madshutterbug: (c) 2011 by Myself: Zone VI 8x10 view camera (View Camera)
Marjai is an old, dear friend and one of my Muse. Alas, she no longer dwells nearby geographically, so our sessions are spaced out in time. A couple years ago, she expressed an interest in doing a session utilising one of our livestock water tanks, assorted hats, cigars, and booze. Or at least a looks like booze, if not the real thing.

So we did.

Now, her visit coincided with the recent arrival of Sydney Subaru Outback the Younger and my interest in photographing both Sydney the Elder and Sydney the Younger together. Primarily for sentimental reasons, you know. And I decided one portion of our session would cover the rather cliché subject of women and automobiles. That is, women wearing primarily what they were born with and automobiles. Despite the cliché nature, good sport that she is Marjai accommodated my request and so here we are, a portrait of Sydneys as it were.

This also followed a brief conversation with Ed A Guy Your Age (link to his blog there), an interesting bloke who patronises our Haile Farmers Market booth occasionally for goats milk, goats milk cheese and other odds and ends as we've got them. Discussing the acquisition of Sydney the Younger Ed mentioned that in his experience, many Subaru owners seemed to be a bit odd. This, he allowed, coming from himself, and certainly not a derogatory comment as he rather appreciates the odd. I did think about this later, and may need to agree with him. At least, such other Subaru owners as I know particularly well. Not a large number, that, and yes, we all seem to sport some aspects of the Odd.

I allowed to myself as to this bit of Odd and Subaru connection when I reviewed the photos from the session while reassuring Houdini that the Sky Grumblers wouldn't be coming inside after his Magnificent Tail (one of our summer thunderstorms approaching at the time). Reassuring Houdini put me in mind of two things, one being the Subaru advertisement campaign featuring the Barkleys, a family of Golden Retrievers as well as other dogs. The theme in these ads summed up with 'Subaru: Dog Tested, Dog Approved.'

Houdini certainly approved (approves) of Sydney Subaru Outback the Elder. He is a bit disappointed with Sydney Subaru Outback the Younger as Sydney Younger has now yet allowed Houdini within for a ride. This is more due to our decision to hold off until we acquire seat covers. Sydney Younger has leather seats, you see, and we'd rather not have Mr. H climbing across the leather. Leather seats isn't a feature we went looking for, and further when the sales representative mentioned them our response was we preferred cloth. So no selling point there. Obviously there are other points in Sydney Youngers favour as we did purchase him. Just... leather seats are nice but not vital.

Dog Tested, Dog Approved popped into my head as I reassured Houdini about those pesky Sky Grumblers, reviewed photos, and of course (we are talking about the Odd here) my mind said to myself, Myself, you could title these Nude Tested, Nude Approved.

Photo Behind, Art Nudity, Eh )

I suppose I could, at that. Might be truly Odd as well to do so and dedicate the naming to Ed, since his mode of transportation is bicycle.

However, Hats. Marjai brought a couple, I provided a couple, and on a rather warm August day we proceeded to photograph in the water tank after walking around a bit to do the Automotive theme pieces. One of the hats is her pith helmet; she uses this one often with some of her Steampunk outfits.
Pith Helmet. Little Else )

Marjai is a diverse person, gamer, cos-player, costumer, geomapping engineer... Another is her fedora, a well used traveling hat. I also brought out a black hat I call the 'Gamblers Hat'. We will visit some of those images later.

The Red Hat is my contribution, and I've used it before with other models. This time I quite consciously kept in mind the spirit of the poem 'Warning' by Jenny Joseph. This poem inspired the formation of the Red Hat Society. The first two lines are:
When I am an old woman I shall wear purple
With a red hat which doesn't go, and doesn't suit me.

Go, look it up if you've not read it. Really good. And, while a purple dress does not feature in the photographs, the hat does feature a purple band and bow.

I Shall Wear... a Red Hat )

Red Hats & Hens )

Not all of the photos feature hats. And while this one isn't the one, there is a portrait of her that I swear she channels Colombo...
Portrait of Marjai )

We worked for a couple hours. Besides the Subaru photos, we made a few using Littlejon Deere tractor. While we worked alongside the trees with the livestock tank, a power company line crew started working out on the road at the junction there, where the power lines branch to come onto the Ranch and go across the road and further down the road. It's a fair distance from where the Studio is, and while they may have seen us as well (power line follows our private road and passed overhead where we worked) they probably didn't (good bit of foliage cover in line of sight, which in fact the power company needs to come trim back to the edge of their right-of-way).

