A street find while walking around with the LC-A 120. This is under the railroad tracks that cross the South Bank pier of London Bridge, just across the street from Southwark Cathedral.
I happened to look down, and then saw this admonition to “Look Right ->”. I found it mildly amusing that traffic flow was considered so confusing that it was necessary to tell people which direction to look before crossing the street. And I love the crunchy texture of the pavement and sidewalk. This is at the corner of Finsbury Square where it abuts City Road in central London.
This is another image from the Lomo LC-A 120. The only real reason I ever mention the cameras I use nowadays is to prove a point about there being little to no correlation between the “quality” of camera you use and the quality of the images you make. I have very little control over the LC-A beyond what I point it at, when I choose to trip the shutter, the film I load in it, and the rough guesstimate of the distance between me and the subject. Everything else is really out of my control. But the decisions that are most important are the ones I do have control over – what to point it at and when to trip the shutter.
Knowing my camera and how it records images is also helpful to getting what I want out of the image, of course. But this image above would have not been any more successful if I shot it with a Hasselblad Superwide, a Rolleiflex TLR, or my Fuji XT-1, each of which offer far more control and precision than the LC-A.
I’m entranced by the range of things happening in this photo. The geometry of the space (especially the grid on the floor) leading your eye back toward a vanishing point, the contrast between the stark modernity of the room structure and the gnarled, organic forms of the ancient Greek temple, the static, permanent nature of the architecture (all the moreso thanks to the twenty-five hundred year old temple in the room) providing backdrop for the hustle-bustle of people circulating the room, and the movement around the people stopped stock still to contemplate the temple. This was probably another 1/2 second exposure, maybe 1/4, hand-held with the Lomo LC-A.
A moment of serendipity as I was photographing the red granite pharaoh’s head in the British Museum caught the face of a passer-by in the lower right corner breaking through a beam of light, an equally enigmatic expression on their face as on the Pharaoh’s. In the far background, a second Pharaoh looks on.
Shot on Kodak Tri-X in a Lomo LC-A.
As many of you who have been following my blog for any period of time are now aware, I’m a camera-toy junkie. My latest foray in camera toy land has been into the world of “toy” cameras. I’ve been working for several years on my Sinister Idyll series using my Lomo Belair X-6/12. Many would call it a “toy” camera because it is a plastic fantastic body, with aperture-preferred automatic exposure only, only two aperture choices, and manual guesstimate focusing only. It’s upgradeable (as I have done) with two Russian-made glass lenses (which are absolutely superb), but beyond that, it’s a glorified point-n-shoot that takes panoramic images on 120 roll film.
Well, I just acquired its spiritual cousin, the Lomo LC-A 120. The LC-A has a super-wide lens, also a Russian glass lens, and a fully automatic shutter and aperture (you have no say whatever in the exposure other than if you game the system by changing the ISO, and no idea which aperture it’s using because there is no indicator in the viewfinder, just a slow-shutter warning light). Focusing is achieved by selecting one of four focus zones via a lever on the side of the body. I’ve been plinking around with it here around Washington DC, and just gave it its first serious workout on the road when I took it with me to London.
One of the most obvious characteristics of the lens is a noticeable vignette in the corners. Applied properly, this is a very effective tool. Thanks to the automatic aperture, it’s not always predictable how much you’re going to get (see comment above about the aperture – with wider apertures and infinity focus, you get more vignetting. With smaller apertures and closer focus, you get little or no vignetting).
As you can see from the people moving around in this scene, the camera is quite sharp even at a larger aperture, and the extreme wide-angle (the same field of view as a Hasselblad Superwide) lets you hand-hold at speeds that would be very difficult with a normal lens on a reflex camera. I’m guessing this was somewhere between 1/8th and 1/2 second.
Even with the lens being so wide, you can achieve selective focus effects with it if you get in close. I highly recommend getting in close!
