Sunday, November 27, 2011

Random Hipstamatic Shots

Occasionally I still shoot with the Hipstamatic. I was in the camera shop getting more film tonight. I am grateful for the reminder I got while there: there’s always something to photograph.
Andrew D. Barron©11/13/11
Hollywood district, Portland.
Andrew D. Barron©11/13/11
Andrew D. Barron©11/13/11
Andrew D. Barron©11/13/11
S U S H I !
Andrew D. Barron©11/18/11
Downtown Camas this afternoon.
Andrew D. Barron©11/26/11
Andrew D. Barron©11/26/11

Wednesday, November 23, 2011

Autoreflex T (part 2)

I tried out an impressive older negative scanner, the Nikon Coolscan V ED with a 6-frame negative autoloader (A21). Since I’ve been brave enough to shoot with the Konica, I have been using a pile of old expired film. Most of it was 11 years out of expiry (if known at all), sitting who knows where for who knows how long. Combined with the uncertainty of my Konica Autoreflex T and the lack of metering, it seems a small miracle that there are any exposures at all. This Fuji 200 was with me as I departed from Curry county and traveled down to San Francisco.

The propane tank maiden fill up, 9/14/11:
Nesika Market propane fill up, Andrew D. Barron©9/14/11
For the propane blog, I included this camera-love shot of the Konica:
Andrew D. Barron©9/14/11
Overlook at Sisters Rocks. The emulsion degradation is persistent in this whole roll as small splotches. I like it.
Andrew D. Barron©9/14/11
Again at Sisters Rocks; the colors from the scan just look this way. I could probably rein it in to something that looks a little more like the reality of that day, but this how the scanner delivered it.
Andrew D. Barron©9/14/11
This looks on the northern flank of Humbug Moutain from the Port Oroford side, mid-September.
Looking south where Humbug meets the sea, Andrew D. Barron©9/14/11
The above shot was much like one I took before I had begun blogging as barronphotography. From a time when I was quite clueless about technical photography, here, from December 8, 2009.
Looking south where Humbug meets the sea, Andrew D. Barron©12/8/09
I like the inversion of my camera technology and to see my eye is consistent.

Late September clearing at Euchre Creek marsh, Ophir.
Andrew D. Barron©9/14/11
I was in Orinda, CA on 9/30/11. (That blog).
Andrew D. Barron©9/30/11
I tried a lot of exposures at Hardly Sticltly. I like the quality of shallow depth of field when using film.
Harldy Strictly Bluegrass, Andrew D. Barron©9/31/11
Shooting into the sun isn’t easy.
Harldy Strictly Bluegrass, Andrew D. Barron©10/2/11
The busted focus ring on the 57mm hexanon lens makes it hard to pull focus. Sometimes I didn’t bother.
Harldy Strictly Bluegrass, Andrew D. Barron©10/2/11
The Streets of San Francisco.
Harldy Strictly Bluegrass, Andrew D. Barron©10/2/11

Autoreflex T

Stepping back further to mid-August, this roll of Kodak Gold 200 is pretty beat up. It expired in 2000. These frames seem mostly underexposed with a strong magenta tint. Okay, back to the southern Oregon Coast (Sisters Rocks), August 2011 we go. This night was a magical shoot, and was featured in my 110 film and second half here. Only my third roll in the Konica, I still wasn’t sure I was going to get exposures and I often set up too quickly. Later in the roll, the exposures improved as my comfort shooting blind increased.
Andrew D. Barron©8/15/11
Andrew D. Barron©8/15/11
Andrew D. Barron©8/15/11
Andrew D. Barron©8/15/11
I shot that with my infrared D5000:
Trees at Sisters Rocks, Andrew D. Barron©8/17/11
I was shooting with six cameras that night, so I should expect some redundancy.
Andrew D. Barron©8/15/11
Here is the last light of that day with the Minolta 110 Zoom SLR. It is easy to appreciate the differences between 35mm (above) and 110:
South beach at Sisters Rocks, Andrew D. Barron©8/2011
On 8/26, I found an old Polaroid iZone camera and bought a pair of darkroom enlargers for future use. I set up for this shot and at the perfect moment, the cyclist appeared.
Andrew D. Barron©8/26/11
(For the blog from that time, I used the instant film version from the Instax 210)
Okay, now I am up to September 2. Here is a digital mosaic from looking south towards Sisters Rocks:
South down the southern Oregon Coast, Andrew D. Barron©9/2/11
The film version:
South down the southern Oregon Coast, Andrew D. Barron©9/2/11
These next two shots remind of simulated night scenes in old movies where they covered up the lens with some kind of filter. I didn’t do that here. There is a lot to learn between taking photographs with film and scanning negatives.
North towards Humbug Mountain, Andrew D. Barron©9/2/11
South towards Sisters Rocks, Andrew D. Barron©9/2/11
This image captures the moon above the trees at Milepost 311 on Highway 101. It was pretty dark. Luckily I had one working digital camera that night.
Moon above shore at sunset, Andrew D. Barron©9/2/11
Andrew D. Barron©9/2/11
This is probably my favorite shot on the roll. I remember trying to get somewhere enough light was coming in for the asa200 film.
Andrew D. Barron©8/15/11
It is all very much an exploration. Overall, I am pleased that so many of these frames have suitable exposures. Half of each roll was easy enough to put up here. I have been a hard-wired digital photographer for a long time. It has taken most of this year to learn to shoot film, and with these rolls, I have only just begun. There is a lot of exploration for me with the various qualities and feels for different camera and film types. I certainly wouldn’t know how it works shooting expired 35mm film in a thrashed 1967 slr camera until I did it a bunch. As I go through all of these, there is a value in having direct shot comparisons between cameras, but I find that I like it when the film takes are unique. I wonder if I will be able to let that double-shot habit go? Each image is different, each camera is different. Funny enough, they all look like pictures I took.
Humbug at sunset, Andrew D. Barron©9/2/11
Humbug at sunset, Andrew D. Barron©9/2/11