That covers recent work. Also on line is clearing up the clutter in Studio in order to resume matting and framing pieces. The Autumn Start to the Art Festival Season is almost upon us. Progress is the next challenge. First showing will be at Necronomicon in the Art Show, 3 to 5 October in Tampa. Then I've some 'time off' until the first two weekends in November. 1 to 2 November will be the Micanopy Fall Festival, and the next weekend 8 to 9 November will be the Gainesville Downtown Art Festival. If you are in the area(s) come on and see the shows! Seeing the Art Show at Necronomicon will involve purchasing a membership to Con, hence the link to their site. Micanopy and Downtown Gainesville are both open to the public.
madshutterbug: (C) 2005 S Grossman (Stalking_Elusive_Photograph)
I learned the header concept in the College of Nursing. I chose it for this post because one of the questions I'm asking myself is, what have I learned, is there evidence of a change in behaviour? What's that (my mis-)quote, I believe attributed to Einstein? If we keep doing the same thing expecting different results...

Prove the answer. As in, Prove = test. Proof Marks indicate test demonstrate material ability perform to standard. Proofs in photoraphy = basic image little/no manipulation, usually for a client to approve for print / publication. Here...

Via one of my hardback dictionaries, definitions of Prove and Proof:
Prove: 1. Establish truth or genuineness of / 3. Give demonstration of by action / 4. To subject to test, experiment, comparison, analysis or the like.
Proof: 3. Act of testing or making trial of anything; test, trial / 7. An arithmetical operation serving to check the correctness of a calculation / 9. A test to determine the quality, durability of materials used in manufacture. / 11. A trial print from a negative. / 13. An impression taken from a plate or the like to show quality or condition of worth during the process of execution.

Thus, proof images from photography, given that media more than film exist (digital) will include any of the initial images from the act of calculating light, time, exposure for the effect. They may be for a customer's or artists approval, they may be complete in themselves, or they may be a step along in a process. I generally refer to the first batch of such images prepared for either the party(ies) involved in a photography session or the party(ies) commissioning same, or other designated viewers as the Proof disk. This sparked some thought when one such delivered to a party involved, where the previous interaction yielded a disk with a folder of 'Proofs' and a folder of 'Web Prepared'. The more recent disk included only a folder 'Proofs'. Are proofs 'ready for viewing'? Are they ready for sale?

Once being known for photographing in available darkness, now I'm also playing with various types of lighting. One initial experiment with a LED rope light indicated a very fascinating effect; I expected and am pleased to verify that multiple rope lights provide rather a goodly amount of light. There are more variations to play with, both in shape, size, and colours, before this experiment is done. It is both available light, and available darkness. In truth, all photographs are a combination of both aspects.

Some of my experimentation I prefer to do with more or less inanimate items. More or less because some of those items, some of the images resulting, will imply animation. Puppet theatre, for instance, is a core thought in my working with the Otters Mob, the collection of stuffed toy otters I and other friends use. This is partially financial. Often, working with a live model requires exchange of value. Always, for the public exhibition of such work, legally there must be an exchange of value. Sometimes that exchange is subtle, intangible, an interaction between two people who hold each other close, as friends. Sometimes, and somewhat simplified by the very fact, it is more obvious and measured in currency, legal tender for the execution of all debts public or private. Because sometimes, the experiment needs that animation.

I also ask myself telling questions. I purport to see a final image and work towards that, called 'pre-visualising' by such as Ansel Adams. However, while I will only exhibit in a show, for example, the final concept, I am not always 'guilty' of beginning the process with that final concept in my mind. I will start with a simple idea, a simple expression: visual illuminated ropes hanging in suspension provide the light for an image. Then while looking at those basic images I start asking 'what if' questions of myself. Combine these within the set done on the day, combine them with other pieces, and what does the ultimate final image bring? What questions does it start to ask the viewer, possibly not seen until the components spark a larger idea.

I do pre-visualise, more than I did when I started out studying photography and probably less than I'm inclined to think that Ansel Adams meant when he discussed pre-visualisation. On the other hand, I often start with a basic concept (photograph using rope lights, photograph using a mesh body veil) and then start to see spin-off ideas from the basic images. I know I'm starting from a 'building blocks' perspective. Perhaps better to be visualising specific blocks to a final image. Perhaps more intriguing to make blocks, then start combining those to see what do I get.

