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February 4, 2018.
Leica iiif, Voigtlander 21mm Color Skopar.
Fomapan 100 in caffenol, 12:00.
(per liter: soda 32g, vit C 18g, coffee 42.5g).
Scanned PrimeFilmXE, Silverfast sw.
Post process PS Elements, Silver Efex Pro.
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Opened February 14, 1896. In my opinion, the most beautiful building in town.
en.wikipedia.org/wiki/Portland_Union_Station.
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Another image from December's Grid. I got out for a walk with a fellow member of the group, Stuart Levy, and we explored a bit of the Grid after dark. That particular night I had been inspired to use my Flexbody and I think I ended doing all the photography that night with it. It is such a fun camera to use, when I am in the right mood, though it is tricky at night. The biggest challenge is simply being able to see the scene on the ground glass. The brighter areas show up easy enough but the screen get dim, particularly when you start tilting the camera as light hits the ground glass at an angle instead of perpendicularly, thereby making the image on the screen much dimmer. The Flexbody actually comes with a pair of fresnel screens that you can slip in for when you have the camera tilted to various amounts that allow easier viewing. But even these have their own quirks.
Anyway, that is all really just a tangent. I sometimes set this camera up and am indecisive as to where I prefer the tilt. I usually make an effort to figure it out and to not use too much film, but sometimes I will go ahead and make a couple different iterations. I think in this case I made the left image first as it seemed the most obvious to me in terms of how to use the tilt effect. But then since the camera was all set up, I went ahead and reversed the tilt "just to see". The result was the image on the right. I thought it interesting in its own way. Then when I saw them both scanned it seemed like while the left image could stand on its own interestingly enough, the right image was a bit too vague... or missing something. So I paired it up into a diptych with the first image and that seemed to make better sense.
Just sharing some of my thought process behind the making of these.
Hasselblad Flexbody
Agfa APX 400
Looking towards pulpit rock on the isle of Portland with some Portland stone rocks in the foreground. Messing around with a trial of Nik Collection.
Southeast 12th Avenue, Portland.
This view presents the facade as a complete composition, revealing the interplay between vertical emphasis and layered surface treatment.
The projecting bay forms the central element, rising through the middle of the facade and drawing the eye upward. Its large window is framed by substantial trim, while smaller square pane panels above create a rectilinear band that contrasts with the more varied textures below.
The lower portion of the facade is wrapped in fish scale shingles, forming a distinct horizontal zone that encircles the building.
Above, the wall plane is comparatively smooth, allowing the upper gable to stand out as the primary visual focus.
The upper gable is symmetrical and clearly defined, with radiating panels and paired columns framing a central window. Decorative brackets and moldings are distributed across the facade but contained within clearly defined zones, producing a composition that balances variety with order.
This 1894 house represent a final, confident flourish of late nineteenth century domestic architecture, built at a moment when the full expressive vocabulary of the Queen Anne style was still being deployed even as taste was beginning to shift toward restraint.
They are not backward-looking in their own time. Rather, they sit at the crest of fashion, in a period when ornament was both culturally valued and increasingly accessible through industrial production. Their facades operate on multiple levels at once. The gables function as theatrical display surfaces, with bold sunburst panels and paired colonnettes that flatten the wall into graphic pattern while hinting at the emerging discipline of classical pediments.
The surfaces are deliberately varied, combining fish scale shingles, clapboards, and applied panels to create a controlled play of textures that signal craft, expense, and cultural awareness.
Projecting bay windows push outward into the street, asserting presence and capturing light, gestures that take on an almost defensive quality in their current setting along a busy arterial.
The entry porch compresses an earlier decorative vocabulary into a small but highly expressive space, with spindlework and curved brackets that were already beginning to fade by the mid 1890s. Painted ornament amplifies all of these effects, turning the facades into visual compositions meant to be read as much as inhabited.
Although 1894 may seem late for such exuberance, this moment coincides with the peak availability of ornamental millwork, even as new influences such as those introduced at the 1893 Chicago World’s Fair had not yet fully reshaped residential design in Portland.
These houses therefore occupy a transitional moment, where exuberance persists but underlying order begins to assert itself. Their original context assumed a calmer, more legible street and a social world in which domestic display carried meaning. Today, surrounded by traffic and larger buildings, they read as poignant survivals, still insisting on visibility, individuality, and cultural aspiration in an environment that no longer supports those values.
While in Seattle with Ryan, visiting my dear friend Matt, we rented a Ford Fusion and went to Portland & Cannon Beach in Oregon. A ways outside of Portland, we picked up a lot of dark-room equipment from atop a mountain home, which remained in the trunk & full of chemicals (we later found out) for the remainder of our trip. I drove twelve~ hours in two days up and down mountains and in between giant trees. We did not stay in Portland terribly long, but I can confidently say that McMenamins makes a mean, and messy, chicken caesar wrap, the freeways are apparently confusing to men, and there are a lot of people who maybe I could be friends with.
Portland Head Light, is an historic lighthouse in Cape Elizabeth, Maine. The light station sits on a head of land at the entrance of the primary shipping channel into Portland Harbor, which is within Casco Bay in the Gulf of Maine. Completed in 1791, it is the oldest lighthouse in the state of Maine.
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Photographed about 7AM on a cold Sunday morning, lacking good winter gear. Clouds wound up working well, looking S/SE toward sunrise. I can see why so many want to photograph this place.
The title pretty much says it all.
My wife and I moved here in April of 2006 to allow me to start my career...and what a great place to start. Portland has been a wonderful place to live. It's a great city...in a beautiful part of the country...and has a lot of things to suite anyone's taste in culture, art, entertainment, etc.
However, Portland was always a stepping stone location for us...a means to an end that preferably had us heading back east and closer to home. That time has finally come. Last week I was offered a job in Arkansas, which I gladly accepted! We officially leave town on April 28th, just a few short weeks away now!
Before I leave though, I wanted to take a moment and share a thought or two about my time on flickr. In 2007 I was introduced to the world of flickr. After following (often times totally astounded at the images that were produced by them) the flickr streams of folks such as Jesse, Ara, Danielle, and perhaps most influential and encouraging to me, Zeb, I decided to join this world of flickr.
Thus began a fantastic journey for me. I've grown to really love photography over the last 2 years. I've met a lot of people, some of whom (such as Victor) I've been shooting with several times and have become good friends with. The knowledge that I've acquired through my interactions with all of my flickr buddies is priceless, and I have appreciated all the time people have spent to explain the most simplest of tasks.
Finally...in the age of the internet...I don't guess this is really goodbye. I will continue to follow all of my friends streams (most likely in an envious manner during times like the tulip festival, etc), and hope you will do the same with me. Arkansas may not have a Ramona or Multnomah falls...nor vast wild flower meadows high up on volcanic peaks...but it does have STORMS! Oh how I have missed my thunderstorms!
P.S. - That last note was a shout out to Little M. I think it's a shout out b/c of her comment on this picture. ;o) Looks like I'll get my storms after all M!
Portland developed a reputation early on in its history as a hard-edged and gritty port town. Some historians have described the city's early establishment as being a "scion of New England; an ends-of-the-earth home for the exiled spawn of the eastern established elite." In 1889, The Oregonian called Portland "the most filthy city in the Northern States," due to the unsanitary sewers and gutters, and, at the turn of the 20th century, it was considered one of the most dangerous port cities in the world.