Monday, November 21, 2011

Hasselblad Happy

I got to borrow a Hasselblad 500c!
Hasselblad 500c, Andrew D. Barron©11/17/11
Shooting with the Hasselblad is other-worldly. In fact, modified Hasselblads were the Apollo mission cameras used on the moon.

Everything I know about cameras has culminated into a comfort with this amazing camera. It takes 120 film, with 12 photographs per roll, each negative image measuring 6cm x 6cm. 35mm film is 2.4cm x 3.6cm, so medium format is substantially larger. I have written a lot about 4x5 cameras, too, a negative size of a whopping 10.2cm x 12.7cm. The Hasselblad is a luxury camera and a thrill to hold and shoot. Preparing to shoot with this camera eclipsed my excitement of the pickup of my 35mm film. These were only the second round of full-manual film rolls for me; the first color negative I’ve shot with any confidence.

In a very neat twist, while at camera shop, a fellow came up and walked me through shooting with the Hasselblad. It was none other than Zeb Andrews, himself lately a passionate Hasselblad shooter. He gave me the most perfect 5 minutes holding the 500C I could hope for. Check out his photostream. Also, Mat Marrash of the Film Photography Podcast was very helpful when I wrote to him about my (short-term) dream come true. It was only August, or maybe late July when I started to think about medium format and specifically Hasselblad.

I picked up a bunch of Portra film because I thought I was going to shoot a concert. I have heard good things about that film and loaded up one back with asa800, and the other with asa400. It was hard to contain my enthusiasm, and yet, what to shoot? I had the best intentions to see a concert on Friday night, but unfortunately I caught a cold. I shot a few frames of downtown Camas. And then I rested.

Saturday morning, after a long rest, I retraced some of my own first steps in the region on accident. I turned to ditch a tailgater, who followed me anyway. I ended up at Lacamas Lake. The clouds broke and could see a worthy composition for the asa400 film back.
Lacamas Lake, Andrew D. Barron©11/19/11
Above: The Nikon P6000 is ready for retirement; nothing seems to be in focus.

Shooting with the 500c is a meditation in elegance and craftsmanship. It is without peer for cameras I’ve used. I made some indulgent self-portraits to document the occasion.
Andrew shoots at Lacamas Lake, Andrew D. Barron©11/19/11
Andrew shoots at Lacamas Lake, Andrew D. Barron©11/19/11
Lacamas Lake, Andrew D. Barron©11/19/11
The light was incredible on Sunday morning. I was so under the weather that I didn’t get on the road until noon. I could see the haze starting to envelop the region, but undeterred. I went to the coast on Highway 6. There were some wonderful snowy and forested scenes passing by as I rushed to the edge of the continent. My thinking was that I knew how to shoot at the sea.
South of Tillamook, Andrew D. Barron©11/20/11
I was wrong.
Scary rest stop, Andrew D. Barron©11/20/11
Sometimes I photograph things that give me the creeps. Anyway, once I got to the ocean at Pacific City via Sandlake road, it was a silver gray sky above, and quite a lot of people on the ground. I stopped immediately arriving at the edge, and moments later the Coast Guard helicopter blew by.
Infrared beach and chopper, Andrew D. Barron©11/20/11
On the long drive I had time to think. Recently I have been saying a few things about photography: I like the act of taking the picture. I like looking at life as if through a camera, that any moment may be magic. The pictures themselves are secondary, though ironically, become primary in this format. Sometimes photographing a new place is filled with zeal and enthusiasm, particularly on occasions that the light is special. Lately things have seemed overwhelming with light that is rarely good, or not really being tuned into it and free to go shoot. I will have to change that, and it brings me (finally) to my point: it is hard to recon a busy, people-filled new area. I think of Ansel Adams, who was usually intimately familiar with the areas he shot, and was very much after certain images.
Pelican Brewery, Pacific City, OR, Andrew D. Barron©11/20/11
I take this photographs to keep practicing my framing; to keep seeing what is before me as a photograph. With such nice cameras now in my keep, the refinement of subjects and light will keep my image count lowering. I drove all the way to the beach, about 120 miles one way, and with all of my cameras, shot maybe 20 frames in total. I should have taken more if only to document the miles.