Sometimes it is nothing more than random numbers. There are a few which you'll see here that I picked. There are others which I simply clicked on file names to build an upload, not looking at anything other than the file name (not looking at their icon images, eh) and uploaded to provide examples for this post.

These are Work-Safe, and over on Flickr )

Part of the reason I mention they're on Flickr is, I'm still filtering how I post certain works there based on 'Is the Viewer a Registered Account Holder, and Do I List Them As A Viewer?" Hence, anything following will be visible here, yet won't be visible there (if you follow the link) unless you are able to answer the above question with Yes, and Yes.

If you aren't interested in the Not Work Safe imagery, you should be able to skip it even after viewing the earlier three images. Skip all the way down to 'Leave a Comment.' Please do. Leave a comment, that is.

These are Not So Much Work Safe, also over on Flickr )

Summarising, then, these are initial pieces following a Studio 318 session. Proofs, if you will, at least that a couple of people came together and exposed light under controlled timing to a sensitive surface. They are tests as to the outcome of the manufacture, as well as the quality of the product. They may be complete unto themselves, they may become portions of a greater whole.

In short, they are a work in progress, as well as a work completed.
madshutterbug: (C) 2005 S Grossman (Stalking_Elusive_Photograph)
Been reading here a while? You'll recall the occasional post where I emote over what web-based image hosting provider should I use. As is, I currently use three point five, with the point five being LJ itself, though it's been quite some time since I put anything into the Scrapbook there. Note: I did originally attempt to post this here on the date & time (27/04/11 @ 15:17) and ran into difficulties getting logged in. Either this was due to the Internet connection, or to the hardware at teh Ranch. Long story that.

The largest body of photographic work I've got hosted on-line is through Flickr. This is the one I pay for using; there's some history behind that, and it could still change, and blahblablahblah. It remains, this is the largest body of stored work. Changing off this will result in a lot of 'broken link' images in the photo-blogging I've been doing here.

A few years ago, I started investigating Deviant Art. DA keeps nagging me that I need a premium account, and I keep ignoring their nagging because their rates are somewhat (noticeably) higher than Flickr. I also told myself I'd be a bit 'stricter' with myself posting to DA, in part because the ability to limit who sees ones work is somewhat less than what Flickr provides. On Flickr, I can 'filter' who sees work by declaring someone a 'Friend' or 'Family'. Then one needs to be either, and have an account on Flickr to be so tagged. On DA, I can set a level of image that will require someone to be a DA account holder and logged in, but not to my knowledge much more than that. If one isn't a DA member, you can still browse over to the DA site. What you will see for those 'Mature Content' images will be a place-holder image.

All of the above is side-line as it were from my subject, and still applies. Flickr keeps twiddling with the setup. Surprised? Shouldn't be, so does LJ, and most other blogging sites, eh? Anyway, I posted some recent work to DA yesterday, and this morning to Flickr planning on posting to here with the latter links.

Except the page wasn't acting in the manner to which I'd become accustomed, and I couldn't grab the html coding for the photos. Should be able to, couldn't. New buttons in place to make it easy to share via e-mail, share to LiveJournal, and to Facebook. Then a drop-down arrow, which is what wasn't working. The Share to LiveJournal wouldn't let me use it, saying I couldn't because the photo wasn't public or not flagged safe.

What artwork is safe? That's a whole different question. For much later. But hey, when did this button come along, and is Flickr a 'whitelisted' site, I wonder? Another whole different question, for later. Right.

So I went to the trouble of gathering html coding to link to the DA postings, then tried logging back into Flickr and hey, now I could grab the html coding to link to those images. So. Well.

About a week and a half ago, I worked with a model new to me, one MordsithCara on Deviant Art, Chelsea on several other photography/modelling related sites. I came across her work on two separate sites more or less the same time, and on one of them decided to view her profile. There, I learned she currently resides fairly close to teh Ranch, making an artistic partnership possible. I contacted her, she proved interested, and we worked. We set up a date with two options, one outdoors for good weather, one indoors for inclement weather.

On the day, the weather proved quite clement, some overcast, 'partly cloudy', nice sun. The theme for the outdoor session was Dryad. Dryad are tree-spirits, specifically from Greek mythology and even more specifically, primarily of oaks. I suspect this means there are other **ads for other trees; I know there are others for water and such.

