Recently, I took a dive back into some older film scans and found a few frames from our Colorado trip that I hadn’t blogged. Coincidentally, their composition and subjects are pretty similar. Here we go:
Archive for the ‘Analog’ Category
At some point in the past year, I put my film cameras down and, more or less, forgot about them. I could blame our move in January or our wedding in May or a general lack of inspiration since I’d last used film (in Colorado). Whatever/regardless of the reason, my film cameras sat in the closet and stayed there.
Then my friend Zach got a Mamiya C220, like mine. And he and his wife had a beautiful baby girl. And he began taking exquisite frames of their everyday life and sharing them, and inspiring me to pick up my damn cameras again.
So, here’s some film from my mother-in-law’s birthday lunch of steamed crabs in Essex, Md. — and there’ll be more film to come.
And thank you, Zach for getting me out of my rut.
Jeff and I went to Colorado for a friend’s wedding in Snowmass Village, where it was autumn and the aspen leaves were in their golden prime. Then we spent the next day and a half at Rocky Mountain National Park, where it was winter and the snow crunched under our boots.
When you go to a big, epic place like Colorado, you need to take a big, epic camera. So I brought my Pentax 6×7 and all three lenses, plus a few rolls of Portra 400. Enjoy!
Thanks to warehouses and shipping and other forces beyond my control, I won’t get to send Christmas presents to my brother, sister-in-law and niece in time for Christmas. So, Matt, Emily and Layla, here are some analog photos from Italy (and a bonus frame) as an early Christmas present to make up for the belatedness of your package!
Aaand now for a bonus frame — the last frame on the roll, which I took during one of three snowfalls we had in a week back in York:
And thus concludes my blog posts of photos I made while in Italy.
- Previously: Ciao bambina (Napoli)
- Also previously: Ciao bambina (Roma e Firenze)
- Also previously: Il Duomo di Firenze
So, I guess I like rubber duckies, because this happened in July:
…And this happened in October:
It was our first trip to Pittsburgh, and honestly, we went for the duck. We did do other Pittsburgh things, though. We toured the Strip District, dined in an old-person Italian restaurant in Bloomberg, saw Andrew Carnegie’s dinosaur skeletons, nixed a few sketchy hotels in sketchy areas and rode an incline:
But let’s be real: It was mostly about the duck.
Last week, Jeff, his brother Mike and I found a T-rex skull at the National Zoo. Much to the joy of a nearby 17-year-old girl whose mother insisted she was too old to pose with the skull, I insisted that Jeff take this photo of Mike and me:
Today, while on assignment at a 30-attraction fun park in southern York County, I discovered that owner Hugh is a kindred spirit when I asked him to hop on top of an incomplete tire-saurus for a picture and he immediately struck a dinosaur pose without my prompting him:
KINDRED SPIRITS, I’M TELLING YOU.
(Read more about the Maize Quest Fun Park here.)
Jeff was burrowing around last week and found three rolls of undeveloped 35mm film in a cookie tin. (There were several unexposed rolls in there as well.) So I took them to get developed. One is a Fuji roll he shot during our 2010 spring break trip to the Santa Fe region of New Mexico; another Fuji roll is from his Dec. 2009 visit to Houston.
The Ilford XP2 Super roll is from our Feb. 2012 trip to New York City — a trip whose digital pictures I never blogged, and whose film frames I never saw ’til now.
Along the lines of an earlier post about how I had a bad habit of wasting film, I was pretty disenchanted with the frames on that black-and-white roll: Too many frames where I shot something just for the sake of depressing that shutter button and advancing the film. Like I wrote before, I’m working now to make pictures, with film, that mean something to me, which typically means they need to be of people I care about. That roll from New York City is a good reminder of what I as a photographer should never do again.
But here’re two frames that I do like from that roll. Obviously, I shot one and Jeff shot the other. Can you tell who shot which?
Earlier this month, I finally bought my dream camera, and I’m going to use it to cure myself.
. . .
For seven months now, I’ve been dealing with a struggle.
It’s not a daily gloom, nor is it definitive, long-term or easily explained. Additionally, “dealing with” is the best way I can characterize what I’ve been doing — largely because I can neither face it head-on nor avoid it, largely because I don’t know what it is.
It’s not a rut or cabin fever. I’m still passionate about what I do as a photojournalist, and I’m proud of some of the recent work I’ve done.
It’s probably related somehow to my experiences in Newtown, but I’m not sure how or why.
It’s not impacting my ability to function as a human or as a photojournalist, although I’m sure that my boyfriend would appreciate it if I helped out more with chores, as I once did.
I can’t diagnose it because I don’t know what it is, where it came from or why it’s affecting me, but I’ve recently decided that the best prescription is to care a little harder.
. . .
I think, in this age of Instagram, Facebook and quick-and-easy photo-taking/-sharing, we don’t care as much about the pictures we make. We snap a shot, share it, move on. By the end of the week, we’ve shared two or a dozen more photos, and we don’t even remember what we photographed two weeks ago.
