Just some random captures of people out and about. I want to get better at street candids, so I’m practicing. These are a few good examples, at least I think they’re good, for me.
I saw this man crossing the street early in the morning, loaded down with his bags. I don’t think this shot would have worked in black-and-white – the hodgepodge of tweed jacket, American flag logo bag, Adidas bag, and the plastic shopping bag wouldn’t pop if they were tonally similar.
Man Crossing with Bags
I’ve posted the boy on the bus sleeping before. This one DOES work better in black-and-white because the brightness of his hat and shirt contrast with his skin color and give him a very peaceful, almost angelic look.
Boy Sleeping On Bus
This man is watching the overhead sign announcing the upcoming station. I caught him in an unguarded moment, doing what everyone does on the train. Hard to tell if he’s a tourist or a local.
This is a very dear old friend of mine who I’ve known for close on 20 years now. We originally met on an IRC chatroom (that’s really dating me – how many of you out there even remember what that was?) and stayed in touch long after. Simon came to visit me when I was living in Baltimore, then I ran into him again several years later at Chatuchak Market in Bangkok, quite unplanned and unexpectedly. Several years after that, he returned to Baltimore, this time as a graduate student. Now he lives outside DC and we get together periodically to keep up with what’s going on in our lives. We were having dinner the other night at a newish Italian restaurant in my neighborhood when I took this- he was just perfectly lit by the setting sun coming through the window. I think this perfectly captures his jovial inner spirit.
Simon Fong
I had the Rolleiflex sitting on the table next to me after taking this picture, and the women at the table next to us saw it and remarked on it. We ended up having a good fifteen minute conversation with them about photography and using film and old cameras. This is why I call the Rollei “the happy camera” – it gets so many people talking with you about photography, and always in a positive way. Everyone has good feelings about this camera.
I like this shot because it has different layers of eroticism to it without being in any way explicit. From the leather chair to the fuzzy velvet drape on the chair to the naked skin, this projects sexuality without the “it goes to 11” factor of Helmut Newton or Robert Mapplethorpe. Also, narrowing the focus to the hands and feet pushes the connection between this image and a specific individual farther apart, so it becomes more idealized and abstract, allowing the viewer’s imagination more leeway.
Kevin, Leather Chair
Kevin wanted to do some sexy, gay-affirmative images, and he had this hat that says “Trophy Boy”. While I don’t know quite how I feel about the “Trophy Boy” message, the image is certainly attention-getting.
Trophy Boy
I think the shallow depth-of-field works well in this image by not only blurring his tattoo but also re-directing your attention to his eye, forcing the exchange of gaze between the subject and the audience. Some people make that the distinction between a “fine-art” nude and erotica, where a “fine-art” nude there is no visual contact between subject and viewer, but in erotica (and by extension porn), the viewer is confronted by the subject, making the reaction personal in contrast to the abstract, intellectual reaction to the “fine-art” nude.
I know it’s been a terribly long time since I’ve written anything new here. My apologies. I’ve been dealing with a lot of stuff in my personal life (new day job, burst pipe in my kitchen that flooded my basement, etc), so my productivity has been off the last couple months. I’m part of a group that shares studio time here, and we occasionally organize group shoots and hire a model. The group shoot thing has its frustrations (having to get consensus on lighting, for one thing, means you often get lighting setups that aren’t what you want) but when you’ve been out of your groove for a while, it’s nice to have a little spur to your creativity. I had been feeling a bit frustrated and in need of a spur, so I joined the shoot yesterday we had.
Kevin, Rolleiflex 2.8E, Rolleinar 1
Another challenge that is uniquely mine in the group is the fact that I’m the only one shooting film, specifically medium format film. I work slower than the rest, and because I don’t have some huge-ass zoom lens, I have to get in close to take my shots, so people sometimes get a little cranky about me blocking them. When you get results like these, though, I think it’s worth it.
Kevin
I’m sure you’ve seen a shot like this if you pay attention to fashion photography, but I wanted to give it a try. We were doing some more fashion-y shots with Kevin, and he was wearing this black leather jacket. He has these very striking eyes and I wanted to emphasize them. I think the jacket texture and the big zipper give a nice edgy feel to the image but the fact that they’re mostly out-of-focus drives your attention back to Kevin.
Because we were shooting with constant lights (fluorescents in softboxes, which I didn’t know we were going to do until I was already on-site), I was limited to shooting wide-open or nearly so in order to keep my shutter speeds hand-holdable. Had I known I would have brought Tri-X instead of FP4+. But I think all in all it worked out well – its fun and challenging to play with shallow depth-of-field on portraits. Using the Rolleinar makes it even more challenging because it brings you in closer, narrowing your DoF even further.
I have more from this to come, but in color – I’ll be developing the color film today and hopefully will have those posted tonight or tomorrow.