The location for the session is teh Ranch, where we enjoy several copses and stretches of North Central Baja Jorja live oak and laurel oak trees. We set out walking about the place, and since most of where I wanted to shoot is over on the east side of teh Ranch, where the cows live, we perforce went where the cows are. Mostly they ignored us, though they did come to see, while we worked fairly close but not right by the gate/fence, if we would provide any food. Not having any, they wandered off. We did keep an eye open, though, as this particular day was the day after the evening one of our cows didn't show for dinner. Since we knew that cow was pregnant, I figured that to be because she was calving. She was, though probably delivered, actually, early in the morning of the day we shot. We kept an eye out for her and her calf because we didn't need to disturb them.

Quite a bit of work later, and I've rather a good collection of pieces to keep working up for show. Being made with a digital SLR, they are all colour images. Being that I've been seeing these concepts in B&W, I've been working them over to that. Some I may leave in colour. Some, I may leave a little bit in colour.

These are not in Colour. Nor are they WorkPlace Safe. For most definitions of WorkPlace. )

So. Credits:
Model, Make-up Artist, Hair Stylist: Chelsea Christian, MordsithCara
madshutterbug: (C) 2005 S Grossman (Stalking_Elusive_Photograph)
Been reading here a while? You'll recall the occasional post where I emote over what web-based image hosting provider should I use. As is, I currently use three point five, with the point five being LJ itself, though it's been quite some time since I put anything into the Scrapbook here.

The largest body of photographic work I've got hosted on-line is through Flickr. This is the one I pay for using; there's some history behind that, and it could still change, and blahblablahblah. It remains, this is the largest body of stored work. Changing off this will result in a lot of 'broken link' images in the photo-blogging I've been doing here.

A few years ago, I started investigating Deviant Art. DA keeps nagging me that I need a premium account, and I keep ignoring their nagging because their rates are somewhat (noticeably) higher than Flickr. I also told myself I'd be a bit 'stricter' with myself posting to DA, in part because the ability to limit who sees ones work is somewhat less than what Flickr provides. On Flickr, I can 'filter' who sees work by declaring someone a 'Friend' or 'Family'. Then one needs to be either, and have an account on Flickr to be so tagged. On DA, I can set a level of image that will require someone to be a DA account holder and logged in, but not to my knowledge much more than that. If one isn't a DA member, you can still browse over to the DA site. What you will see for those 'Mature Content' images will be a place-holder image.

All of the above is side-line as it were from my subject, and still applies. Flickr keeps twiddling with the setup. Surprised? Shouldn't be, so does LJ, and most other blogging sites, eh? Anyway, I posted some recent work to DA yesterday, and this morning to Flickr planning on posting to here with the latter links.

Except the page wasn't acting in the manner to which I'd become accustomed, and I couldn't grab the html coding for the photos. Should be able to, couldn't. New buttons in place to make it easy to share via e-mail, share to LiveJournal, and to Facebook. Then a drop-down arrow, which is what wasn't working. The Share to LiveJournal wouldn't let me use it, saying I couldn't because the photo wasn't public or not flagged safe.

What artwork is safe? That's a whole different question. For much later. But hey, when did this button come along, and is Flickr a 'whitelisted' site, I wonder? Another whole different question, for later. Right.

So I went to the trouble of gathering html coding to link to the DA postings, then tried logging back into Flickr and hey, now I could grab the html coding to link to those images. So. Well.

About a week and a half ago, I worked with a model new to me, one MordsithCara on Deviant Art, Chelsea on several other photography/modelling related sites. I came across her work on two separate sites more or less the same time, and on one of them decided to view her profile. There, I learned she currently resides fairly close to teh Ranch, making an artistic partnership possible. I contacted her, she proved interested, and we worked. We set up a date with two options, one outdoors for good weather, one indoors for inclement weather.

On the day, the weather proved quite clement, some overcast, 'partly cloudy', nice sun. The theme for the outdoor session was Dryad. Dryad are tree-spirits, specifically from Greek mythology and even more specifically, primarily of oaks. I suspect this means there are other **ads for other trees; I know there are others for water and such.

