Once Upon a Time

One story.

Once upon a time,







The End.

A fast single-coated lens shot in full sun, what's that like?

I like fast lenses, even though I may rarely shoot near-total darkness. I like having the capability on the wide end to reach into shadows and pull out detail. My bias towards fast lenses comes from my days as a photography student, when the only camera I had to shoot with was a YashicaMat 124. It had a very good lens, but I was constantly bumping up against that f3.5 limitation. You couldn't have convinced me back then that 3.5 wasn't slow.



So here are some images, shot with the same CV 40/1.4 SC used in the previous post, in full sun, unfiltered (no UV either), on Tri-X, and processed with a solvent developer, designed to be similar to D76, but to give about a 2/3 stop speed increase over D76.

40/1.4 Nokton SC

A recent acquisition from Cosina Voigtlaner, the 40/1.4 Nokton SC, is the single coated version of the 40/1.4 Nokton (multi-coated). I've been wondering about this lens for a while, so when I acquired it, I immediately slipped onto my CLE, with its convenient 40mm framelines, and hit the streets for a test roll, or two.



I'm not lacking for a good 40mm lens. I own the M-Rokkor 40/2, which is very nice, but the single-coated version of the Nokton, with its reputation for being a good lens for shooting black & white was too much to bear.



Reports on this lens have been mixed. It reportedly has inferior bokeh. I'm not a bokeh chaser, but a lens that exhibits quality out-of-focus areas is very pleasing.



I own the Konica Minolta Hexanon 50/2, which IMO, has excellent bokeh.



What you're looking at here, are images from the single-coated Nokton, from the first two rolls, in fact. I've not been able to form an opinion, but the lens seems to have a look considerably different from the CV lenses I own. For example, it is completely different from the 35/2.5 and 28/3.5 and closer to its sibling the 50/1.5. I particularly like the midtones as rendered by the 40/1.4, the skin tones on the portrait, and the tones on the basket and face of the woman, in the image above.

I'll post more as they come in. The film types here are PlusX and TriX.

California

Three impressions of the place I love, California.



Three views of my California



It seems the camera can make strangers of friends, family, and places.



Enriching that relationship.

Waving Beauty

Summer 2005.
Minolta CLE, Cosina Voigtlander 28/3.5, APX 100

An Image

This is a favorite image of mine. If I remember correctly, it was shot using a CV 90/3.5 APO Lanthar. For me, sometimes, a favorite image, becomes a favorite image for reasons beyond the visible. This image is nothing special, really, but it carries a lot of memories with it, tangible, sensual ones.

A Passion

One thing I like as much as taking photographs, making images, fondling gear, and playing in the “darkroom” with film and developer combinations is looking at the work of other photographers, especially, but not exclusively, those from photography’s long and varied past. I love photography books, and I’m always perusing online booksellers, and getting ideas from places like photoeye.com, which sends out “New Arrival” and “Sales” emails, on a regular and frequent basis.

Books are a passion of mine, but looking at and studying photographs, seems to be a deeper subset of photography, a link not common to us all, existing beneath metal, glass, and film. I’m always offering books of photographs to my loved ones and friends, only to have them give it the obligatory flip-through, and hand it back, which is understandable from those who aren't as immersed in photography, but I’m always surprised by the lack of discussion (or even mention) on online forums of photography books and the work of published photographers (beyond the occasional worship paid to Cartier-Bresson, and Winogrand). I’ve my thoughts on why this is, but I’d rather not expound upon them now. Instead, I’d rather offer up to you the work of Stephen Shore, and the republished ‘Uncommon Place—The Complete Works.’

If you enjoy work in the street photography lineage, particularly, as the liner notes state, the work of Robert Frank and Walker Evans, and I would add, right up through Arbus, Winogrand, and Meyerowitz, then you’ll probably like Shore’s work. If you’ve wondered what large format color street photography might look like, then this is the book for you. ‘Nuff said.

Canon 50/1.8

Here's a shot with the Canon 50/1.8, and below a similar shot (posted here before), taken with the Canon 50/1.4, different film (400 UC above, 400 Superia below), same subject, location, approximate time, but different days. This is a completely unscientific comparison. Both images were shot wide open, the 1.8 with a Canon P, and 1.4 with a Leica M7

Blue Wall—The Color-Coordinated Location

Presented as an example of a "color-coordinated" location, a location, or scene wherein a predominate color scheme prevails, unintentionally, in a serendipitous fashion. I've seen them often, but often they are as hard to catch as a fleeting street shot. I usually see them when driving, rushing across town, unable to stop, promising myself I'll return.

Canon 50/1.4 Revisited

I posted some Canon 50/1.4 shots last year, around November (I think). Those were color. Here is a black and white test image that just flabbergasts me. Because I have a tendency to shoot in contrasty lighting situations, controlling the contrast, with my modern lense (e.g., Cosina Voigtlander 35/2.5) has been a chore. I usually resort to using some sort of compensating (split developer) to hold it all together. For the most part it works OK.

I had heard that the Canon lenses of old were less contrasty. I also heard that Garry Winogrand used a Canon 28mm lens, with his M4, loaded with TriX. My interest was piqued, and suddenly (quite unintentionally) through a few camera acquisitions, I was in posession of two different Canon 50/1.8 lenses, as well as a 50/1.4.