I’m running a quick impromptu by-the-seat-of-the-pants version of my Intro to Platinum/Palladium printing class this weekend. It’s a bit of a hash because we had scheduling conflicts of varying types to deal with, but we did manage to meet today. My normal plan with students is to take them out into Glen Echo park and have them shoot a bunch of negatives with my 5×7, then come back and process them. WELL… today, the daytime high was still below freezing, so we scratched that idea. Instead, we shot some self-portraits indoors using my Hermagis Eidoscope soft-focus portrait lens, a 1000-watt hot light (a VERY welcome hot light given the weather today!) and an improvised guillotine shutter composed of a pair of dark slides, held in a V-formation. The “shutter” starts with the lower dark slide completely covering the lens, and to allow exposure to happen, the pair are swung past the lens so that the gap between them briefly allows light to strike the film. Exposures can be a little variable, but these are forgiving media.
Here is one shot of one of my students:
Barbara, Hermagis #1
and here are two of me:
Scott, Hermagis #2Scott, Hermagis #1
I brought the Hermagis to class to give the students a little something special to play around with, since they both had past experience in working with large format, and I think the soft-focus lens fits very well with the alternative process print look.
Of the two of me, which do you all prefer? I know which one I like better, but I’ll wait to get some feedback before I offer my opinion. All three of these are scans from the negatives, not from prints. We will be meeting again tomorrow to do the actual printing.
Ok, well, two duos and a single. I couldn’t leave well enough alone and stick strictly to the article title, as there was one image left that needed to be used.
Trevor, GraysonTrevor, Grayson
At least the odd single is in the same location, same lighting, same film. So it kinda-sorta fits. All three are, as tradition, shot on my Rolleiflex 2.8E, with Kodak Ektar 100.
I squeezed in a roll of Tri-X in my shooting with the models. I wish I had had the chance to shoot some frames of Trevor, the other model, in black and white, but such is life. Another time.
Grayson
Grayson has a very commanding gaze and makes for a great portrait subject. He uses this to compensate for an otherwise willowy physique (not that there’s anything wrong with willowy).
Grayson
We shot all of these down under the Whitehurst Freeway where it runs parallel to the Potomac River on the edge of Georgetown. Despite the deep shade it creates, it makes for some beautiful, soft light.
Grayson
The tank top reads “I like bad boys” in French. It was Grayson’s own choice of wardrobe – very fun and cheeky.
Grayson
The last shot was at a boarded-up building tucked away under the freeway. I’m surprised given the value of real estate in Georgetown that such a place could exist. Whatever, it makes for a neat backdrop for models. The bottle of Fat Tire was found en-situ, and trust me, nobody drank from it.
While we were out scouting a location, Grayson saw this bit of graffiti and said, “I want my picture taken next to a sign that says, ‘Nuclear Age Sucks Shit’. The colors were cool, the message edgy, and the model was inspired, so who was I to say no? I’m going to keep it on my list of places to shoot.
Grayson
The Anarchy symbol made for a kind of halo in purple for Grayson.
Grayson
In this case, the diffuser wasn’t big enough to soften the light on the whole scene, and the hard-edged shadow on the wall made perfect sense given the message of the mural – the shadows recall the kind of shadows cast by the blast of a nuclear weapon.
Grayson
In this last shot, I moved in tight to get the golden mushroom stenciled on the wall. It just seemed a fitting counterpart to the rest of the graffiti.
Grayson
Again, all shots were taken on Kodak Ektar 100 in my Rolleiflex. It gives punchy saturation when you need it without being over-the-top.
Here are five portraits I did of the models last Saturday. Trevor and Grayson were easy to work with, and I would be happy to give a reference for them to anyone who wants to work with them.
TrevorGraysonTrevorGraysonTrevor
All images were shot on Kodak Ektar 100 with my Rolleiflex 2.8E. I wanted to make a point out of this because I hear lots of people saying “I can’t get good portraits with Ektar – I don’t like the skin tones”. I haven’t had to do anything special to get these, other than the obvious minor retouch to remove a pimple or two (these guys are in their early 20s after all). For the shot of Trevor in bright direct sunlight, I used a white diffuser disc to soften the light on his face. Otherwise these were just natural light. The shots of Trevor in the aviator jacket were taken in open shade in an alley, so no diffuser was needed, as was the shot of Grayson wearing the black cotton top and the one in the white mesh hoodie.
Two different portraits I took of my friend William, who toured me around Toronto on Sunday of my weekend visit. Both were taken at the Distillery District, one black-and-white, the other, color. I cropped the black-and-white one because there was some lens flare in the upper corner, and I think the vertical crop is not only complimentary to a portrait in general, it is flattering to the sitter.
William QuachWilliam Quach
Both images, of course, were shot on my Rolleiflex. It makes for a great environmental portraiture camera. One of these days I’m going to get the Tele-Rollei to do some tighter head shots, but for now, this is just fine. The b/w image was shot on Kodak Tri-X, and the color on Kodak Ektar 100. I’m normally brand agnostic when it comes to film – I shoot whatever produces the look I like. For a slower b/w emulsion, I’m happy with Ilford FP4+, and for a really slow emulsion, Ilford PanF. For years, until they discontinued it, I was a huge fan of Fuji Reala when it came to color. Since it went away, I’ve shot Kodak color emulsions almost exclusively, though. I used to like the super-saturated colors in Fuji slide films, but now I prefer a somewhat more subtle palette, which I get from Ektar (which is still a saturated, contrasty emulsion) or even moreso from Kodak Portra (mostly Portra 160, but the 400 and 800 also have their uses).
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