The Haunting

Last September, I screwed up this roll, and it haunts me to this day. The roll (and two others) represent about 3-hours of effort while shooting at a street fair, on a day when everything seemed so right, seemed to 'click' (pardon the pun). This was one of those rolls that I knew had some interesting shots. One of those rolls that photographers rush to process, and then pull out of the fixer at the earliest possible second, to view the results.

I accidently processed this roll in partially exhausted developer, and when I pulled it out from the fixer, I knew it immediately. At the time I was thankful and hopeful, because the developer had at least partially processed the roll(s).

In hindsight, however, I would rather have had the roll completely destroyed, because I can see the images, the compositions, and I know I had some decent shots.



The one above is about the best I can pull out of the roll with this scan and scanner. I recently picked up a new scanner, so I'll probably give the roll one more effort. I'm still hopeful.

BTW, I've not made the same mistake again.

Begin Again

...

Rangefinder Photography Book 2 Available Now

I'll take a little time to announce that the Rangefinder Photography 'A Gathering' is available from Lulu press HERE. This is the second book from the membership at RangefinderForum.com (RFF). BTW, the first book is also available from Lulu and currently sits on the publisher's Top 100 list.

'A Gathering' is a collection of images taken with rangfinder cameras. Ninety-seven (97) international photographers contributed 2 photographs each to the cause, providing a biography, photo titles & descriptions, and technical data.

On RFF a question arose regarding "who did what" on the project. I'll try to define that here. The book was created by a team of 5 RFF members. I am happy to have been a part of that team. While the "responsibilities" within the team, were defined, they were never strictly the province of any one member. Any and all decisions were discussed thoroughly by the team. The broad general roles fell something like this:

I, 'RayPA' (Ray Angelo) worked on compiling and editing the back-of-book information (bios, image descriptions, tech data).

'back alley' (Joe Rizzuto) a moderator at RFF, as well as a poet/photographer, wrote the dedication, and represented the membership of RFF throughout the behind-the-scenes process.

'Joe Friday' (Brett Solberg) worked within the "restrictions" of the first book's layout & design, and found a truly unique look for book 2. Brett basically laid out the entire book. He also compiled and managed images, applied the necessary sharpening, designed the covers and just about everything else having to do with the look and feel of the book.

'Rover' (Ralph Meliso) was essentially the team leader/project manager and editor. He held and managed the deadlines and submissions. He also acquired the permission necessary for the use of the essay (the winning essay from a RFF contest), gathered and compiled information, chased down missing information, vetted the final document.

'GeneW' (Gene Wilburn) was part of the initial project design and conception, helping to provide direction for the project.

'A Gathering' looks very nice, and is a nice acompaniment to the first book. While the first book had 25 photographers, two images each, 'A Gathering' took any and all comers who responded and made the deadlines.

We've an excellent collection of images and some real talent both here in this book and at the RFF gallery. If you get the chance, check out both.

From the San Francisco Orchid Show

I'd never been, and was amazed at the passion surrounding these plants. People are fanatical about orchids, which is fine. Everyone should feel passionate, or fanatical, about something (guess what I'm fanatical about).



Plants were put up for display and lit up with lights, and affixed with ribbons and claims of "Best," "Runner-up," "Honorable Mention," etc. People with macro lenses on their cameras, and soft flashes, crowded around the winning entries like they were Hollywood stars.



I came totally unprepared with black and white film loaded in the camera, intent on shooting the periphery, the people. I felt compelled to "look the part," and snap a few shots of these strange little beasts. It's odd. I don't consider them flowers at all, because hearing stories about how and why some of these plants evolved into their existence was fascinating, weird, and seemed almost willful on the part of the plant, almost devious, intelligent. That's kind of creepy, cool, but creepy.



In the end, we came home with several new housemates. They're beautiful, but they're still not flowers to me.

And now for us fanatics: images caught with a Leica M4-P, Summicron 50/2 lens, Tri-X.

Phat Plus-X

Can film type affect your shooting style?



Lately I've been reveling in Plus-X, and all its glorious mid-tones. It's gotten to the point where I end up close to a flat (low contrast) image, because I concentrate so much on those fat middle tones.



So, with my 100' roll of Plus-X I've been inspired to search out those tones. I find myself pointing my camera at sticks and stones, which is not what I like shoot, but the above image gives me a little faith that I can embrace Plus-X for shooting on the street.

You Own the Theater

You own the stage, the players, the script, the responsibility, the theater.