Another print I made this weekend – Key Bridge, in palladium. This is a 5×12 negative from my Canham. For the technically minded, I used a circa 1949 Kodak Commercial Ektar 12″ lens for the shot. It’s a very sharp lens with pleasant rendering, and a good match for the subject matter. I also want to talk for a second about the printing – this is a pure palladium print, with a touch of NA2 added for contrast. Sodium Platinum (NA2 for short) is a contrast agent you can add to a palladium print to boost the contrast if required. NA2 is very powerful stuff – a tiny bit goes a long way. In this case, I needed just one drop of 2.5% NA2 added to the 12 drops of Palladium and 12 drops of Ferric Oxalate sensitizer. NA2 comes from the manufacturer in a 5% strength solution, so you can see how little was needed to give the print some snap.
If you are using blended platinum and palladium, or trying to do a pure platinum print, and are in need of a contrast boost, you cannot use NA2 as a contrast agent – the platinum in it binds with platinum in your paper and what ends up happening is you reduce your highlights, blowing out detail, without actually increasing contrast. If you are using a blend, or pure platinum, you have several options – you can boost the contrast with a different additive, such as gold chloride, you can pre-coat your paper with fumed silica, or you can use a dichromate infused developer. I prefer adding a contrast agent into the emulsion rather than in the developer, because to do the infused developer route, you’ll need to have six or eight bottles of developers with different concentrations of contrast agent, and then you’ll have to play with chemistry to mix up replenisher for each developer concentration as it gets used. That realistically means keeping twelve to sixteen bottles of developer around. The downside to additives to the emulsion is that most of them will alter the color of the print. Gold Chloride will do anything from slightly cooler gray tones to eggplant/aubergine tones, depending on how much of it you use. Sodium Tungstate will actually reduce contrast in the print, and give you reddish brown tones. You can use dichromate in the emulsion as an alternative to the developer, but you must be careful in handling the undeveloped print as dichromate is toxic.
You may recall I recently posted some triptychs I did with my Lomo Belair X/6-12. I had been postponing printing them because I was A: being lazy, and B: I knew that they would be challenging to print because 1: lining up two negatives is hard enough, but getting three is even harder, and these are three pieces of roll film which doesn’t want to lay flat, and 2: I was concerned that there would be too much space between the frames because of the size of the image area vis-a-vis the negative size.
Inertia being the greatest of obstacles, it took me until now to get around to printing them. The challenges of registering the negatives to map my coating area, then re-registering them so they would align properly when exposing were substantial, but not as bad as I thought they would be. I guess there was enough humidity in the room that they cooperated for the most part and didn’t act as dust magnets or tensioned leaf springs while trying to place the cover glass in the contact frame.
I think of this first one as a panorama of panoramas – it’s a horizontal panorama in the end, made of three vertical panorama shots. It’s the more conventional of the two in that it shows a fairly straightforward interpretation of the scene.
The vertical triptych I got a bit more creative in my interpretation, showing the middle frame askew, and each frame is not discreet in what it depicts – if you look carefully, they overlap in their subject matter, and you could almost do the top and bottom frames as a square-isn diptych.
Both images were printed on #Hahnemuhle #PlatinumRag in pure #palladium. No contrast agent was used, and they were developed in #PotassiumOxalate.
Don’t worry- I’m not abandoning lensed photography with high-acutance, high-precision cameras. I love my Rolleiflex! What I am doing, though, is exploring pinhole photography and other forms of lo-fi photography (my previous post with the Lomo Belair triptychs for example). I find it quite liberating in many ways – you have to quit worrying about precision, and just make images. Live with the serendipitous. Like this first image. I’m absolutely blown away by what I pulled off with it – it’s actually a double-exposure. I’m going to play around more with the idea of multiple exposures on pinhole.
Pinholes, although they are very slow in many ways, have some major advantages – because there is no glass to distort the image, they are absolutely rectilinear. Straight lines will always be straight lines. There’s no shutter or aperture to set with one – the pinhole is the aperture, and in the case of my pinhole camera, it’s f/208, which means that even in full sunlight I’m getting roughly 1 second – 2 seconds for exposure times. The shutter in this case is just the body cap – take it off, count one one thousand, put it back on. It doesn’t get simpler than that. Of course, this has a different downside – hand-holding exposures is not realistic, ever, unless you really really really love motion blur.
