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© All rights reserved Luca Tabarrini.
Letizia.
Canon 1000f
Ilford hp5
For the Collective 52 Group prompt "Favorite Book or Magazine" The only magazine I subscribe to is "View Camera Magazine" for it's inspirational large format fine art photography.
Pictured: Toko 4x5 field view camera
Light painted with Nikon D800, 20mm f2.8
Camera: Long Weekend
Film: Kodak UltraMax 400 (Expired Aug 2025)
Processing: J&A Photography Studio
Eight image stitch.
Maxine Sullivan, age 10, with her father's large Graflex camera, at the beach of 1950's Melbourne, Australia.
By some lucky chance, I had purchased the original negative, and then months later I picked up the camera at a separate sale. Curiosity put them together when I noticed the serial number of the real lens matched that of the photograph.
Lucky, huh?
Please go here to see more images of Photographers at Work
www.flickr.com/photos/69559277@N04/sets/72157629353901321...
Produced from the original negative in my collection.
Clockwise from Left:
1. Voigtlander R2A with 15mm Super Wide Heliar.
2. Cowon J3 Audio Player
3. iPhone with Mophie Battery Case & picture of wife.
4. Domke f-5xb camera bag.
5. Portra 400 roll used.
6. Amazon Kindle with Philip K. Dick short stories.
7. Earsonics SM3 V2 IEM's.
This little camera can be purchased on photojojo, but I got my off of ebay and saved a little. It is a cute little symbol of something I love lots!
*Funny how I finally get randomly chosen for EXPLORE and it is with an iphone shot. Today's is much more interesting!
[Once again I’m writing this for the committed photographer.]
Review: David Ulrich, “Zen Camera: Creative Awakening with a Daily Practice in Photography” (Watson-Guptill, 2018) 217 pages. creativeguide.com/zen-camera/
I do hope that Jim Williams from Canada www.flickr.com/photos/55920888@N08/ doesn’t mind my quoting a recent message from him:
“The way I shoot is very deliberate - almost a Zen exercise.”
I responded that this is exactly the way I like to work too and that indeed photography is my therapy. So I said that I would write a brief review of a book I still find a source of much inspiration.
“Zen Camera employs the camera for its most noble purpose: to learn to see what is.” (p.3)
David Ulrich teaches photography at the Pacific New Media Foundation in Honolulu, Hawai’i. This book is both an inspiration and a practical workbook. Ulrich believes that discipline is required in mastering the craft of photography. The principal discipline in this workbook is to photograph every day. Real progress is only possible he believes by taking 100 to 200 photographs a week following this advice:
“Give yourself the space and luxury of the pure enjoyment of taking pictures for their own sake. Refinement and completion come in their own time. Do not edit. Do not judge. Merely watch with interest what images arise.” (p.17)
Ulrich provides the reader with plenty of his own examples, but the work of many other historic and contemporary photographers is featured as well. He is a Zen Buddhist practitioner by conviction, but everyone can learn from his method. Ulrich has a lovely shot of the Tibetan Buddhist monk Matthieu Ricard taken in Hong Kong. Ricard (a former leading French scientist and son of the famous French philosopher Jean-François Revel) also practices photography as a meditative discipline. www.matthieuricard.org/en/photographies
LESSON ONE: OBSERVATION
“The camera is an instrument that teaches people how to see without a camera.” – Dorothea Lange (1895-1965).
I love that quote. Lange of course gave us some of the most powerful images of The Great Depression. She learned to see things that most other people couldn’t, and that is the essence of great photography. So we must begin by looking.
LESSON TWO: AWARENESS
Mindfulness and heightened awareness of the world around us are the two key elements of this lesson. Training our minds to be like a camera sensor soaking in the light (both real and metaphorical). Once again Ulrich quotes one of my favourite photographers Henri Cartier-Bresson (1908-2004):
“I believe that, through the act of living, the discovery of oneself is made concurrently with the discovery of the world around us which can mold us, but which can also be affected by us. A balance must be established between these two worlds – the one inside us and the one outside us. As the result of a constant reciprocal process, both these worlds come to form a single one. And it is this world that we must communicate.” - From “The Decisive Moment” – one of the most important books ever published on photography.
LESSON THREE: IDENTITY
“Know thyself.” – Socrates.
Here Ulrich deals with two important elements: Personal style and Authenticity. In order to communicate effectively we must find our own voice. But, it’s one voice within a community of voices (so history and context matters).
LESSON FOUR: PRACTICE
This is the central chapter of the book. All forms of success in art flow from its practice. Ulrich cites Malcolm Gladwell’s research that it takes about 10,000 hours of deliberate practice to gain mastery in a field. Nothing comes easily and one must pay their dues. This is not a popular message in a world of instant gratification. But then, that’s why our photographs are so quickly forgotten.
LESSON FIVE: MASTERY
“Freedom flourishes in a climate of discipline.” – David Ulrich.
It may seem counterintuitive, but true freedom always works within boundaries. The true “master of a discipline” can only push the boundaries once the fundamentals have been established. Two of my examples here: (1) Before ever Picasso became the master of Cubism, he had already mastered classical portraiture, and (2) Jazz musicians can only ever succeed in improvisation when they understand the rudiments of musical form.
LESSON SIX: PRESENCE
This is by far the most challenging chapter philosophically. I won’t go into detail here, but a few summary thoughts. Ulrich contrasts “spectacle” with “presence”. What do we mean by photographs with presence? We see plenty of spectacle in social media; in earlier days these sorts of pictures were referred to as “chocolate box”, but today they are probably over-processed spectacular sunsets with more than a little post-production fakery. They are made photographs to attract attention (something essential for social media success).
