In a couple of hours I will be on a train to Frankfurt to catch a plane back to Toronto, so time for one more image of Cologne. I have crossed this bridge at least a dozen times this week, so it (and the cathedral in the mist) have become iconic for me. Photographs make the best souvenirs.
Normally, Tuesdays on this blog are reserved for “Time-warps”, pictures taken some time ago, as opposed to recent images. Today things will be different; since it’s my birthday, I will indulge in a break from routine and post an image I captured a couple of hours ago. As I write this, it is a beautiful sunny morning in Cologne, but the day started out with the city wrapped in a dense, swirling fog. I grabbed my camera and ran out outside the hotel to capture it before it burned off. My favourite image is below.
There is a symbolism here; the bridge shows the direction of travel, but the destination is a shrouded mystery; I won’t be able to see it until I get there. The bridge is life, and the destination is the future, and getting there is half the fun.
I am in Cologne, Germany on business this week, and of course I am taking advantage of the location to do some photography. This morning the light was amazing for a brief interval, and it was breathtaking to see the Cathedral across the Rhine take on the ruddy colours of a red-sky morning.
The other night I had fun shooting stills for The Alexander Singers (a Toronto community theatre group) production of The Fantasticks. It was a challenging shoot: no flash allowed, so I had to shoot at ISO 3200 wide-open and hope that the VR (vibration reduction) on my D90 would give me at least some non-blurry shots. I was quite happy with how things turned out; after a busy evening of “spray and pray” shooting, I had over 150 usable pictures, including the image below of the character “Henry”: an actor well past his prime, hired to take part in an abduction. If you are looking for something to do over the next few nights, I’d recommend checking out this show; a very strong cast makes it a most enjoyable production.
I think Quebec City is my favourite city in Canada; it’s a close to being in Europe without crossing the Atlantic. It’s also a photographer’s dream.
I took the photo below in 2007, taking advantage of a non-crowded moment. It is slightly underexposed on purpose, to de-emphasize the benches, and emphasize the lines and texture in the wood. It also makes it a challenge to determine the time of day this image was created, and I like that mystery.
I shot this Toronto street image below on Kodak Tri-X film, one of the all time classic black and white films. I shot a lot of this in the 1970’s, and a few weeks ago I decided to step back in time and shoot it again. Then it sat on the shelf until I finally got a developer tank and some chemicals. I finally got around to doing so, and yesterday developed my first roll of film in about thirty years.
The ritual came back fairly easily; loading the developer tank in complete darkness, then putting the lid on, turning on the light and “souping” the film in the various chemicals. My “darkroom” (actually our basement bathroom) soon took on the smell of acetic acid (vinegar), but at the end of it all the negatives came out fine; I let the film dry, and a few hours later I had scans of the negatives, including this image. It wasn’t as fast as snapping a photo and looking at the LCD panel on the back of my DSLR, but it will do just fine.
It’s neat to be doing my own processing again, and the alchemy has its own magic. 🙂
While many of my autumn pictures are either focused on splashes of colour, or are black and white texture studies, sometimes I feel the need to explore the space in-between. The image below is one I captured a couple of weeks ago in the Don Valley in Toronto; the paint on the bridge is faded and blotchy, and the taggers have been busy. The image did not work in either full colour or black and white, so I turned the colour down quite a bit, and that captured the mood of gentle decay for me.
One of the photo sites I hang out on is The Analog Photography Users Group (apug.org). This is a group of people who are dedicated to keeping film photography alive in the face of the digital onslaught. It does have its fair share of purists, who refuse to have anything to do with anything digital, including the hybrid workflow (scanning slides/negatives/prints into a computer and then working on the images in PhotoShop or some other image editing application). One can submit hybrid workflow images to the photo gallery on apug.org but they must be “straight prints.” No other digital manipulation is allowed.
The issue that I have is that almost every kind of manipulation one can do in PhotoShop can be done in a traditional darkroom. I created the image below in the late 1970’s, and what is featured here is a straight scan of the 1970’s print. The effects were done with a combination of solarization and bas-relief, on the print itself, in a traditional dark room. If I did the effects digitally, why would that make it any less valid?
My Third Eye 