Tuesday, February 18, 2014
Thursday, January 23, 2014
Thursday, November 21, 2013
I have been through the workshop like this and can recommend it to anybody who is into human-interest photography.
Photograph above: © Alex Webb
Wednesday, November 13, 2013
Friday, July 26, 2013
Do you know that inside the Earth there's another, a much bigger globe? I leaned this long time ago from "The Good Soldier Švejk" by Jaroslav Hašek, the book I love dearly.
All the years since I've got this piece of knowledge in my head, I had been looking for the unknown world, and finally, I discovered it. It's happened in 2007. I found this world, this another Earth in the photographs taken but never brought to light, left in the darkness, photographs on the old films forgotten in the vintage cameras, cameras shoved into nameless darkness of countless attics or garages. And if you think this another world is small and unimportant one, if you think that the so called "present" is much bigger entity, think again, because neither one is actually exists in the place I am sharing with you. Both of them, the "present" you know as you personal instant history, and the latent flickering-smoldering-glowing in the darkness possibilities of images somewhere on the forgotten rolls, both are equally non-existent, and as such, they are zeros, nihils, nones. They are the same. And the one I am talking about here may be even bigger, much bigger;-)
At least, it has surely became bigger last week, when I decided to develop the old Brownie-type roll I received from ebay seller in Alabama.
Well, what could be on the old roll from Heavenwood, Alabama? Most likely its...let me guess...Heavenwood, Alabama! Old cameras and old undeveloped films rarely travel long distances. Treated as sentimental artifacts of little significance at best or as something very close to the junk cluttering living space, they usually thrown away in storage until the end of times.
But, something very different emerged from the wet darkness of my tiny darkroom. I developed the roll in cold concentrated Dektol developer and got several low contrast but otherwise legible images, five frames total:
Thursday, July 25, 2013
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Friday, July 19, 2013
Agfa D6 rolls on the spools with wooden stem, bigger then the 120, nitrate-based (i.e. flammable).
All three -- exposed, and in dated boxes:
Wednesday, July 17, 2013
Sunday, July 7, 2013
Monday, July 1, 2013
Thursday, June 27, 2013
Thursday, May 30, 2013
Tuesday, May 28, 2013
Tuesday, May 7, 2013
Friday, April 26, 2013
Wednesday, April 10, 2013
Among many pieces of wisdom associated with photography this maxim is one of the oldest and most loved. It had been cited numerous times in many books and articles. I always wanted to know the origin of it, but never been able to get past the few clues available in the open sources: it is anonymous, it is translation from Latin and it is from the old coin of one of the medieval German states (Brunswick). The coin (thaler) presumably dated 1589. Here is the example of such a source:
Tuesday, March 26, 2013
Sunday, March 24, 2013
Wednesday, March 20, 2013
Friday, March 15, 2013
Wednesday, March 13, 2013
Tuesday, February 26, 2013
This is a "quick and dirty" translation from Russian of the article I found in the old "Soviet photo" magazine, issue dated Jan 1934 with portrait of Stalin on its cover (of course, what else?):
There was a time when 35mm film was rapidly gaining popularity while older types of larger format cameras and films, still in use at the time, were slowly becoming outdated. Most of the new 35mm cameras of the period were extremely expensive and out of reach of regular soviet citizen for the obvious reasons:
- the production of 35mm Leica copies (FEDs) just started, they were not yet available for order;
- there was no free trade with abroad;
- the cameras actually were expensive;
- the salaries were very low.
- ...poet Bulat Okudjava in his teenage years before WWII imagining himself in "...black pants, white Apache shirt and "Leica" hanging from the shoulder" (see his short story "Certain failures among continuous successes");
- ...writer Ilya Ilf buying "Leica" using money borrowed from Eugene Petrov, his co-author and friend; Eugene was joking that after this he had "no money no co-author", because Ilf was busy photographing and did not have time to work and earn salary; with this camera Ilf photographed the USA in mid-30s, which resulted in their illustrated book "One-Story America", published in USSR in 1936 and known to English readers as "Little Golden America".
Monday, February 18, 2013
This winter I started walking working class neighborhoods of Little Havana. I liked it better then the Calle Ocho. Yes, it is less iconic, never too crowded and there is nothing here to catch tourist's eye, but I'm not a tourist, more of a local already. Here are the few frames from the last week's wanderings:
Wednesday, February 13, 2013
I bought this can of Kodak 35mm cine version of Tri-X film from late 50s in a hope to find it exposed, but it turned down to be not. So I used the opportunity to check my old film development process on it. First, I put it in my FED-2 rangefinder camera and exposed at 50 E.I. (originally it was 320 ASA but 50 ASA is my best guess of what's left of it), I also bracketed with +1 and +2. Then, I used my standard process for developing fresh Tri-X (4.5 min @ 75F/24C in TMax 1:4) and it turned out to be heavily fogged, barely ptintable/scannable. Then I developed it in 10% HC-110 at 50F/10C for 2.5 minutes (the time had been calculated based on test). It came out ok. Here is how it looked after the development:
Sunday, February 10, 2013
Tuesday, February 5, 2013
Friday, February 1, 2013
I published this book of photographs for my friend Victor Ginzburg.