But “real presence”, that’s something much more difficult to achieve. It is central for instance to the Christian concept of a sacrament. Here the photograph is a representation of something ineffable behind it. You can’t quite define a photograph with presence, but you know when you see it. Try any number of Ansel Adams’ photographs. A mere landscape is somehow transformed into a meditation on the glories of nature with a minimum of darkroom fuss. The scene is spectacular, but only because the photograph reveals the TRUTH about the scene. We are brought face to face with the essence of Nature. The same with a great portrait: It reveals a truth about the character and personality of the sitter, in a way that a selfie doesn’t.
Annie Leibovitz www.youtube.com/watch?v=kQtXoseZMuo
For David Ulrich one of the keys to achieving “presence” in photography is to learn to pay attention. And this takes us back to mindfulness practice. Being awake, alive, attentive, observant, present!
It’s a great book with plenty of practical suggestions for exercises in moving beyond the snapshot to mastering the discipline of photography.
* Cover photos taken with the Leica D-Lux 7.
The Spider Single Camera Holster is one of my favorite pieces of camera gear. I have owned it and used it on every shoot for a couple of years now. Besides making me feel like a
camera-slinger (This is the photography version of an old west gun-slinger), it is the most comfortable and...
Full story at www.rusticlens.com/2017/07/30/gear-review-spider-camera-h...
#explore #travel #photography
#Camera, #Gear, #Holster, #Photography, #Review, #Spider
Chateau de Versailles
Picture taken February 16th 2016
Camera Zeiss Ikon Nettar 515/2 - 1937
Compur Shutter - 1930
Nettar Anastigmat 10.5cm F4.5 @ F16 - 1/125 sec
Ilford FP4 125 iso
Development LC29/Rapid fixer
last week i received the most extraordinary package from my flickr friend mostlyaccidental. he'd been cleaning out his attic, and found a few things he'd rather give to a new home, than sell or throw away. he sent me a scale-model 1951 volkswagen beetle, a couple of books about vw beetles, an old green box brownie, and this little gem -- an old girl scout camera. i'm still trying to date the camera, but just looking at it makes me happy.
thank you, david! this definitely found a happy new home, even if harvey's a little camera shy.
UPDATE: this little baby's from 1957! wheeee!
Camera: Canon EOS Elan II E
Lens: Helios 44М-6 58 mm f/2 MC
Scanning Film: Canon Canoscan 9000f Mark II
So, a few comments on getting an 8x10 ready to use and using it.
First, it wasn't really in horrible shape. The bellows are sound. The movements, such as they are, moved. It needed a good cleaning and patching all the holes in it. It was purchased with a beautiful 300mm Schneider lens. But, it had no shutter. As you can see, the hole in the board is way, way larger than a Copal #3 shutter. And there were a couple holes, both in the front standard and in the 3 lens boards, that looked like they were used to trigger some sort of shutter that sat behind the lens. I have found exactly zero references to this. But I plugged up the holes and mounted a different Schneider lens, with a Copal shutter and mounted on a much smaller Linhoff board, with copious amounts of duct tape.
I loaded two film holders which was an adventure in and of itself. My changing bag was a poor choice as the 8x10 film holder took up way more than half the width (or length) of the bag and it was really cramped in there. I even had a bit of trouble getting the triple box open and stacked. I damaged one sheet which I discovered when I developed it and misloaded another which I discovered when I pulled the dark slide and heard the film falling into the camera.
My general impression of the camera and the format:
Some wise man once said, "Problems of scale are real." And this format proves it pretty obviously. I remember having to learn pretty much everything I thought I knew when I first switched from medium format to 4x5. I think the jump from 4x5 to 8x10 is at least as hard on the confident photographer. EVERYTHING is so much more difficult. Form the simple task of carrying, setting up and handling the camera to setting up and making a shot. DoF becomes just ridiculously thin and the distance at which you no longer worry about it is much farther than you think. With no shift (only front rise/fall) composition become more of a chore with this camera. And having only back base tilt (with nothing to tell you when the camera is zeroed out save a small pendulum similar to a clock hand hanging from a tack in the side of the back) added yet another critical step to setting up a shot.
I had two fairly bad exposures. It was a close scene in a wooded area. I think I overestimated the DoF I would get once I stopped down. There was no way to get the important elements in focus on the ground glass at f/5.6. I think I also had some issues with camera shake as the lens had no cable socket and I had to open and close the shutter by pressing the shutter release lever. I tried using both the two press and the press and hold technique (4 second exposure with reciprocity failure figured in) and neither had a single sharp area. But I'm certain that the farther element in the composition would not have been in focus regardless of my shutter technique.
Tray developing was not much different than 4x5. I was still just completely in awe of the size of the film. I was pleased with the one exposure (next image in this stream) that was shot in full sun late in the day. The detail in both sun and shadow is really amazing and my critical focus seems just fine.
I do recommend this to anyone interested. Just beware, it's not a walk in the fen.
This is my newest addition! While my uncle was visiting, he noticed my interest in photography. He said that he had a film camera. I had no idea that he would send it to me! What a nice surprise. It also came with another lens. It's like christmas.
Now selling prints! Order here Now with PayPal!
Banner Deluxe Compact Camera with original packing box. no film. Items for Sale. www.flickr.com/people/frenchvintagetreasures/
nothing fancy for my 365 today, im afriad. just the old camera and a lot of green-ness. however, i shall devote today for photo-spot-hunting, so i can come up with lots of new fresh ideas for the future :)
112/365.
:)
So here it is, my finished display. I know I miss Operetta but she is whatever anyways. I am not even sure if I really want her, I guess I do since I'm a completist. Anyways, do you like it? :)