Tag Archives: Lomography

Reading Terminal Market

Back at New Years I went up to Philadelphia for a short weekend getaway. I stayed at the Marriott in center city, which was across the street from the Reading Terminal Market. The market is a food hall located under the tracks and platforms of the Reading Terminal, a train station that today serves mostly commuter trains. There is some amazing food there – I had lunch one day at a traditional Jewish deli that just absolutely hit the spot with a corned beef sandwich and a cup of chicken soup. Termini Brothers bakery has an outlet there and I brought home four of their raisin scones that were to DIE for (and if you ate them often, possibly to die of – they’re quite rich!). In addition to the prepared foods stalls, there are butchers, fishmongers, and greengrocers stalls as well, providing an oasis of fresh food in the center of a heavily urbanized business district that has seen better days.

“Eat Oysters, Love Longer” – the bar counter at Pearl’s Seafood.

Sushi Umi across the hallway from a handicrafts stall.

Fish on ice at the fishmonger’s.

Martin’s butcher shop – Quality Meats and Sausage. A sign in the background is for live and cooked lobsters. Interesting trivia – lobster was, until the second half of the 19th century, considered poor people’s food. Lobsters used to be so common in the coastal waters of New England that you could just wade into the surf to catch them , and they had little to no market value – so much so that prisoners in New England rioted to demand their ration of lobster be held to no more than three days a week. With the advent of refrigerated rail service, it began to be served in the dining cars of long-distance trains, being able to be transported away from the coasts. It was transformed into a delicacy as they concurrently became more and more scarce as demand rose.

Pastries in the display case at Termini Bros.

The neon sign for Termini Bros counter. They have been in business since 1921, and if their scones are anything to judge by, as long as they keep that standard up, they’ll be around for at least another century!

In case you’re wondering, all these were taken with one of the best, in my opinion, travel cameras available: the Lomo LCA-120. It’s a super-wide (38mm on 120 film, or the equivalent of a 21mm on 35mm/Full Frame). The super-wide angle means you can use it in places you would have a hard time photographing with most other cameras. It is fully automatic exposure – the only control you have over the exposure settings is by changing the ISO on the meter dial. It is, in contrast, manual focus but only via focus zones – you have a selection of four distance ranges you can select via a lever on the side of the lens panel. Because it is a leaf shutter and has no mirror to move, it is quiet when taking photos, so you can work unobtrusively in a busy environment. It does require you to have a somewhat loose shooting style because of that wide angle lens and the fact that you’re composing via an uncoupled viewfinder, not through the lens. While I normally like having the precision of an SLR or a TLR with aperture and shutter controls, working with the LCA 120 is very liberating in a way because you stop worrying about all those fiddly things and just concentrate on composing the image in the viewfinder.

I combine it with Kodak Tri-X film frequently because that gives me enough wiggle room to pull off hand-held exposures with even long-ish exposure times – I’d venture to guess that the shots in Reading Terminal Market were somewhere between 1/15th of a second and 1 second. Yes, you read that right – hand held at up to 1 second.

Iron Railing, Russell Square, London

IronRailRussellSquareLondon
Iron Railing, Russell Square

This is all about using selective focus to emphasize a subject, and use of exaggerated perspective to draw the eye into and through the image. This is one of the things I like extreme wide-angles for – the exaggerated foreground-background relationships that happen when you put them very close to something give you a new non-eye-like point of view on your subject that really forces you to consider it formally, abstractly and within its context.

Lee Brothers Potato Merchants – London South Bank

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.

LeeBrosPotatoMerchants
Lee Brothers, Potato Merchants, Behind Borough Market

London – Street Signage – Look Right

LookRightFinsburySquare
Look Right

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.

London Images – British Museum – Greece

GreekTempleBritishMuseum
Greek Temple, British Museum

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.

New Toy, On The Road

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.

DiscoGrecian
“Disco Grecian”, British Museum

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).

