Friday, May 30, 2014

05 30 14 Work in Progress--Painting with Light



Camera: Crown Graphic
Lens: Pinhole, Lennox Laser
Focal length: Approx. 40mm
Film: Fuji FP3000 (ISO 3000)
Exposures, various 1-2minute range
Final image size: Approx, 26” x 30”

Monday, April 14, 2014

The last of the black and white peel-apart film: Pinhole nudes/figures

I never really stopped working on these pieces (more at http://rafriedman.com). Rather, they got put on the back burner. With the demise of Fuji FP 3000 film and the project going on five years, it's time to get these going again. 


Friday, April 4, 2014

03 17 14 Three Shades

Date: 02/15/14
Location: Rodin Museum
Camera: Panasonic Lumix DMC-G2
Lens: Olympus 14-42 zoom @42mm
ISO: 200
Exposure: f7.1 @ 1/30

Teaching: Pinhole photography class, April 6th, Brooklyn
http://www.brownpapertickets.com/event/601964

Must Sees: Photos by A.B. Lawver at Soapbox Gallery “Indelible”
http://soapboxgallery.org/anne-burlock-lawver-indelible/

Studio: Pinhole nudes

Searching: TFP/CD models to for tungsten light portraits on film. (Philly studio only).
http://www.modelmayhem.com/casting/1959354

Testing: 1955 Hasselblad 1000F

Shooting: Nikon Fm2n, Tri-X

Projects: Hatch Fund

Reading: The Portable Jung, Ansel Adams : The Negative


Writing: The Laboratory  Arts Collective

Thursday, March 20, 2014

Week of 03/10/2014

02/22/14
Eastern State Penitentiary
Rolleiflex K4 w/medium yellow filter
llford FP4 developed in HC110
Scan: Epson V500

Perspective correction and tonal adjustment in Photoshop

Week of 03/03/14

02/20/2014
Philadelphia Museum of Art
Camera: Lumix G2
Olympus 14-42 Zoom @20mm
ISO 1600

F4.1 @ 1/8 handheld

Wednesday, February 26, 2014

Week of 02/24/14: Woodland Cemetery, West Philadelphia


I visited a number of times over the last few weeks in weather that ranged from balmy to fierce, but the space has a magic about it that makes the exigencies of photographing in winter seem petty. On a few days I shot with an all-mechanical 35mm SLR that is impervious to the cold. The sprawling cemetery landscape with its ever-shifting light is also perfect for using medium format and I worked that way as well. The film shots are still in progress and I will post those in the next few weeks.

All photos Canon Eos 5D Mk1, unless otherwise noted. 


Camera: Lumix G2





Jayne (center) and Grant (right, cropped)


Hamm

Mother, Guilfoyle


Grant

Camera: Lumix G2. This cloud formation appeared just as I was about to leave for the day.

Wednesday, February 19, 2014

Medium Format Love

Painter's studio near 12th and Pine. 


Simply put: I'm enamored by the look of a well-made print from a 120 film negative.

On the flip side, there are a lot of reasons to not shoot with medium format cameras. They are comparatively large and nowhere as nimble as their 35mm or digital cousins. Many have no built in light meter. The lack of autofocus would be a deal-breaker for many. There is no preview screen and no way of knowing whether you got things right. The better compact, folding-type models are not cheap, fussy, easily damaged and notorious for poor alignment and focus issues. Maintenance and repairs are expensive, often take months, and careful, competent technicians are hard to find. Then there is the issue of film—not always available or pricey depending on where you buy it, and it has to be developed, most likely by you. From capture through processing there are lots of places you can go wrong and fall down on the job. It’s kind of like building a house of cards: fairly simple in its basic construction; looks quite impressive when tier after tier is perfectly stacked layer upon layer, but can come unexpectedly crashing down into a big mess where the only option is to start over.  

But as the Zen imbued sage might say: “Every front has a back.” Shooting larger really helps shift the emphasis from product to process. My overall experience with the camera and the surroundings becomes more important than whether I got the shot.  If the first peek at the wet, newly-developed film shows images, it’s like being a kid again during the holidays. There is something extremely satisfying about a tangible physical-chemical artifact (the negative) that bears witness in minute (and hugely enlargeable) detail to what was in front of the lens and how I worked both in the field and in the lab. The carefully inspected twelve-shot roll is both mirror and critic, occasionally granting me a few velvety “keepers.”   


Ninth near Spring Garden.



6th and Girard. This is a crop from a larger image. It's still a formidable 18" x 18" @240 dpi.

Ridge and Lemon Sts. You probably remember the digital and 35mm version of this. Black and white film has it's own color interpretation and the medium format lens gives a more natural perspective.

Broad near Washington. I had my eye on this for a while, looking for the right light .Horizontal crop for square negative.   

I think this is Delancy St. near the Rosenbach Museum. I don't remember even taking this. Horizontal crop from square negative. 

Baltimore Ave. near Clark Park. This is a classic case of where exposing for the dark area and developing (less) for the highlights would have helped. They value range is just too wide, even for film.  A single digital shot would have given either blank shadows or blank highlights requiring two exposures.  Luckily two scans plus tweaking compensates.