Here is another image from the Broken series I have been doing. The idea was that even if the camera eye is broken, the human eye endures. The model Shreeti was perfect for this shot; even with an impassive expression,her gaze is very powerful.
Mamiyma M645, 80mm f2.8 lens, strobe through umbrella. Film: Fomapan 100, developed in Xtol 1:1 for 9 minutes
Recently I’ve been enjoying reading a book called Color Photography: The First Hundred Years, 1840-1940. I love the look of the old colour processes that preceded the advent of Kodachrome in the mid 1930’s.
Today’s picture is another digital lighting test from a recent shoot. The model really liked the tests, so I took this one and applied a duotone effect that reminds me of the slightly faded, not quite real look of the dawn of colour photography.
This image is from one of the more complicated lighting set-ups (at least complicated by my standards) I’ve done so far. Two strobes were used, one from the left with a “snoot” in place to restrict the light spread, and a strobe off to the right, shooting through this lovely piece of wood. The holes in it allowed it to function as a “gobo“, allowing a dappling of the light, and placing light patterns on the wall. The concept we were going for was a jazz performer in a club, and the lighting really helped get the mood I was going for.
Taken with Mamiya M645J, 80mm f2.8 lens, 2 250ws strobes @ f8. Shot on Fomapan 100, developed in Xtol 1:1 for 9 minutes, post processed using Nik plugins.
When I scan negatives, all the images are automatically in landscape orientation, meaning any images in portrait orientation (and that covers a lot of my images these days) have to be rotated. Today’s image is no different, except I really liked the sense of motion given by the “wrong’ orientation (which I probably would not have considered without the limitations of the scanner), so I didn’t change it. You can tilt your computer/monitor sideways to see the “correct” orientation 🙂
Mamiya M645, 80mm f2.8 lens with 25A red filter, strobes (umbrella and softbox). Shot on Ilford SFX infrared film, developed in HC-110 Dilution B for 10 minutes.
I continue to work a lot with Ilford SFX Infrared film, as I love what it does with people’s skin. I used it last Wednesday for a shoot with a lovely young model. Although this film’s nominal speed is ISO 200, I normally shoot it at ISO 25, because of the red filter (25R) I use to accentuate the effect. This time out though, I had a senior’s moment and shot it at 100, 2 stops underexposed. After thoroughly cursing my own carelessness, I looked online for the best way to process the film to salvage something, and ended up developing it in HC-110 developer for 19 minutes, to give a two stop push. The results are amazing! The glow and grain really work well together! I’ll have to try to screw up more often!
For the the image below I took a hybrid approach, using Nik Silver Efex Pro on the negative scan to accentuate the graininess and texture.
I was doing a test shoot yesterday, and what better subject than a classic film camera, the Exakta VX 35mm (made in the 1950’s). An interesting note about this camera is that it does not have the SLR’s familiar pentaprism/Eye-level viewfinder (although one was available and could easily be swapped in, due to the camera’s modular design). It has a pop-open waist-level viewfinder (like a Rolleiflex TLR) that you look down at. The view is right-side up, but laterally inverted (mirror image).
For me, this Exakta exudes the “essence of camera,” with all kinds of knobs, dials and little complexities that are fun to geek out on. As a left-hander, it is interesting to note that the shutter release button and film wind lever are on the left hand side! 🙂
Today’s image is another minimalist portrait, shot yesterday with model Kristen. She was a delight to work with, her face was capable of a great range of expressions, and her natural expression always seemed to involve a smile. Here, just with a glance to her left, I get the sense she is telling a story.
Mamiya M645, 80mm f2.8 len @ f22, strobes with umbrella and softbox. Shot on Ilford Delta 400 film, developed in HC-100 Dilution H for 15 minutes.
Recently I got a roll of white seamless paper to use as a backdrop for portraits. Shooting portraits like this is a compelling challenge; there is no scenic vista, no charming background to support the portrait; it’s just the subject and the camera. It’s like a musical melody with no arrangement or harmony; the portrait has to stand by itself. I find myself drawn to the work of the late Richard Avedon, who was famous for portraits taken against a plain background. In this kind of image, there is truly nowhere to hide.
Portrait create with Mamiya M645 medium format camera, Fuji Neopan Acros 100 film developed in HC-110 Dilution H, 10 minutes.
Negative scanned and post-processed using Nik Silver Efex Pro.
My good friend Mark Blevis captured some video of the show set-up the other night, and asked me some questions about the show:
Mark and his wife Andrea have been incredibly generous this week in putting me up (and putting up with me), and supporting and helping publicize my show. Mark and Andrea, I can’t thank you enough!!
I have a fun time last night with my good friend Mark Blevis putting up my photos for the Wild Oat Show in Ottawa. It is a real thrill to see all the images as a cohesive unit on the wall:
Here is an article in a local Ottawa Neighbourhood newspaper about the show:
My Third Eye 