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Minolta Autocord, Rokkor 75mm f/3.5
Yashica close focus lens no. 1
Fuji Neopan 100 Acros
EI 100
D-76 1:1, 8 min. at 73°F
f/8, 1/400
Minolta Autocord, Rokkor 75mm f/3.5
Fuji Neopan 100 Acros
EI 64, on lights
D-76 1:1, 7.25 min. at 75°F
f/8, 2 sec.
(semi) stand development:
50min @ 20°C
initial agitation: 20sec
then short agitation at 20th and 45th minute
The Uptown Theater in Chicago. It is one of the largest theaters in the country - a magnificent structure that has been sitting vacant for over 20 years, slowly rotting away while nobody can agree how best to restore and reuse it. It's a damned shame.
Here's the history of the structure from www.uptowntheatre.com/Pages/history.html:
The Uptown Theatre was built by architects Rapp and Rapp for the Balaban and Katz Corp. This amazing corporation started as a family business in the late nickelodeon era and by the early 1920s had control of most film markets in Chicago. The flagship of Balaban and Katz, the Chicago Theatre, opened downtown on State Street in 1921. The Tivoli, which they also built that year, was similar in size and located on the far south side. Their first theater, the Central Park on the west side, was surrounded by competition, as was their second, the Riviera, on the north side. All were designed by Rapp and Rapp. A financial analysis Balaban and Katz completed in 1923 suggested that their best interests were served by building a theater as large and lavish as they could manage near Broadway and Lawrence. And so, the Uptown was planned.
According to the press of the time, all of these buildings were built for substantial cost and quality in order to be "for all time." When the Uptown opened in August 1925, the phrase "an acre of seats in a magic city" was coined to describe the wonders of over 4,300 seats in a theater that covered 46,000 square feet of land. At the time, it was the third largest in terms of seating. But it was the largest, by far, in land area and cubic volume, due in part to the three vast lobby areas.
Many of the details we associate with a movie palace had not been codified by the time the Uptown opened. The stage shows were planned in consideration of the feature. Music was customized for the large orchestra, as well as for the Uptown's Wurlitzer organ, the second largest one in operation. Stars of national fame played regularly. Even the posters in the display cases were custom artwork with new items every week.
By the end of the 1920s, after more than 20 million people had already attended the Uptown. Some of the greatest theaters, such as Radio City Music Hall in New York, were not even on the drawing boards yet.
Initially, sound film and depression economics did not affect the Uptown, because of the uniqueness and quality of the entertainment, and the competition that had been eliminated through the policies of Balaban and Katz. Eventually, with the availability of 1930s musicals and the like, film became the mainstay. The stage was used only on rare occasions through the 1940s. By the end of the decade, Balaban and Katz reinstituted their traveling shows, booking first the Chicago and then traveling weekly to the Uptown in the north, the Marbro in the west, and the Tivoli in the south. This system proved unsuccessful. Competing distractions such as radio and television, and an increase in the number of working housewives limited both evening and matinee audiences.
Thereafter, through the 1950s and early 1960s, film fare became the mainstay again with occasional use of the stage for rentals. The most notable rented use of the stage was for the television show "Queen for a Day," which televised one week every year in the theater. The Uptown was also used as a large hall, especially for corporate meetings, such as those held here by Standard Oil of New Jersey. These uses created revenue. But later, with declining film revenue, furnishings were sold on occasion, starting with the organ in 1962. Soon, because of high insurance costs and vandalism, all extraneous artwork was sold, including more than 90 major oil paintings and 18 major marble groups. These sales yielded several million dollars.
In the early 1970s, a campaign of interested volunteers petitioned the corporate successor to Balaban and Katz to investigate other uses for the theater beyond just movies. This was an attempt to ensure sufficient revenue and interest was generated to maintain the viability of the structure. At this time, various rock concert promoters were booked occasionally to great success and profit. Bands such as ELO and the Grateful Dead performed at the theater.
However, with deferred maintenance in the 1960s and 1970s, when revenues were failing, the building at more than 50 years had reached a point of much-needed repairs. Rather than manage the building, it was marketed, sold, and reverted back to the successor, Plitt Theatres. With no ability to manage such a complex facility, Plitt boarded up the building and awaited further ideas.
