Film Status

(I prepped this post pre-sabbatical, two years ago; forgive me for losing the source of the quote–although I suspect it’s Araki-san. Also, kindly note that, being fourth declension, the plural of “status” is “status.”)

“Photography needs to be sentimental. That dry brightness that digital cameras create, that’s not sentimental at all. Colors created with the three primary colors have a very simple impact, but there’s a melancholy at the same time. Colors don’t turn out the way you want them to be, that’s what so good about them.

“Perfect colors are not to be researched like that… To be extreme, you look at black and say, it’s red. That’s art. Creating ripples among people is what art does and its the density of art, but before that, you have to feel the ripple in yourself.

“It’s not exciting because there are stupid guys who ignore that, trying to figure out how to create real colors. They say, ‘If you use this digital camera, you can take a clear picture in the dark’. The dark should stay dark. You can’t really see that much, and you don’t really want to see that much anyway.

“Humidity and darkness are very important elements in photography, so you have to be careful with digital cameras because they sort of kill those elements, I say. I, too, use them, sort of recording things in everyday life for fun, though.”

Synaesthesially speaking, this is not so different from vinyl records versus compact disk recordings.

Yikes! Fred Sommer was right!

Caveat emptor: not unlike the uneven emulsion on sheet film which made Frederick Sommer exclude open skies from hie compositions in the 1940s, there is a current problem with 120 roll film. It’s too late for those os us who stock up in advance, but check emulsion numbers before buying for a while. Once again (to quote Mr. Stieglitz), a word to the wise is sufficient.

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http://www.johnsexton.com/newsletter05-2016.html#anchor04 and scroll down to IMPORTANT INFORMATION FOR USERS OF 120 FORMAT KODAK PROFESSIONAL FILMS- PLEASE READ

Mr. Gitz Speculates

“The future, Mr. Gitz!”

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The Next Revolution in Photography Is Coming

What is 21st Century Photography?

John Pfahl

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“At that time there was a lot of conceptual art around which was documented by photographic means, but generally without any formal or even photographic interest. Nothing was there but the idea, and it was preferably shown in its most minimal form — as a poorly lighted, exposed, and printed black and white photo. You could not get lost in the print itself; you were always confronted with the idea.

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“I always felt that one of the basic beauties of the medium of photography was that there could be many levels of interpretation; a certain richness of multiple meanings. That is where I veered away from conceptual art. My photographs exist completely as photographs, with all the complexity intact, not merely as illustrations of literal concepts. I like to consider them more as formal experiments dealing with the properties, history, and aesthetics of photography and concept of illusion, beauty, and landscape.”

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Good Night, Elsa.

A “perverse combination of dime store photography and Renaissance portraiture.”

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http://www.nytimes.com/2016/01/06/arts/design/with-film-supply-dwindling-a-photographer-known-for-huge-portraits-stares-at-retirement.html?hp&action=click&pgtype=Homepage&clickSource=wide-thumb&module=mini-moth&region=top-stories-below&WT.nav=top-stories-below&_r=0

Be sure to follow all of the links as well.

http://radioboston.wbur.org/2015/12/30/elsa-dorfman

Photographer Elsa Dorfman with her 20x24 Polaroid camera in her studio. (Jesse Costa/WBUR)

Photographer Elsa Dorfman with her 20×24 Polaroid camera in her studio. (Jesse Costa/WBUR)

The Estenopeico’s Decalogue, According to Fefo

1) Un estenopeico,no compra cámaras, se las hace.

2) A un estenopeico, generalmente le regala una cámara, otro estenopeico.

3) Un estenopeico si eventualmente, tiene que comprar una cámara, será estenopeica.

4) A un estenopeico, déjalo libre, porque en el espacio de la libertad, es donde mejor esta.

5) Nunca le preguntes a un estenopeico cuantas cámaras tiene (no tiene idea de cuantas tiene…. o tendrá).

6) Un estenopeico, no se olvida una cámara en un poste, está haciendo una solarigrafia.

7) Para un estenopeico, todas las fotos estenopeicas están buenas o muy buenas o impresionantemente buenas.

8) Para un estenopeico, solo dos o tres fotos estenopeicas, son malas, pero algo de bueno seguro tienen.

9) A un estenopeico lo entiende, otro estenopeico mucho, alguna persona más, otras no lo entienden.

10) Un estenopeico, no compite, comparte.

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1) A pinhole photographer doesn’t buy cameras, he makes them.

2) A pinhole photographer usually gives a camera to another pinhole photographer.

3) If a pinhole photographer eventually has to buy camera, it will be a pinhole camera.

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4) Let a pinhole photographer go free, because freedom of space is better for this.

5) Never ask a pinhole photographer how many cameras he has. He has no idea how many he has (or will have).

6) A pinhole photographer won’t forget a camera on a pole; he’s doing a solargraph.

7) For a pinhole photographer, most pinhole photos are good. Or very good. Or really, really good.

8) For a pinhole photographer, only two or three pinhole photos are bad (they gotta have some).

9) One pinhole photographer understands another pinhole photographer very well; others just don’t understand.

10) A pinhole photographer doesn’t not compete, he shares.

Get Yourself Another (Another!) New Camera, to Travel Far and Wide

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It’s a lightweight, hardbody 4×5 that takes your 90mm lens, and it won’t break the bank!

https://wanderlustcameras.com