When I saw this image, shot with a 50/1.4, I was amazed at how well the scene held together, and the image quality, while sharp, contained a softness, evident in the color pictures from the same lens posted earlier. I had shot this scene several times and never had I seen the highlights and shadow detail holding so well, and needing virtually no PS work (a little bump in the blacks was all). I was impressed and wanted to share.

Details: TriX, D23, Canon 50/1.4

Split-Second Mysteries

Mystery-making at 1/500 of a second.

Park Anonymous

A very recent picture, taken Sunday, January 15, 2006, at Yerba Buena Park, using a Leica M4-P, Summicron 50/2, Fuji NP400 film (processed in FX15). I submitted this to the RFF photo contest folder. I'm not big on photo contests, but this one intrigued me, because the rules stipulated the use of a "normal" lens for all submitted images (3/photographer), namely a 50mm. The rules also invoked the spirit of Henri Cartier Bresson (HCB), who reportedly shot exclusively with a 50mm. I'm not a big fan of HCB's work (blasphemy, I know), but many of his images made a big impression on me when I was a photography student.

On my first weekend out shooting "for the contest," I took my M4-P, the Summicron 50, 5 roles of film, and my CLE, with a CV 28/3.5 attached. I used the CLE once, to take an OBTW architectural shot. Shooting exclusively with the 50 was fun, and a challenge. Popular opinion states that the 50mm isn't really the normal lens for 35mm film, and that a 35 or a 40 is more what the human eye sees. I've heard the 50 referred to as a "short telephoto." I agree that the 35mm, or the 40mm, is closer to the field of view of the human eye, but I think the 50mm is closer to how the human eye sees and focuses. For some reason, the 50mm is the one lens that really forces me to compose. I find I move around a lot more while composing with the 50. I'm always trying to fit a composition.

If you've never intentionally limited your shooting, try it out. It's really been a lot of fun. I can't wait for the next outing.

Stink Eye

I'm not sure how universal it is to get the 'stink-eye,' which essentially is a dirty look, though far more subtle (funny how dirty looks actually have degrees of severity). I'm getting it here, from a dog. I was honored, and what a better way to honor such a gesture, than to immortalize it with a gesture of my own.

Anyway, this is a roll-ender, one that partially invaded the fully exposed ecstasy of the bulk-loaded tail-end of the film.

Lee St.

I was feeling a bit like Friedlander on this one, not intentionally, but in spirit. I felt very purposeful and driven. I mean I really shot the heck out of this location. I just couldn't find the "right" angle, and I wasn't sure why it was so important, but I kept on shooting. Sometimes you just have to get it out of your system.

Along the Path

Behind me was a whole world, a family calling for her to come out of there, my kids calling for our dogs, people strolling with their pets, children, husbands, wives, families, but for one five-hundredth of a second there was nothing but her, a long path down to the beach, and me.

Under the Overpass

A New Year

Happy New Year to all those who visit here, and the same to all those who do not. 2006 is the year of the dog, of course, so here is a recent picture.



Here in northern California the weather is wild, rainy and windy, with cracked trees, strewn about branches and leaves, power outtages, and floodings, gutters, creeks, and rivers swelling beyond capacity. Flood warnings interrupt radio and television broadcasts. We have candles and dimmed lights, as storm after storm sweeps in from the Pacific ocean. During breaks between the storms we make runs to the store or dash out to walk the dogs, or check the grounds. We're safe, but others in flood prone areas are evacuating to higher grounds. We've had some really heavy downpours.

The biggest crisis for us right now is our pet turtle has taken advantage of the weather to "escape" his flooded pen and his collection of feeder fish.

I'm saving and posting now. Another storm is blowing in, and the last one knocked out our power for a few hours.

Safe keeping to all in 2006.

Least Memorable

I don't remember the place
or the moment
or the reason
I don't remember this place
at all

Abstract

Ocean Part II

Many years ago, somewhere way off the coast of northern California, a sizable earthquake occurred. At the time "officials" predicted that this would result in tsunami crashing into the coast of San Francisco. On the day of the tsunami's expected arrival, a reported two-thousand people waited on the beach to witness the event. I remember thinking "only in San Francisco." The wave never came.



I think about this everytime I pass along the coast and see people standing and staring out at the ocean, at seemingly nothing. Sometimes there are surfers sitting on boards staring back, but most of the time it's just people staring out at the undulating ocean.

I stopped once, because I was curious. So many people lined the shore near a road-side parking lot, in groups, and alone. I thought something must be happening. When I came up behind them and looked past, I expected to see something, a dead beached whale, an accident, an argument, but I saw nothing but the beach, the surf, the ocean. I looked around at the faces of the people gathered, and saw them expressionless, and gazing far out beyond the beach, beyond the surf. I was disappointed.



I looked back out at the horizon, still and straight and long, the water a mixture of blues and grays and white. The ocean heaved like a breathing chest, the waves washed ashore, an exhale from a deep sleep. Gulls floated past caught on drafts, their calls lifting away with them.



I watched nothing in particular, but everything all at once. A voice from behind me, over my shoulder, asked "what's going on?" "Not a thing" I answered, and turned and left.