He primarily runs the desk at Garden of the Gods.
I took this on a slow day when there wasn’t much going on (which has been hard to find since).
A guy I had a hand in training. Actually as I’ve been driving tours for 5 seasons I’ve had a hand in training a majority of the drivers now!
This was toward the beginning of my developing sheet film and is still very splotchy; the other shots that were in the tank at the same time came out better but I think the lighting was a bit more even there. I only bought one 10-sheet box of Kodak film (T-max 400), I wanted to support the cause but Kodak has given up even trying to compete price-wise in their large format film.
Denim and Tumbleweed. These were the first pictures I developed that didn’t look like they were on the verge of self-destructing. I think that shooting a film I knew pretty well helped out a bit there, plus using the Fink-Roselieve tank turned out to be much less accident-prone.
Less, though there are still some irregularities but all in all much better than the first batch. I’m quite fond of these.
As another season comes to a close I realize I have an incredible backlog! I’ve posted some pics of last year’s season, but I’ve grouped the majority of the pictures here (there’s a Part II as well). They’re separated by camera because I’m pretty sure that these were taken with the Canon 7. However, that said, it was so long between when I shot them and when I actually looked at them: I think there was a roll in there shot on the Spotmatic.
Anyway the Canon 7 has taken a few hard knocks and the rangefinder patch is out of alignment. I haven’t used it for about a year now, haven’t gotten around to sending it out for a CLA. Another thing to note is that while I usually take my film to Cameraworks, all the rolls of film last year were processed by Mike’s Camera in Boulder.
Putting the Weathermatic through its paces once again. So far all our college reunion trips have included water, so it’s in my camera bag on the majority of my trips. Actually the first three shots were Cinestill 800T from the SPII but I thought they kept closely enough to the nautical theme.
When I visited the Eastman House, I bought a roll of T-Max 400 at the gift shop just I could shoot it in New York. It cost me $12 (for a 24 exposure roll), and I won’t be doing that again.
Part II: with the Minolta Weathermatic Dual 35, which I had along ostensibly to use on the water, but which also came handy for other snapshots when occasioned. Starting with a roll of Kodak Gold 200, then a roll of T-Max 400.
That roll of T-Max cost me $12.00 or so at the Eastman House gift shop (for a 24exp roll). I’ll never let myself get ripped of like that again, but I felt I wanted to at least buy one roll from there while I was in Upstate New York. One day we were visiting different wineries around the Finger Lakes
RIP 1968-2018. Unfortunately after shooting this camera for 3 years the shutter is now stuck halfway open and I haven’t gotten around to fixing it yet.
It will happen though, because it’s small, light, easy to use, gives me spot-on exposure, and has an absurdly sharp lens. The Olympus Trip 35 and it’s my favorite mirrorless camera. Reading about some of my photo friends’ experiences with the Trip and also finding this fantastic store made me want to sing again the praises of this mechanical wonder that I found at the thrift store for all of $8.00.
It needs no battery: it has a selenium meter which gives perfect exposure, something I tested by shooting slide film in it. After reading about “night tripping” (which basically means using high-speed film in the Trip manually set to f/2.8 and its slower speed of 1/40sec), I’ve felt comfortable using the Trip in all kinds of situations indoors and outdoors. One thing that I’ve talked about a lot (though never tried yet) is putting a few rolls of Cinestill 800T through it; or now that T-Max P3200 is back that might have to happen. Either way I’ve yet to test the extremes of film latitude yet, but it will happen.
And the Trip 35 does indeed live up to its name: it travels so well! I took it to Wales where it was my camera for color film, and threw it into my bag for a last-minute trip to Ohio. Though the lens sticks out a bit it still easily fits in a jacket pocket without getting in the way. Speaking of the lens and its zone focusing, you do have to be careful when shooting inside, but made it perfect for shooting my William Klein masters’ study. Since then focus doesn’t mean as much to me as it used to, though most of the time I’ll get it right.
When looking through all the shots I’ve taken with this camera I couldn’t believe just how much I’ve used it in the last few years! It’s a large gallery–in order we have: Tri-X (6), Velvia 100 (3), Double-X (4), Provia 100F (3), T-Max 400 (4), Fomapan 100 (2), Kodak Gold 200 (2), Fuji Neopan Acros 100 (2), and Ferrania P30 (2). There will be other films shot in this camera one day, but for a while now I’ve been concentrating on the Spotmatic for my photo project that’s been going on since January (and long before).
I would definitely recommend this camera for people who don’t want the bulkiness of an SLR, don’t like relying on batteries, but still want an AE camera. My camera’s shutter still had accurate speeds after nearly half a century. Zone focusing can take practice but is doable, so don’t let that dissuade you!
I’m taking Advanced Photography again. I took it before, three years ago, all those pictures can be found here, as well as a few related projects that bled over into the following years. I suppose I wanted to take the class again primarily because I wanted to get back into the darkroom.
What this will allow me to do is make a lot of fine art optical prints, something I’ve really missed doing, and I’d like to offer this to you, my loyal readers. Traditional black & white optical prints get the best out of analog photochemical imaging and are the most archival process, I’ve read they can last for 1000 years if properly processed and stored. I will be printing 8×10 on Oriental glossy fiber paper, one of the best available today. As I only have access to the darkroom while I am taking the class, this will be a limited-time offer and all orders must be received by May 1, 2019.
x1 print: $30
x5 prints: $125 ($25 each)
All prices in USD; prices include shipping in Continental USA, international shipping additional and will vary but contact me and we’ll work something out.
These will be black & white prints of course; most of what I’ve shot is Kodak Tri-X, T-Max 400, and Eastman Double-X and the links should make it easy to browse the majority of my black & white back catalog, just send me a link to the picture in the email. If you absolutely have to have a color image I can make a digital print using an Epson large-format printer, email me and I’ll see what I can do; there is less of a time constraint on these.
I don’t do it too often but when my friends want pictures I’m there for them. I can’t say that I’m too used to portrait sessions in general and with infants in particular; Anne Geddes I’m not. But it turned out alright and I think my friend is happy with the results. Perhaps if I get enough practice I’d consider opening up a photography business. We narrowed it down to 20 pictures to print, these are the ones I personally like best.
Black & White is T-Max 400, and I pulled out a lens I don’t use too often, the Chinon 55mm f/1.7 Macro, to make sure I could get in as close as needed: the Chinon, while not a true 1:1 Macro lens, does focus to less than a foot, better than the 1.5 feet with my normal Takumars, and shooting indoors I wanted something faster than the f/4 S-M-C Macro Takumar. I knew there was a reason I bought it! Also it was a pretty screaming deal at my local shop, evidently they’re quite rare and go for several hundred dollars when they turn up on ebay, so it was too hard to pass up.
I pulled out the old Pentax ES as my secondary camera, and it went back to its old tricks (actually it did a long time ago and I just hadn’t remembered). So my original fix didn’t work, but then I haven’t gotten around to opening it back up again recently. The ESII I own was sent off to Eric Hendrickson for a CLA but he couldn’t get the speeds right so he sent it back…evidently it’s a common problem and I guess he doesn’t like working on the AE Spotmatics. But what that means now is that I have an ESII with accurate fast speeds and slow speeds that are much too fast. So much for having an M42 system: I have 5 bodies and only 1 that works 100%. I’ve been on the fence anyway about switching to Nikon and getting an F2 and F3, which it seems are much more serviceable…it’s gonna cost me though…