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Camera: YASHICA MAT 124 G
Lense: Yashinon 80mm, F3.5
Film: Fuji Pro 160NS
Processing: C41 by PS13, digitized with Epson V850Pro
Camera: Mamiya C33
Lense: Mamiya-Sekor 65mm, F3.5
Film: Fuji Provia 100 F
Processing: E6 by PS13, digitized with Epson V370
Camera: Mamiya 645 1000 S
Lense: Mamiya-SEKOR 50mm Shift, F4.0
Film: Fuji Velvia RVP 50
Processing:
E-6 by PS13, digitized with Epson V850Pro
Camera: Mamiya 645 1000 S
Lense: Mamiya-SEKOR 50mm Shift, F4.0
Film: Fuji Velvia RVP 50
Processing:
E-6 by PS13, digitized with Epson V850Pro
Camera: Mamiya C33
Lense: Mamiya-Sekor 65mm, F3.5
Film: Fuji Provia 100 F
Processing: E6 by PS13, digitized with Epson V850 Pro
Concept art done for Installation 01, a Halo fan game. These were revealed in our new media page on our recently revealed website installation01.org/media
When I approached this tarpaper shack I did not expect to encounter an art installation. I have made every effort to capture the context of the installation. It was so unexpected upon my approach because of the condition of this building. This is purported to be the work of photographers Deon and Trish Reynolds who resided in Eureka, Nevada. The subjects in the photo and the building are of a similar vintage- 1880-1910. These are the ruins of the Ruby Hill Mine, a short distance outside Eureka, Nevada
Camera: Mamiya 645 1000 S
Lense: Mamiya-SEKOR 50mm Shift, F4.0
Film: Fuji VELVIA 50
Processing:
E-6 by PS13, digitized with Epson V850Pro
February 20th, 2009. Cube 4 Gallery at Ohio University.
REFLECTIONS
October 9, 2008
A DOCUMENTATION
The photos collected here are a small part of a larger series of “Reflection” photos I have been collecting for two years. They are close-up images of reflections found on the surface of the ponds and streams located within a short distance from my home outside of Logan, OH. The collection displayed here represent the photos taken during a two hour period on the afternoon of October 9, 2008. Viewers can refer to the time charts found along with the display to follow the sequence of the shoot.
As this project has developed I have begun grouping photos into set of three based on similarities in different formal, objective, or time based elements. The selection process has no specific rules, but is based more on personal editorial vision. The sets are the primary way in which the reflections are typically displayed.
In this specific exhibition, I have chosen to give a more general overview of the variety of images I might find during one shoot, rather than showing only selections of my personal editorial choices.
Jonas Hart
Camera: Voigtländer BESSA L
Lense: Voigtländer HELIAR 15mm, F4.5
Film: Kodak PORTRA 160
Processing: C41 by PS13,
digitized with Epson V850 Pro
Camera: Mamiya C33
Lense: Mamiya-Sekor 65mm, F3.5
Film: Fuji Provia 100 F
Processing: E6 by PS13, digitized with Epson V850 Pro
Camera: Mamiya C33
Lense: Mamiya-Sekor 65mm, F3.5
Film: Fuji Provia 100 F
Processing: E6 by PS13, digitized with Epson V850 Pro
Camera: Mamiya C33
Lense: Mamiya-Sekor 65mm, F3.5
Film: Fuji Velvia 100
Processing: E6 by PS13, digitized with Epson V850 Pro
More photos of the gallery walls on the Expresh Letters Blog:
expreshletters.blogspot.com/2011/03/steven-powers-install...
Camera: Mamiya 645 1000 S
Lense: Mamiya-SEKOR 50mm Shift, F4.0
Film: Fuji Velvia RVP 50
Processing:
E-6 by PS13, digitized with Epson V850Pro
Camera: Mamiya C33
Lense: Mamiya-Sekor 65mm, F3.5
Film: Fuji Provia 100 F
Processing: E6 by PS13, digitized with Epson V850 Pro
Installation boredom
Masterstudiengang Bühnenbild_Szenischer Raum; z.Zt. www.lwl.org/industriemuseum/standorte/henrichshuette-hatt...