On a related note: I love my job. We are trained to transmit photos almost as soon as we make them, in certain cases (mostly breaking news and sports). It’s fun and fast-paced, and I think it’s a neat step forward that we’re able to do. But because I work for a daily newspaper, I can have anywhere from one to four assignments in a day, which adds up to a lot after any given period of time. People ask me what I did this week, and I have to explain to them that I honestly can’t remember because every day has blurred into an indistinguishable continuum.
So, I have recently found myself pretty anxious to take a very large, deliberate step back from the immediacy that everyone else supplies and demands. (At least, for personal work.) Therefore, I’m returning to my roots, which means film. I first learned real photography at a summer job in New Mexico, where a hippie named Grant put a 6-pound, medium-format Pentax in my hands and taught me the entire process. To make frames on such a tank of a camera — and to develop the film, use enlargers and make prints, all in the same day — was incredibly empowering, and magical. I fell in love.
Last month, I went to Santa Fe to see Grant again and spend time with him. (I don’t think he ever believed that I made the trip just for him, but it’s true, Grant.) It was only a three-day trip, but it was peaceful, and in my heart, New Mexico is home. As I used my Mamiya (no Pentax yet) to make a picture of Grant and his Charlotte in their backyard, I knew I’d found a cure, or at least a relief, for my struggle.
I’m going to return to film, and make pictures that mean something to me. I can’t tell you how many rolls I’ve wasted on shots “just because,” and how many of those frames are just languishing in my binder because they ultimately are of no value to me. So I’m going to care harder about my personal photography, and it’s going to be film, and it’s going to be something that I will treasure 20, 30, 40 years down the road.
I’m starting now, with a few frames from a few rolls I got developed after my New Mexico trip. These were all taken with the Mamiya, but expect to see a lot of work coming from the Pentax from now on.
Every single one of these frames means something to me.
Is that something any given person can say about any given photo they’ve taken recently?
But it’s something I want to be able to say, honestly, about all of my personal work from now on.
Erin and Scott are two nerds who got hitched in Erin’s parents’ backyard in mid-September.
Jeff, a few Missouri photojournalism alumnae and I attended. Naturally, we all brought our cameras. Naturally, I brought my Mamiya.
It was a small, lovely wedding.
Thanks for sharing your lovely day with me, Erin and Scott!
My editor slated me for three Penn State football games this season, at least before any post-season action starts up. I took my Mamiya to the first game I shot — against Alabama — just for kicks, and it turned out to be a nice icebreaker for the veteran photographers and me.
The film turned out nicely, too.
My last regular-season game is tomorrow, against Illinois. The forecast is calling for snow, which I’m actually okay with. For aesthetics and my own comfort, I’d much rather shoot in snow than in cold rain.
A decent hour-long, winding drive from my apartment, Hanover is home to Snyder’s of Hanover and the Hanover Chili Cookoff.
(It’s home to other things, too… like news editor Kate. Not to be confused with photographer Kate.)
News editor Kate, photographer Kate and I met at the 16th annual Hanover Chili Cookoff last month for chili, beer and more chili. It was a pretty gross, hot, humid day, which limited how much chili and beer I could consume, but it was still nice to get out of the office with folks from the office.
We also met up with some Hanover Evening Sun folks (journalists always seem to gravitate to each other, what can I say)… including Clare!
Clare began her graduate courses at Missouri right around when I began my photojournalism sequence. Getting to see another Mizzou photographer — in Hanover, Pa., of all places — was pretty neat.
Next up from this roll of film: My first game at Penn State!
As you may have read here almost two months ago, I am now/finally in possession of my very own medium-format film camera.
(It only took five years. That said, I will always be searching for the Pentax 6×7, complete with the wooden handle.)
I’ve gone through five rolls of Portra 400 and finally scanned them all in one late-night scanning spree. Here are a few from the first and second rolls. I’ve color-corrected all frames, and performed only minimal cropping, such as when the frame edge made it into the scan.
My roommate and I went to Ben’s house one cool August evening for a barbecue. Ben is a friend of hers from high school, and he’s renting his parents’ old house, which has a sweet backyard. Ben’s pretty sweet, too.
I’ve looked over all the scanned frames and decided that I need to err more toward overexposure. Oh well. In the meantime, I’ll blog more frames from other events over the coming days and weeks.
As some of you may have already read, I bought a new(ish) camera a few weeks ago.
Earlier this week, I ran a quick roll of film through it, just to make sure it works. You never know with these old(ish) film cameras. The advance wheel could be inconsistent, the shutter could be off, etc. So whenever I’ve used a film camera that’s new to me, I always run a test roll through it.
I’m happy to report that my camera works!
I’m not sure that I’ve figured out how to frame/compose with it yet. It’s a twin-lens reflex. Whereas “what you see is what you get” with single-lens reflex cameras… you don’t quite get what you see in twin-lens reflex bodies.
I’ll figure it out eventually. In the meantime, I’m confident enough to shoot Penn State football games now. *wink wink Brad and Eileen*
Regarding the title of this post — For this camera, I have to “cock” the shutter before I can take a single frame. So yes, I really do have to cock the camera before I can shoot it.