GreekTempleBritishMuseum
Greek Temple, British Museum

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.

PennyfarthingMuseumStreet
Pennyfarthing Bike, outside Thomas Farthing’s, Museum Street, London

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!

RussellSquareTubeStairs
Exit, Russell Square Tube Station, London

An extreme example of hand-holding (yes, I know – I have supernaturally steady hands). This was at least a one-second exposure.

UndergroundStationOldStreet
Approaching Train, Waiting Passenger, Kings Cross Tube Station

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.

OFOBikeLCA
No Smoking

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.

BarSinkRenovations
Under Construction

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!

ColumbiaPlazaClouds

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.

ConcretePineconeDupontAgain, 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).

FiveHousesDupont

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.

 

The Belair and its Russian Lens

For those curious what the heck I’ve been talking about when I mention my Lomo Belair X/6-12, and the Russian glass lens for it, here you go. The Belair is an odd little beast – collapsible folding strut camera, takes 6×6, 6×9 or 6×12 centimeter negatives depending on which insert you use, is manual focus, scale focusing (you guess the distance and set it on the lens, and compose through an un-coupled viewfinder), has only two aperture options – f/8 or f/16, has manual film advance via red window, yet has an automatic shutter over which the only control you have is changing the ISO dial. Bulb exposures are an option.

The camera out of the box comes with some plastic fantastic lenses (a 90mm and a 58mm). The 90 has perceptible but not egregious distortion, reasonable contrast, and acceptable sharpness. The 58 is, well, not so good. The viewfinder for the 58 has less distortion than the lens does! After the Belair had been out for maybe 6 months or a year, they introduced a limited run of Russian-made all-glass optics for it – a 90mm and a 114mm. I got into the Belair game too late to be able to buy the glass lenses from Lomography, as they were sold out. The lenses were also quite expensive from Lomography, the Belair vendor. I believe they were something on the order of $300 apiece.

The Belair with the 114mm lens
The Belair with the 114mm lens

After having used the Belair with the plastic lens for a while, I got the itch to try and find the glass lenses. That’s when I discovered that they had all been sold, and nobody had any old stock sitting around. They didn’t show up with any frequency on Ebay either. I had particularly wanted to find the 90mm, but no dice. Then along came someone selling their 114mm. The price was good, so I jumped on it rather than take a chance on missing out.

Front view, the Belair with the 114mm lens
Front view, the Belair with the 114mm lens

In addition to the primary reason for getting the glass lens – the glass in the lens with its exceptional sharpness and flare resistance – the ability to precisely control focus is another benefit. The plastic lenses have four distances marked on the barrel – infinity, 3 meters, 1.5 meters and 1 meter (infinity, 9 feet, 4.5 feet and 3 feet for the metrically challenged). If you wanted to focus in between, you had to guess at the distance and hope the depth of field would carry the day. The Zenit-made 114mm and 90mm lenses have many intermediate distances marked on the focusing ring, which is silky smooth without being loose. The ability to much more precisely place your focus means that you can intentionally place objects in or out of focus. This is a major artistic control and a very welcome addition.

The Zenit Belairgon 114mm, and its controls
The Zenit Belairgon 114mm, and its controls

I’m including this scan of a negative made by the 114 so you can see the sharpness and particularly the flare resistance – I’ve had more flare on my Rolleiflex with the lens hood attached with the sun NOT in the picture. While Russian camera bodies may have been shall we say quality-control challenged (particularly in the Soviet era), their optics are truly outstanding. This should be proof enough to put doubt to rest that Russian lenses are up to par with their German and Japanese peers.

Hampton House, Towson, Maryland
Hampton House, Towson, Maryland

The image was shot on ten year out of date Ilford FP4+, and developed in Pyrocat HD.

Playing with Triptychs

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.

Columbia Plaza
Columbia Plaza

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.

