Kodachrome Now: The Aging Rose

My last post featured an older Kodachrome image, and today I’m posting an image I made on my trip to England and the Netherlands this past August. I finally got my slides back this week, and was thrilled with the results; there is a distinct quality to Kodachrome which I don’t think can be quite duplicated with any other process.

What struck me about the image below was the intensity of the reds. There is no fakery here, I did not play with the saturation settings in Photoshop. All I did was add some sharpening back (to compensate for my cheap scanner) and clean up some dust.

Aging Rose

I thought the subject matter of the image was appropriate as well; not only does it help show off the strengths of Kodachrome, but the fact that the flower is starting to wilt reminds me that we are at the twilight of the Kodachrome era, at least in terms of new images. Unlike the flower though (which by now I’m sure is wilted completely), these Existing Kodachrome images will be with us a long, long time.

Timewarp Tuesday: Kodachrome Then

It was 1981; I was in first year university and in a serious relationship with the woman in the image below. The image was captured using Kodachrome 64 and my old Yashica TL-Electro. I remember going through almost the entire roll of film (an extravagance back then for me) taking pictures of my girlfriend in the leaves.

Among the Leaves

The slides have been in storage now for almost three decades, but being Kodachrome, the colours have held up quite well, and if I continue to store them properly, they will last for quite some time to come.  So much has changed in my life since then (relationships, where I live etc.) but Kodachrome did capture the moment,  and made the moment immortal in a way that I don’t think digital can.

Old and New

I am just getting over the flu which waylaid me last week, and in addition to missing work I had to cancel one scheduled photo shoot, plus any random photography. To try to ease the jonesing, I went into the vault to give a second look at images worth working on, and ended up with today’s image.

An old photography trick for making flowing water look more like flowing water is to slow the shutter speed down so the water blurs and retains a sense of movement. Of course, the expectation is that one is a) using a tripod and b) on solid ground when trying to create this shot. In my case, neither applied as this image was made on the PAB 2010 boat cruise on the Ottawa river this past June.

Ottawa River, June 2010

Even with the Vibration Reduction enabled on my Nikon D90, it took shot after shot (at 1/3 second, handheld) to get what I was looking for.

What really made the image for me though, was when I converted it to Black and White with Apple Aperture the other day during my flu-driven incarceration;  using a red filter setting with higher structure dialed in, the modified image provided an intensity that was not there for me in the color version.

It is ironic that digital technology both made the image feasible in the first place, and enabled me to make it look analog.

There Is No Substitute

For reasons that will be obvious, there is no picture embedded in this post.

I was at a party about a week ago, at a house where a fair amount on art was posted on the wall, and a piece of art that caught my eye was a black and white photograph of a person on an old deserted city street. I was immediately struck by the quality of the print; the tones were liquid and luminous, inviting me into the print; the tonal range was amazing. In addition the matting, framing and overall presentation of the image was top-notch; putting everything together set a tone and mood that said “Stop. Look at this image. And take your time.”

The sad thing is that so little photography is encountered this way today; even drugstore-quality prints are rarely made these days; we are dominated by vast virtual photo albums on Facebook and yes, Flickr. We see photographs on monitors, the backs of digital cameras or maybe a digital photo frame; in every case the experience is lessened, and so many images deserve more.

On Inside Analog Film Radio, I hear the host say every week “You don’t have a photograph unless you have a print in your hand.” A little overstated perhaps, but there is a lot of truth in that statement; if a photograph never makes it past the virtual, how is it ever different from being a mere single frame from the endless digital movie, barely registering as we drink from the fire hose of inline content?

Here’s an idea: select one of your favourite images that you have never printed, and get it printed as a true photographic print (not a run-of-the-mill inkjet) at a decent size, say 11 x 14 inches.

You’ll be shocked at what you’ve been missing.

True Measures

I created this image in 2004 with my Canon Digital Rebel, in New Brunswick. I got up early to catch the light at the exact right time, and I guess I was successful; I do like this image.

Sunrise On the Rocks

However, this is the kind of subject matter that I find hard to deal with; how does one try to say something new, instead of ending up with a pretty cliche, such as this image?

The true measure of a photographer is what he or she can  do with subject matter that is not pretty. For me, a perfect example of this is Irving Penn’s cigarette butt still life. If an artist can make a cigarette butt interesting, I’d say that’s a pretty good measure of the talent involved.

Concrete and Asphalt

Scarborough, Ontario, has been given (often unfairly) a reputation of being rather bleak. There are many areas of hidden beauty within Scarborough, but there is still plenty of concrete and asphalt, and in this image of the Kennedy Subway station passenger drop-off, it felt to me like a decayed echo of a space age vision; a future which did not gracefully become the present.

Subway Kiss and Ride, Scarborough, Ontario Canada

Nikkormat FT2, 24mm f2.8 lens, Ilford XP2+ film