The location for the session is teh Ranch, where we enjoy several copses and stretches of North Central Baja Jorja live oak and laurel oak trees. We set out walking about the place, and since most of where I wanted to shoot is over on the east side of teh Ranch, where the cows live, we perforce went where the cows are. Mostly they ignored us, though they did come to see, while we worked fairly close but not right by the gate/fence, if we would provide any food. Not having any, they wandered off. We did keep an eye open, though, as this particular day was the day after the evening one of our cows didn't show for dinner. Since we knew that cow was pregnant, I figured that to be because she was calving. She was, though probably delivered, actually, early in the morning of the day we shot. We kept an eye out for her and her calf because we didn't need to disturb them.

Quite a bit of work later, and I've rather a good collection of pieces to keep working up for show. Being made with a digital SLR, they are all colour images. Being that I've been seeing these concepts in B&W, I've been working them over to that. Some I may leave in colour. Some, I may leave a little bit in colour.

These are not in Colour. Nor are they WorkPlace Safe. For most definitions of WorkPlace. )

So. Credits:
Model, Make-up Artist, Hair Stylist: Chelsea Christian, MordsithCara
madshutterbug: (C) 2005 S Grossman (Stalking_Elusive_Photograph)
Back a week or so someone commented to my post of the four pieces going into Necronomicon Art Show that they'd like to see the straight B&W of Balance. I thought I'd posted it once as a Pic'o'Day or such, and apparently not so much. So...
Balance, in B&W, still Not Work Safe )

That is all. Because it's dinner time here.
madshutterbug: (C) 2005 S Grossman (Stalking_Elusive_Photograph)
Then we get photo posts.

Lady of Tudor House )
Is she searching for someone long lost, or simply unwilling to depart from old haunts...
Worked up for the Necronomicon Art Show, 10/2010. Composite photo.
Model: Marjai
Also utilised, the upstairs of the Tudor House which lived in Studio for several months last year. And, a photograph of a hand-dipped beeswax candle, made by Herself. Well, Herself made the candle, and I made the photograph for her erstwhile web site.

The next three photos may not be Work Safe, for various definitions of Work and Safe.
Satyrs in the Glenn )
An idyllic scene observed secretly, unbeknownst to the mythological creatures... or is it?
Reworking of a piece initially made for Necronomicon 2009, to be submitted to Necronomicon Art Show 10/2010. The re-working is based on feedback from a couple of people who's opinion I rather hold dear.
Models: Marjai & Bean

Unwilling Sacrifice )
Light painting in studio, using Agfapan 100 35mm and Nikon FE2, 50 mm lens. Submitted to Necronomicon Art Show, October 2009 and 2010. Prints from last year will be in the Print Shop; all pieces hung this year in the show will be framed.
Model & Collaborator: Zoe Wiseman

Balance )
Light painting in studio, using Agfapan 100 35mm and Nikon FE2, 50 mm lens, hand-held battery torch. Submitted to Necronomicon Art Show, October 2009 and 2010

Model & Collaborator: Zoe Wiseman. The entire concept for this piece is Zoe's. She told me she'd do three poses, and to paint her in each pose. I've likely posted a pure black & white version of this rather than the warmer tones here.

Day - Oh

Jun. 19th, 2010 04:49 pm
madshutterbug: (C) 2005 S Grossman (Stalking_Elusive_Photograph)
Hot, humid, welcome to North Central Baja Jorja.

Ranch critters fed before it got too hot, and then we cleaned up a bit before setting out to run errands. We promised Houdini to be home in time to help fend off the Sky Grumblers who hunt him (thunder, eh), and we did accomplish this goal. Also done, feed bills zeroed out, supplies laid in, and a trip off teh Ranch for Herself. She does get to go places, really. Still, it feels pretty good to go together, even running errands.

Once home again, unloaded Sydney SubaruOutback, then Herself put together a trail-mix from ingredients purchased on the supply errand. Last batch we included M&M's and dehydrated banana chips. This time we didn't. It's all good, tastes great, and somewhat very less expensive than the commercial mixes. She picks out the Filberts and Cashews for me.

Houdini is now sacked out behind my chair, and there are rumbles of thunder about so I'm probably closing out shortly. However, as regards the Pic'o'Day?

I lied. One more, NWS )

Maybe tomorrow I'll post something from the Summer Fae session, since those participants now possess their proofs DVD's and thus saw the pieces before y'all do.

