Kodak pulled the plug on it’s E6 color transparency films today. They were great films. I can’t imagine Fuji is far behind. E6 in low volumes just doesn’t make a whole lot of since. I don’t shoot color often and I definitely don’t shoot color seriously, but here are some shots in homage to E6. There is something wonderful about a well made slide. Hold one over a light table and the image glows with a certain brilliance that is absolutely unachievable with a paper print or a computer screen.
This photo was taken with my 17″ Kodak Ektanon. This lens doesn’t have a shutter so I just go old fashioned on it and pull the lens cap off/on when I am ready to take the shot. It’s tough to take a shot requiring anything less than one second, but that usually isn’t a problem considering the typical lighting conditions I am shooting in. This shot was just over one second at f32. The sun was just about to set over the ridge and the edges of the leaves are just glowing with light.
I have decided to begin moving away from my traditional website. Time is precious and a blog format seems like a good fit for the stage my work is in. In that spirit here is a new print from one of my favorite negatives. Reprinting has to be one of my favorite things about traditional darkroom work. It forces you to re-examine and hopefully improve the print. You have the notes from your original printing session but they are only notes. As Ansel would say, “The negative is the score, and the print is the performance.”
This is a 4×5 shot on Ilford Delta 100 taken with a Fujinon 135mm. It is almost 1:1. Unfortunately, my notes about the shot end there (wasn’t the best at note taking back then, all art no notes), but I do remember it being a rather long exposure of about 45s. The long exposure helped to create the swirling water effect on the black rock wall background. It is tack sharp and it prints to 20×30 easily.
A small detail image of a steel beam that was once a part of a large bridge across the Blackburn Fork river.
I have been taking electronics apart right and left; removing the circuit boards and searching for meaningful compositions. It’s weird but these things can really tell a story.
If anybody has any E-waste they need to get rid of send me an email. I will come to your house and pick it up, photograph it, and recycle it for you. Big, small, computers, electronics. I am not picky.
4×5, 1:1 to 4 times lifesize, Delta 100, scanned from prints (right click and view image for a larger version).
This is a brick from the house I grew up in. It was located at 2411 Crestmoor Rd, Nashville, TN 37215. That address is no more. They tore the house down to make way for eight or ten $700,000 condos. It was a great house. There is just something about white brick houses.
Details: Fuji 135mm, f32, Flash, Delta 100 4×5
P.S. You might be wondering where the shots from the other days are. Well, I shoot film and make prints in a wet darkroom. This limits the amount of finished prints I can produce and show here.
My left and right brains collided on this one. I tried to isolate the patterns into a circular type of shape that simplified the details into a stronger more coherent pattern. I really enjoy this photograph. I tend to think of the computer as the great simplifier, but this image pulls back the curtain on that idea.
I took this shot with my 8×10 Cambo monorail and my 105mm Tominon. That’s right that tiny little Polaroid lens will cover 8×10 and is sharp to the corners! This shot is just over 4 times life size. The detail in the contact print is just wild. It took 6 flash pops from two 700w heads. That is a lot of light (2 to 3 times as bright as a clear noon day).
Details: Polaroid Tominon 105mm, f45, Bulb with Flash, Delta 100 8×10.
I have to admit this was about as close as you can get to a snapshot with a 4×5 camera on a tripod. It was cold, windy, and the light was fading. I knew I wanted to capture the intersecting curves (and stonework under sunset conditions has a wonderful tonality), but other than that I just set the camera up and got it done. I started out with a 135mm but I needed more curves and depth, so I switched to my 75mm, which was perfect. Focus, meter, and done. Except the exposure ended up being 5m, which meant 10 more minutes of wind and cold (I almost always take a safety exposure).
This prints nicely on warmtone paper and could easily be enlarged to 30×40. The negative is razor sharp.
Details: Rodenstock 75mm Grandagon, f32, 5m, Delta 100 4×5