He is an avid photographer; this is the book he was working on since 2005 and it is very unusual piece, at least for the modern photography book: all film, all square, all color. So, what is it, this book? Well, it has 82 pages and 72 photographs and almost no text in it, and it is clearly an art book, but can it be narrowed to more specific genre or school of photography? Asking myself this question, I had to admit that while I love this book immensely, I do not have the ready answer, at least not the verbal one. It is easier to limit the field by saying what this book is not: while many photographs in the book will qualify as a street photography, the book itself is not. Likewise, while author has traveled the world and many photographs where taken far from New England where he lives, is not about travel. Also it isn't a book about his family and friends despite the fact that many of the photographs are picturing his family and his friends.
So yes, I do not have the full and complete answer...still, I can point to the few clues:
- the color is very important for the book. As a black and white, it would not exist.
- the photography as art often has something of painting's legacy. This one has a lot of it.
- it is centered around humans and sure qualify as human-interest photography.
All in all, it is beautiful piece of art and I happy to have my copy.
The book is not expensive and can be had for ~$20 shipped to US location, see here:
To help you decide, here are the few pages from the book:
Wednesday, January 30, 2013
Friday, January 25, 2013
I started the page for my photos at facebook. There will be more photographs than here, some of my older work, all of new. I'll post 2-3 pictures per day. Please "like" it if...if you like it :)
Monday, January 21, 2013
Saturday, January 19, 2013
I switched few things last week: went to TMax developer from Diafine for Tri-X and stopped pushing the film; I tried again little Olympus XA which had been sitting on the shelf for the last 2 years. So far I like both changes. What killed my interest in XA last time was Ilford HP5+ at E.I.800; it was not very good combo. Tri-X @ E.I.400 is much better.
Friday, January 18, 2013
The condition could be better: the hardest rolls to separate from backing paper so far; I had to tear the paper to pieces and still some of it stayed, glued to the film.
The film itself was alive as quick test revealed; developed it at 40F/4.5C in 12% HC-110.
Here is the piece of developed film caught on camera before scanning:
Frame numbers got themselves happily transferred to the emulsion; there are dead round yellow spots where emulsion touched the hot metal of the spool's rusty cheeks and holes, holes, holes...the roll must had been stored in the attic or garage for ages, where it became really hot in the summers.
Still, there were some recoverable images:
Sunday, January 13, 2013
Verichrome Pan is relatively new film, it went on sale in 1956. So these are late 50s or 60s:
It was...windy, dark, surreal. Miraculous.
I had just few frames left in my M2...have to return there soon.
Leica M2/28mm/Tri-X at E.I.1600 in Diafine.
Thursday, January 10, 2013
Here is the long overdue report on the Miami Street Photography Festival I was busy with in early December and on Alex and Rebecca Norris Webb's master-class I took during the festival. I actually posted a piece on my LiveJournal blog on the subject, but it was all done in Russian. So if you can read and, more importantly, understand Russian, check it out: ***here***
For the rest of you western folks, let's translate it into some Runglish...
Saturday, January 5, 2013
Thursday, January 3, 2013
I have not recently reviewed any film/developer combinations in this blog. There is a reason for this: film is well known thing, why bother with the reviews anyway? Well, if it is Tri-X of HP5+ than it's true, they have been around for a while, along with Diafine 2-bath developer I'm using here, but Kentmere 400 is all new animal, at least for me. So I bought 100ft roll for $29.95 from Adorama and tried it, along with Tri-X, in the same Leica M2 with 50mm f/2 Planar lens from Zeiss. It is not very scientific comparison per se; I just needed some feeling of it. I exposed Tri-X at E.I.1200-1600 and Kentmere at E.I.640-800, as recommended for Diafine. I looked at the resulting film strips on the light table and scanned them.
Looking at the negatives: Kentmere is drying flat, which is good. My version of Tri-X (Arista Premium 400 from Freestyle Photo) is not. The Kentmere is a bit "flatter" in terms of tonal gradations, compared to Tri-X. The Tri-X grain is bigger but I also like it more, the dense grain of Kentmere has not impressed me much (see the fragments below). On the night shots, Kentmere has denser blacks with less details in them. Ok, here are the shots, face to face --
Thursday, December 27, 2012
2012 year through my lens(es); almost all of the pictires are B&Ws; bye-bye color...
Selected 2012, a set on Flickr.