An extreme example of hand-holding (yes, I know – I have supernaturally steady hands). This was at least a one-second exposure.
The LC-A is a great travel camera because it’s so wide, it allows you to include a near-human-eye field of view, and the extreme light-weight and compact form factor make it very easy to take anywhere and carry all day. Ditto for the minimalist operation technique – you really just point, set focus range, and shoot.
Back here in DC, you can see another example of the vignette effect. I did tweak this a little to amplify it, but this is not a significant manipulation beyond what the camera did.
I like getting multi-layered images with partial reflections in glass. And it’s a bit of a self-portrait too, with my shadow falling in the image. I love how the construction workers have the microwave set up and working in the middle of a kitchen remodel – you have to have your priorities straight and keep the coffee warm!
A demonstration of not only the extreme field of view, but the color rendering of the lens. The camera has a reputation for deep, saturated colors. This was taken with 10+ years out-of-date Fuji Pro 400 H.
Again, you can never really get too close. This was a test of the close-focus/selective focus capability (the minimum focus setting is 1.5 feet).
Nice saturated colors even on decade-old film.
One of the things I’ve been enjoying about these “toy” cameras that give you very little control over your photograph is the way that they in many ways demonstrate the lack of need for that level of control to make good images. The extreme wide-angle of not only the LC-A but also the Belair force you to think very seriously about your composition, use of perspective, and manipulation of forced perspective to emphasize/de-emphasize compositional elements. With the Belair, I do have a “B” setting for the shutter to do long exposures and intentionally play with time, something I don’t have on the LC-A (but wish I did). Time is the one other critical component to a photograph that we do and simultaneously do not have control over – I can control when I open the shutter, and to some extent when I close the shutter (if I want a “correctly” exposed image, I must close it when it needs to be closed, not when I want it to be closed), but beyond that we have no real control over what happens WHILE the shutter is open. Things happen on their own. Movement is never fully predictable. Moving subjects speed up, slow down, change direction, or stop without warning.
I’ve started thinking of these cameras that I’ve been using – the Belair and the LC-A – as “serendipity boxes” because to use them successfully, they require an acceptance of serendipity, chance, and fortune. They’re life-metaphors in a way – just like in my own life, I can point them a certain direction, look at specific things, get closer, and turn away. But if I don’t learn how to see through them, to take in the periphery, work within the uniquely skewed perspectives that they offer, I’ll miss out on things that are presented to me because they didn’t fit in the tightly-controlled box I wanted them to fit into.
Well, I’m not normally very judgmental (of people) but I will be judging Focus On The Story – 72 Hour Photo Challenge. To participate and get your work judged by me and my colleagues at Photoworks, just create an account at EyeEm.com (its free!), upload your images from around DC shot this weekend, and tag them #EyeEmDC. Get it done by 9:00 AM on Sunday, then come down to the Johns Hopkins SAIS Campus at 3:50 PM to see the live judging!
Two more images from the Sinister Idyll series.
Today this is a marina for pleasure boats. In 1848 it was a working dock that admitted directly onto the Potomac River, and was the site of the largest non-violent slave escape attempt in US history, the “Pearl Incident”, when 77 individuals attempted to flee down the Potomac river and through the Chesapeake Bay with the intended destination of New Jersey, a free state. Their efforts were thwarted by contrary winds on the Potomac and betrayal by a fellow slave who did not join them.
These warehouses in Georgetown today house businesses, a tavern and boutiques, but at the time of the Pearl Incident were tobacco and grain warehouses owned by Mr. Dodge, the man who owned the leaders of the escapee contingent.
The net outcome of the Pearl Incident was the ending of the slave trade in Washington DC in 1850, but full abolition of slavery and legal emancipation would have to wait until 1862. Along the way, the captain and first mate of the Pearl spent four years in prison because they could not afford to pay the fines ($10,000 in 1848 currency, or about $250,000 in today’s currency).