Columbia Plaza
Columbia Plaza

Roman Panoramas – Miniature Platinum Prints

After printing a few of these panoramas from Rome, I was so taken by the intimacy of the miniature format of the 2 1/4″ x 4 1/4″ contact print, I went and made a whole series of them. I’m at fourteen of them now, but that number will fluctuate a little as I finish printing and edit down from there. I’m going to go out shooting this weekend and make some more images in the format and perhaps build a full show’s worth.

Columns, Marble Floor, Trajan's Market
Columns, Marble Floor, Trajan’s Market

I took the portfolio to the Sunday morning critique we have at Glen Echo, and instead of presenting them as raw prints, I matted them with 8-ply mats with oversize margins (11×14 inch mat boards, so roughly 4-6 inch margins around the 2 1/4 x 4 1/4 inch window). I also cut the windows such that all the mats could be viewed in landscape orientation regardless of whether the image was in portrait or landscape orientation.

Trajan's Column, Via Fori Imperiali
Trajan’s Column, Via Fori Imperiali

Presentation is very important when considering your work. It should be the first thought on your mind when planning a show – of course you need to edit the body of work, but how it will look on the wall is just as critical to successful reception as the work itself. Good presentation will focus the viewer’s attention on the work and block out the distractions of everything else going on around it.

Temple of Antoninus and Faustina
Temple of Antoninus and Faustina

Also, if you’re at all concerned with selling your work, makes a huge difference in the sales price – poorly presented, someone would pay a poster price for an original Ansel Adams, if they bought it at all. Properly presented, your work will fetch premium prices even though nobody has really heard of you outside your own city.

Column Fragment, Imperial Forum
Column Fragment, Imperial Forum

This webpage is a prime example of the issue of presentation – showing these images here in this size on this medium is a complete and utter failure to represent the scale, quality and impact of the images. You’re looking at them on your monitor, in a size well beyond their actual physical size in reality. And because they’re scans of the prints, the paper texture is exaggerated as are any minor flaws due to the handmade nature of the prints.

Beginning of a new series – tiny contact prints

When I was in Rome last year… (no jokes please!) I shot a bunch of panoramic images with my new-to-me Lomo Belair X6-12. My just completed session of the Intro to Platinum/Palladium Printing class I teach inspired me to dig them out and see how they would fare in the medium. I’m really loving these tiny prints – 2 1/4 by 4 1/4 inches! They make you get up close and intimate with the print. I’m matting them in 11×14 inch 8-ply mats for extra measure.

ColosseumPanoPtPd

ColosseumVertPanoPtPd

TiberPanoramaPtPd

Sometimes you have to walk away from a process or a practice for a while, which happened to me with platinum/palladium. I was on a kick of doing other stuff, shooting my travels with the Rolleiflex. Then it was the Fuji rabbit hole with digital and the X-T1. Then this class came along and I needed something to jumpstart my printing. These images were just the ticket. Photographers in general have an obsession with how big they can make their prints, and even the general public too. But there’s something to be said for tiny prints. I still remember the Andre Kertesz show at the National Gallery where they had a lot of his early work on display – in his youth, he could only make contact prints off of small negatives from roll film cameras because he was poor and didn’t have space for a dedicated darkroom. Getting up close and personal with his images, like “Underwater Swimmer”, which is all of 1 1/2 by 2 1/4 inches, really makes you think about the image itself instead of being awed by its size. Not that I have several million dollars to spare, but I’d much rather spend that kind of money on a print of “Underwater Swimmer” than on Andreas Gursky’s “Rhein II”. Fortunately, the Kertesz would be a lot cheaper to buy than the Gursky anyway.

On a separate note, I’d like to give a shout-out to Carol Boss at Hahnemuhle papers. All three images above were printed on the new Hahnemuhle Platinum Rag paper. She has very generously become a sponsoring partner of my Intro to Platinum/Palladium class at Glen Echo Photoworks, and is supplying us with our paper. It is a wonderful new paper- very easy to coat and print on. It may well displace my old standard Bergger COT 320.