Camera: Mamiya 645 1000 S
Lense: Mamiya-SEKOR 210mm, F4.0
Film: Fuji Velvia RVP 50
Processing:
E-6 by PS13, digitized with Epson V850Pro
Camera: Minolta X-700
Lense: Zeiss Flektogon 35mm,
F 2.4
Film: Rollei Superpan 200
Processing: Adox FX-39, 1+9,
13:30 min, 20°, digitized with Epson V370, Hybrid -> digital texture layering
Found in an abandoned office. Although I'm not impressed with Windows 10, I don't think I'd want to go back this far!
This was a test run of an installation I did as part of my Fine Art degree.
The concept was that as a way of showing my dedication and love of Japan, I folded a thousand origami cranes, which in Japanese legend will grant the folder one wish.
I had some stuck to the wall, referencing the The Wave by Hokusai.
Camera: Mamiya C33
Lense: Mamiya-Sekor 65mm, F3.5
Film: Fuji Provia 100 F
Processing: E6 by PS13, digitized with Zeiss Flektogon 35mm + 7D
yashica mat 124g
kodak portra 160VC (expired)
I was really surprised when I saw this scan - I thought that there was no way this shot would come out. To take it I put my Yashica on my bag as I had no tripod and exposed for about a minute during a loud concert with everything vibrating from the powerful bass and also the wooden floor shaking from the movement of people. Still it looks quite sharp. The framing is almost completly random, I couldn't see much on the focusing screen and I couldn't really point the camera in the desired direction on my bag-tripod...
Camera: Mamiya C330
Lense: Mamiya-Sekor 65mm, F3.5
Film: Fuji Provia 100 F
Processing: E6 by PS13, digitized with Canon 7D + Zeiss FLEKTOGON 35mm
Camera: Mamiya C330
Lense: Mamiya-Sekor 65mm, F3.5
Film: Fuji Provia 100 F
Processing: E6 by PS13, digitized with Epson V370
Well framed automotive art looking a little like "The Nighthawks". London, like so many cities is a place of contrasts with rich and poor. This window is located in one of the more prestigious postcodes.
Thank you for any and all views, faves, invites to groups, comments and constructive critique. I’m not keen on: invitations to post 1 award 3; copy and paste comments (you know who you are); or links to your work. If you like my images there is a good chance I will like yours and I tend to reciprocate views as a matter of courtesy and personal interest. All my images are my own original work, under my copyright, with all rights reserved. This means asking the owner's permission, and obtaining it, before using the image for ANY purpose.
Copyright infringement is theft.
Camera: Voigtländer BESSA L
Lense: Voigtländer SKOPAR 25mm, F4.0
Film: Agfa CT Precisa 100
Processing: E6 by PS13,
digitized with Epson V850 Pro
Camera: YASHICA MAT 124 G
Lense: Yashinon 80mm, F3.5
Film: Fuji Pro 160NS
Processing: C41 by PS13, digitized with Epson V370
‘Wetland’
Design & Lead Artist – Grant Fleming
Installation Assisting Artists, Tali de Lacy, Leon Ferrante, Beiha-Malen Yanez.
Pacific Black Ducks and ducklings are a common sight on the River Torrens and the Lochiel Park Wetland and represent the importance of water for supporting life.
River Red Gums are shown as they are an important element of the local habitat and Kaurna culture.
The Southern Purple-spotted Gudgeon is included in the design as this is a critically endangered fish and is symbolic of the fight to preserve our environment.
A Purple Swamphen is shown as it is another local species that is dependent upon the wetland.
The blue background represents water and the circles represent light reflecting on the surface and bubbles underwater.
Ref: campbelltown.sa.gov.au/community/arts/publicart