The last two weekends, I’ve been teaching an Intro to Platinum/Palladium Printing class. In the past, I’ve only taught it from film negatives, but this time I did it with a module on making digitally enlarged negatives as well. It was a rousing success- I had a great time teaching it, and I had some very enthusiastic students, all of whom were very seriously interested in continuing with the medium.
Last week, we started out learning basic coating technique, talked a bit about paper selection, and the importance of a good negative to work from. To expedite the process, I provided students with negatives that were already processed for platinum/palladium printing.
This week we covered making images from digitally enlarged negatives. I had students bring in a selection of images on thumb drives and we picked one or two to make negatives with. Here are my assembled students with finished prints from our digital negative printing session. The prints are much warmer in color in this photo than they are in real life because I took this on my iPhone in mixed lighting.
A better representation of some student prints. We also tried doing Ziatypes (a variation on palladium printing that is a printing-out process rather than a developing-out process, and by default has a much cooler, silvery tone to it than a pure palladium print does). The two images in the center row – left center and dead center – are Ziatype variations. The woman’s portrait was from a 40+ year old in-camera 8×10 negative not specifically developed for alt-process printing, but it worked quite well. The soft edges are from the fact that the negative was not processed archivally and is starting to silver out.
Having a little fun with the panoramic function on my iPhone in class today. Took this picture of two of my Large Format students doing studio portraits with a 4×5. I dug into the vaults and found some of my remaining stash of Polaroid Type 55 and let the students burn a couple sheets. I was more than pleasantly surprised with how well it worked- my Type 55 has to be a decade out of date by now, but the pods still processed nicely. I’d post some results but my students ran off with the negatives before I could copy any of them.
This was also my first test of my PocketWizard wireless flash sync setup on large format, and it worked very well. I got a little clamp from B&H photo that locks onto the front standard of my camera, and attached a hot shoe to PC adapter to the clamp. The PC cord connected the shoe to the sync on the shutter, and the PocketWizard sat in the shoe.
The other PW unit was connected to my Calumet Travelite monolight. This setup let me use my Sekonic L358 meter which has a PocketWizard trigger module, so I could meter wirelessly. That’s a big boon even when doing still life, and an even bigger one when shooting portraits, because that’s one less wire for you OR your sitter to trip over. If you look carefully at the front standard of the camera, you can see the PocketWizard module sticking out of the side in the photo.
OK- well, the title is a tad misleading – my class WAS sold-out with a wait list. I added additional slots to accommodate the wait list, and there is ONE additional spot left. If you’re interested, now’s the time to grab it before it’s gone. I will NOT expand the wait list again for this session. The class is my perennially popular Introduction to Platinum/Palladium Printing class, this time with an expanded digital negative how-to session. Based on the response, I’m also planning a fall Platinum/Palladium Printing Extended Project course that will provide a six-to-eight week guided seminar in printing.
The pyramids at Teotihuacan in Mexico was originally shot on a 2 1/4 x 4 1/4 inch roll film negative from my Lomo Belair X/6-12, then scanned and printed on Pictorico Premium OHP to make a 4 x 8 inch print.
Ditto the above with this shot of the National Gallery of Art staircase in Washington DC.
Making a print is fun and easy.
A frequently asked question: what about your developer chemistry? You mix up your Potassium Oxalate, replenish it as needed, and filter it periodically. But you keep on using the same batch of developer forever, unlike silver gelatin paper developers which have a finite lifespan, regardless of usage.
Here’s a digital negative printed on the Pictorico OHP transparency medium. Other printers will work, but the industry standard seems to be Epson Stylus Photo printers with Ultrachrome K3 inks (or newer). I’m using an Epson 3880 at the moment.
Here’s an exposed print from the negative shown above. An exposed but undeveloped print will show a “ghost image” of the finished print. The development process happens VERY fast, as you can see in the video below.
And the finished print, washing in the final wash.
To register, click here Intro to Pt/Pd May 5&12