As I once elaborated, the journey is the destination. I look forward to preparing scans from my 35mm images in the coming week!

Tuesday, November 15, 2011

St. Johns / 4x5?

I wandered around to the St. Johns district of Portland on Friday.
Simmons Grocery, Portland, Andrew D. Barron©11/11/11
At the end of St. Louis at Edison, there is a street mural in the form of a compass. The Willamette River (and probably the ocean) is symbolized in this NNW quadrant.
Street mural, Andrew D. Barron©11/11/11
(Weeks ago, the other intersection mural I spotted is a much larger one at 56th and Stanton, Freda’s Tree; the mural is to honor 100 year old chestnut tree. seen in this view.)

This is Cathedral City Park down by the bridge.
St. Johns Bridge, Portland, Andrew D. Barron©11/11/11
St. Johns bridge, Portland, Andrew D. Barron©11/11/11
Street mural, Andrew D. Barron©11/11/11
Across the way was a huge metal ship propeller, easily twenty-five feet in diameter. The propeller is for a much larger ship than the one I photographed. These are visible in the satellite view here.
Ship propeller, Portland, Andrew D. Barron©11/11/11
My plan was to go to the end of Lombard, which was all I could remember about the address. After shooting what caught my eye, I was pleased to already be in the neighborhood for my first visit to the legendary film camera shop. I walked up the hill with my seven rolls of 35mm film in my pockets. Once inside, I was blown away with all there was to see, film camera-wise. I had a nice conversation with the owner, and eventually got to the reality check of shooting with a 4x5 camera. He steered me towards this Toyo monorail and asked me if I was ready for something like this.
4x5 Toyo monorail, Portland camera shop, Andrew D. Barron©11/11/11
It had geared settings and was just freaking enormous. My Konica Autoreflex T is a very big and heavy 35mm, here dwarfed by the Toyo. I said yes I was, and hoped to be shooting large format by the end of the year. Inside, I was more than a little intimidated by this thing. Maybe a dozen more rolls on my 35mm cameras first? He said that he shoots an 8x10 camera, about 100 frames per year. It made me wonder; could I tell my stories in 100 frames per year?
4x5 Toyo monorail, Portland camera shop, Andrew D. Barron©11/11/11
It was hard to contain my enthusiasm about all the film stuff! Holding the gigantic Mamiya RZ67 was really eye-opening; what a beast! As for all the film I have shot since August, I opted for process-only so I can have a look at the negatives before getting prints. I was so bad about keeping track of exposures. . .well, notes of any kind, shooting those rolls. My backup plan was to shoot a digital frame most of the time. As I was about to leave, I spotted an expensive, but very much missing part of my photography gear. The Gossen Luna Pro F light meter!
Gossen Luna Pro F light meter, Andrew D. Barron©11/15/11
Gossen Luna Pro F light meter, Andrew D. Barron©11/15/11
My large format aspirations are still on the table, but I can see that I will need to learn more about processing my own film and about $1000 to get started. Or to find a large format view camera lying around.

The film camera shop is having a 10 year anniversary celebration in Saturday, December 3, so I am looking forward to that.

A quick search turned up yet another McMenamins brewery; these places seem to be easier to find than 7-11 in Portland. This time, St. Johns Theater, pretty much across the street.

Over the weekend I put together another Hipstamart order and found it a little difficult to come up with nine images that I thought would work at seven inches square. The impetus was that a musician I photographed with the Hipstamatic this summer, Caleb Klauder, is playing a show in Portland this weekend. He is based here, but has been touring all over. Here is the shot, with bluegrass legends Mike Compton and Keith Little:
Mike Compton, Keith Little, Caleb Klauder; Andrew D. Barron©6/15/11
The Hipstamart was having a sale, so the prints were reasonably priced. This picture, and my overall paucity of musical performance has started the itch. I find it much harder to play music in urban environments. It is good in a band with regular gigs, but I can see the need for a practice studio. I am glad to have the Hipstamatic restored to my 3g iphone, even if it is antiquate at version 190. Why oh why are updates only available through the phone itself? That’s neat, but also stupidly limited.
Camas window, Andrew D. Barron©11/12/11
I have been living what feels like lyric fragments of Tom Waits songs, particularly Till The Money Runs Out. I was thinking about how grateful I am for the many talented musicians I have played with.

We seem scattered all over, playing for not enough, giving it all because what else do musicians do? Here’s a shot from early January 2008.
Johnny, Andrew D. Barron©1/9/08
The nice thing about my photography is that I can easily figure out where I was at any time. This gig was hard for me, but I really do miss playing with such a talented fiddler. This shot from last year shows the night’s pay.
Cliff and James, Andrew D. Barron©11/12/10
I plan to find places that might offer good views to shoot near sunset in Vancouver. My archives of photographs from Ophir seem to mock me, but that’s okay. Even I was getting tired of sunsets; this one from right about a year ago.
Ophir sunset, Andrew D. Barron©11/13/10
I am pleased to have a local library card and managed to get through The Omega Man with Charlton Heston. Post-apocalyptic zombie-flick turned interracial love story?

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