Everything that can turn green around here seems to have. And chlorophyll reflects infrared light very well resulting in a bright white pseudo snow when recorded with my camera in night shot mode. I exaggerated the grain in Lightroom but see that it didn’t translate that well when down sampled to web size.
The Konica I from the late 1940’s has an interesting feature or lack of one depending on your perspective. Because the shutter is on the lens and has no linkage to the body there is no film advance lock out. What this means is that the advancing of the film is entirely independent of the taking of the picture. I’ve experimented on this roll of film by partially advancing the film and panning so that the two or more exposures overlap. I’m pleased with the first effort but now I want to do it again with my new knowledge and see if I can’t get some more interesting results.
I’ve been working on this painting all this week and aside from several minor corrections, that will really just be a stroke here and there, it’s done. It’s my daughter Charlotte’s birthday so I asked here to name it and she called it “Daffodil Time”. I’m hoping to submit it to “Hooves, Ploughs and Planted Fields.” a juried show that will be held at the Langley Centennial Museum. I don’t usually do that or work under such a tight deadline but I’m pleased with the result.
Some of the most effective infrared images I’ve seen have been of reflections on water. I hadn’t really thought too much about it but it became clear to me when I took these pictures. The top one is an infrared shot while the bottom one is a regular capture converted to black and white. You can see that for the infrared image the water behaves like a mirror with little from below the surface showing. I will use this enlightenment to try to capture some better images if the opportunity presents itself.
Well that worked out. I performed the little trick with the Spectra camera where you take a picture and don’t release the shutter. Then you open the camera up release the shutter and close it again. At this point you can take a second exposure on the film. I imagine you could continue to do this as long as you don’t over expose it into whiteness. Now I need to come up with another idea to use this technique on.
This pair of images represents the passage of 8 months. I composed the second one from memory so it is off a bit but it still serves it’s purpose. You can see that all evidence of the foundation is gone and even the house and garage from the first image have been removed.
I have to say as far as the luck of things coming together for a an image it did for the one of the old man and the child along with the large and small tug boat.
No not that the lenses were made with radioactive isotopes, it’s just that if you think you might want to capture something critical, and when don’t you? The question is can you really rely on them? I ran a roll of cheap film through this Minolta Himatic C and found that all the images had this faded spot in the lower right. No matter how much I look at the lens from either side I can’t see what caused this. It must be a separation of some lens elements because it’s too subtle to detect, particularly at 1/60 second (There is no bulb setting). The good news for me is that the pictures I took weren’t critical and are only reference material. I have several versions of the Himatic: E,F,G and this C and as far as design goes this is the best. I really like that the lens collapses into the body and that you have two shutter speeds 1/30 and 1/250 indicated by a cloud and a sun respectively. The aperture is automatic but it does show in the viewfinder along with the focus indication in the form of four symbols of distance. So did I learn my lesson about old cameras, no not really.
Early morning walk before my meeting. Malls devoid of people and cars are somehow eerie, like something less benign than consumerism lurks inside.
While this is an instant image it is as much a product of fiction as if I had created it on a computer. Why? These items while grouped together in some representation of an idea of a gas station are really just part of someones giant still life. This scene doesn’t represent any current reality but a vague sense of the past maybe created from memories learned from photographs. Me I see a vignette that could be fromWilliam Christenberry’s South. William_Christenberry