Most of the damage to the building occurred in the early 1980s, making it unusable without restoration. Subsequently, even with the assistance primarily of volunteers, the building remained in the hands of a notorious tax-sale buyer and continued to deteriorate. During this time volunteers managed to have the theater designated a Chicago Landmark and recorded on the National Register of Historic Places.
Because of yet another tax sale and further mismanagement, the building now has reached the hands of a management company very aware of how much of a jewel the building is. The owner is interested in renovation and possible restoration of the theatre so it can serve again some large entertainment use.
I made this photograph using a Yashica D twin lens refiex camera with Fuji Neopan 100 Acros 120 format black and white film. It's part of a personal project where I'm encouraging myself to use film throughout the year. More specifics can be found here: www.flickr.com/photos/dangrenier/sets/72157625796626524/
Development notes:
I souped my Fuji film in Kodak D-76 developer, mixed at a 1:1 ratio, for 10 1/2 minutes at 68° F. The development tank was gently agitated for the first 30 seconds and then for five seconds at every minute interval therafter. The film was washed, fixed and washed prior to hanging to dry.
Nobody says it has to be well spent.
Canon EOS-1N
Zeiss Distagon T* 2,8/21 ZE, orange filter
Fuji Neopan 100 Acros @ EI80
Rodinal 1+50, 11:30 @ 20°C
Roll 55, Frame
Pentax K1000
SMC Pentax-M 1:2 50mm with orange filter
on Fuji Neopan Acros 100 film
developed in Tetenal Ultrafin Liquid
Davida Dwyer
Caffe Medici (Guadalupe), Austin TX - June 2012
Nikon F3HP / Nikkor 35mm f/2 AIS
Fuji Neopan 100 Acros, developed in D76 1:1
- Binding -
My family has a bee farm. The following pictures were taken at that weekend we spent in the middle of a blooming acacia forest in Central Hungary.
Pentax 67
S-M-C Takumar 6x7 105mm f2.4
on Fuji Neopan Acros 100
developed in Tetenal Ultrafin Liquid (1+20)
3,5 min pre wash, dev. 10 min, 20°C
- Net tent -
My family has a bee farm. The following pictures were taken at that weekend we spent in the middle of a blooming acacia forest in Central Hungary.
Pentax 67
S-M-C Takumar 6x7 105mm f2.4
on Fuji Neopan Acros 100
developed in Tetenal Ultrafin Liquid (1+20)
3,5 min pre wash, dev. 10 min, 20°C
Spring is coming, finally! :3
Marianské údoli, Brno
Pentax K1000
SMC Pentax-M 1:2 50mm
on Fuji Neopan Acros 100 film
developed in Tetenal Ultrafin Liquid
scan: Epson V600
Pho with fatty brisket, raw, thinly sliced, eye of round steak on the side. Pho Saigon on N Lamar in ATX. 2/15/2016
Camera: Minolta XG-M
Lens: Rokkor 50mm f/1.4
Exposure: f/1.4 1/60
Film: Fuji Neopan 100 Acros
Filter: Minolta Y48 yellow
Scanner: Pacific Image Electronics PrimeFilmXA
Scanner Software: Silverfast AI Studio 8
Film wurde in der Spülmaschine gewaschen und 4 Tage auf der Heizung getrocknet
Camera: Canon EOS 3
Film: Fujifilm Neopan Acros 100 @200 //dishwasher washed
Developer: Spürsinn HCD - NEW
Minolta Autocord, Rokkor 75mm f/3.5
Fuji Neopan 100 Acros
EI 64, reflective
D-76 1:1, 7.25 min. at 75°F
f/8, 15 sec.
Rolleicord V, Fuji Neopan 100 Acros (exposure unrecorded, somewhere in the neighborhood of f16 1/125)
UPDATE: See benchsite.blogspot.co.uk/2013/09/swimming-benches-tribute...
Rolleicord V, Fuji Neopan 100 Acros, f19 1/250
Turns out that Abe Stark's story is pretty darned interesting.
remembering Manila days!
Sari-Sari store is there!
the town by the name of LUCK
Kodak Retina Ib x Fuji NEOPAN 100 ACROS
Topcon RE Super
Fuji Neopan 100 Acros
caffenol-c developer
Removed dust specks and water spots in GIMP. Otherwise, straight out of the camera.