I like motion blur well enough, but I like it applied selectively – I like the contrast between sharp, static and moving, blurred. I like how using long time exposures captures a third dimension to a photograph, time, that we perceive as non-existent in “typical” photography where time is condensed/extracted to 1/500th of a second. Playing with time in a camera really does in a way turn the camera into a time machine. It also shows us that our concept of time is artificial. Things exist not IN time but rather THROUGH time.
I’ve been having so much fun lately with my photography. As it should be – it should never be WORK – it should be fun. And the Lomo Belair X/6-12 is part of the reason. Yeah, it’s lo-fi, it has a plastic fantastic lens, it’s auto-exposure with virtually no feedback (you never have any idea what shutter speed you’re using). But you’re shooting medium format panoramics! And for $250!! Where are you going to find a (useable) Brooks Veriwide or a Horseman 6×12 for $250? Even a 6×12 roll back for a 4×5 will set you back $400. So there’s a lot to like about it for the money.
And although the negatives themselves are, shall we say, less than razor-sharp, they do make awesome contact prints (witness my Roman panoramics and my recent Sinister Idyll series). This triptych was inspired by a vertical panorama series I saw someone else do. Theirs was a landscape, but I thought this office/apartment/retail complex in Washington DC would make a good urban subject to try it out on.
Another fun experiment with my Lomo. This time a vertical panoramic triptych. I intentionally skewed the middle panel to give what is otherwise a very static subject some visual movement and dynamism.
H Street Northeast is a neighborhood in major transition. It was in the 1950s and 60s an important retail and entertainment corridor for the African-American community in DC, along with the U Street corridor in Northwest. Along came the 1968 Martin Luther King riots, and then in the 1970s and 80s the rise of the drug epidemics, and H Street turned into pawn shops, liquor stores, and abandoned buildings. In the early 2000s, property developers turned their eyes toward the area for the relative abundance of cheap real estate as the next new place they could revitalize and get rich in the process.
These first four shots here represent the old side of the neighborhood – liquor stores, barred windows and businesses that clung to life through the lean years.
This set are the changing face of H Street – fresh paint, new entertainment venues, coffee shops and chic pubs.
The not-so-visible dark underside to this is that the past residents (lower and middle income African-Americans) and the businesses they used to operate are being pushed out not only by the housing redevelopment that is driving real estate prices up by several hundred percent over the span of a decade or less, but by the changing retail landscape – when enough businesses on your street have gone from selling fifty-cent cups of coffee and five dollar lunch deals to six dollar cappuccinos and thirty dollar tasting menus, your old clientele aren’t coming around anymore. If you were already operating on a shoestring, it can be cost-prohibitive to reinvent yourself.
The Piazza Santa Cecilia is one of the focal points of my part of Trastevere. It is named after the eponymous church and convent that borders its west side. The lantern on #21 Piazza Santa Cecilia casts a long shadow in the light of dawn:
The Piazza dei Mercanti abuts the Piazza Santa Cecilia. In this view as the sun sets and the street lamps come on, there’s not much to see of the piazza itself from all the cars parked in it, but a very large restaurant faces it that does a bustling business on a warm fall evening. A neighborhood resident is out for a stroll, perhaps on their way to the coffee bar up the street.
Santa Cecilia’s courtyard remains open quite late into the evening, and the public can come and go through the gates. There has been a church on the site since the 3rd Century AD, when it was built over the location of St. Cecilia’s house. The main body of the church dates to the 13th Century, and some 9th century mosaics are preserved within. The facade and the courtyard are 18th century renovations, however.
This cherub keystones the arch over the main gate to the courtyard.
Inside the courtyard you can view the 18th century facade of the church, ancient mosaics and an ancient cantharus or water urn that now is the centerpiece to a fountain. The bell tower dates to the 12th Century, and looms over pretty much the entire neighborhood. Here young couples sit on the edge of the fountain to canoodle while admiring the church before wandering off to dinner or perhaps a more appropriate intimate location.