aren't what they used to be.
Ghost bike on Allens Ave, June 2006
I took another shot in 2006 just to compare changes and because I had stopped there to take a picture of a ghost bike that was chained to the railing below the on ramp just to the left of this view. That was the day I was hassled by a Providence cop who pulled up next to me and said "what do ya think you're doing? what're taking pictures of the tanks for?" I said I wasn't taking pictures of the tanks and I was just taking pictures for my self, for history. He asked "is that your car over there?" It was. "Give me your license and meet me there". I handed him my license and crossed the street, wondering where this was going. When I got to his car he had run my plates and was reading my name and address into the radio. He then started in again on why was I shooting fuel tanks and that this was a sensitive area and it's not allowed. I kept quiet, feeling more and more apprehensive, then he says "I could take your film" I say "I don't think that's..." and he cuts me off saying "but I won't, why don't you go take your pictures in some other part of the city", (obviously not understanding this photography of place thing) and hands me my license. He then drives off. I had a copy of the photographer's rights in my bag and I was preparing myself to pull that out as I had no intention of giving him my film. I knew I hadn't been trespassing or doing anything illegal. I was going to start naming my friends in City Hall and anyone else I could think of but I was relieved that it never came to that. Then I was angry, and mad at myself for not getting his name. I stuck around and shot a little more although I was hardly in the frame of mind for it, thinking the whole while about the chilling effect this sort of confrontation can have. Self censorship is the most prevalent form of censorship and I was determined not to let this incident keep me inside.
I use the word "paean" and mean it.
I wrote a little piece about one of my favorite materials for Emulsive.
“There’s mystique about them; smooth, finely grained, challenging. Something for the true pros and “serious types”...”
The ghosts of edits past
Editing a project for a show or a book has it's stages, from shooting, which may continue well into the editing stage, to the initial selection from contact sheets, printing, sequencing, more printing and then on to book layout or exhibition hanging.
When it comes to sequencing, I've found no better way than working with actual prints, laid out on the table or the floor, shuffling and shifting until the rhythm is right. Digital or film, it doesn't matter, you need the space to see it all together flowing from one image to the next.
The hardest aspect of any edit is the cutting away of things you like and have become attached to. It starts out fairly easily but eventually you get to where it hurts, and you agonize over each choice. But choose you must and (hopefully) the sequence shows you what it needs most. The deadline looms, you convince yourself it's right and up it goes.
It begins...
Sequencing underway...
We have an edit...
On the wall for all to see.
You pack up the outtakes, hang the show, make the book and move on. Sometimes those outtakes linger with you, like ghosts popping in unexpectedly until finally you go back to that box and have a visit. Some, you admit you still like. Some give you ideas for new work. Thanks to the miracle of modern digital media you can put them up and excise your ghosts. And so I shall. These are outtakes from Canonicus' Bow.
Gorham photographs going digital
Bronze casting foundry, Summer 1997. Where the 'Independent Man" was born!
I will have more to say on this over the coming months but I'm excited to share this news. Erik Carlson and I have been awarded a Rhode Island Council for the Humanities grant to create a performance piece about our 1997 Gorham Manufacturing Co. complex documentation. This is in partnership with UPP Arts and Holly Ewald who first envisioned the project.
This means the photogaphs I made will get scanned and made available digitally. I'm thrilled about this, Gorham had such a central role in the growth and reputation of Providence as a manufacturing and design center. The work Gorham produced, especially the fine silver, occupies a prominent place in the collection of the RISD Museum, my employer. I will be very busy making new photographs of that silver collection for the major book and show the museum is planning for 2019. My photographic career seems to be intertwined with Gorham and I'm excited about this latest chapter.
Wash basins near the silver work benches. Summer 1997.