Theme

Jun. 18th, 2010 07:13 pm
madshutterbug: (C) 2005 S Grossman (Stalking_Elusive_Photograph)
Still NWS, Still Underwater )

Though I expect this may cap the theme for me, since it's also finishing the week (as it were).

As of today, all proofs disks delivered to all recent participants in a photo session. Yea. Met Techno and handed off Doozer's disk, as well as some fun discussion (because hey, we met in a cafe in a bookstore, eh?) about fantasy and science fiction genre pieces. Thanks for a great chat, Techno! Oh, and I remembered the other thing I was going to mention that I like about the Dresden universe... the laws (as we know them) of physics are fairly well honored. It takes energy to work magic, and the effects require energy from the environment... it isn't free at all.

Steak for dinnner. Later.
madshutterbug: (C) 2005 S Grossman (Stalking_Elusive_Photograph)
More Pool Experimentation. NWS )

Rather like this one on its own. Appreciating your comments on the series.

Yesterday was Stay Late. Stayed Late. Oof. Did get some chances to read today, but not logged in. So none of the filtered stuff. Almost time for dinner.
madshutterbug: (C) 2005 S Grossman (Stalking_Elusive_Photograph)
Again, NWS... feel free to suggest titles )

A comment in this thread, yet elsewhere, addressed the usefulness of some of these images for zero-gravity/micro-gravity artwork. Indeed. That is one of the purposes behind this experiment.
madshutterbug: (C) 2005 S Grossman (Stalking_Elusive_Photograph)
Not Work Safe... )

In general, my position is that one works to the limits of the equipment. This comes from my early teaching from my father, as does my tendency to compose/crop to full frame. To the latter, I am between two thoughts on cropping this one; not sure the light in the wall of the pool adds anything, nor am I certain it detracts. To the former, the optics are what they are, a disposable camera thus an inexpensive (probably plastic) lens, and 800 ISO film. Either film or digital, around 800 ISO speeds one begins to see grain or 'noise' in ones images.

For an experiment, to stretch a bit in a direction not previously followed, the equipment and timing proved satisfactory.

Triptych

Jun. 11th, 2010 07:14 pm
madshutterbug: (C) 2005 S Grossman (Stalking_Elusive_Photograph)
Not Work Safe: Low Light Photography )

A triptych is a set of three images, related to each other in some manner, and to be viewed as the three images. Sometimes the three make a single large image when viewed together. Sometimes two of the images 'complement' the main (central) of the three. This is often seen in religious artwork, where the central image is usually the primary one, and the two outer images are supportive. Another variation, as this one is, may be three images in sequence, and thus telling a bit more of the 'story' involved.

In days gone by I often heard accusations from fellow photographers, particularly in the few academic/actual classes I've taken, of photographing 'in available darkness'. This is of course a spin-off of 'available light' which means using (either 'natural' light or man-made') whatever light source is available. My photos tended to include a lot of dark areas, because often there wasn't much light available. Low-light photography, capturing an image under severe conditions, fascinates me.

The only light source used in this triptych is... the City of Chicago at Night. So, in reality, streetlights, building lights, automobile lights on the roads, all of that contributed to the lighting here. Camera is on a tripod, film speed 800 ISO. Exposure times were... seconds, not fractions of seconds or if so, 1/2 second or so.

I also experimented in trying to fit the 'most' image onto a computer screen when doing the scans, which led to overlapping the area outside the window rather more than not. As I've looked at this over time, I'm thinking it needs a re-do, including more of the window and the reflection of the model in it. Discussion of this latter concept is open.

In other news, picked up the film (with disks) from Flair Lab coming home today. I've skimmed through the images and am fairly happy with the outcomes. Significantly less abstract, if not less surreal than the image posted Sunday. Quite easy to note which frames the clouds did not occlude/filter the sunlight, and which frames they did not. All in all, as an experiment and as some potential building blocks for some science-fiction imagery, a good outcome.

In other, other news Sydney SubaruOutback now is status post bilateral total joint arthroplasties (replacement of CVJ axles) in the front, a new wheel bearing on the front right, and the new tires went on earlier this week. He's... quiet when running now. No thum thum thum noise. I've discovered how much I used that noise to judge my speed, and found myself travelling... rather a bit much faster than posted speed limits on the way home. Several times.

Of course I slowed down after scanning the speedometer...
madshutterbug: (C) 2005 S Grossman (Stalking_Elusive_Photograph)
Working with film is an exercise in delayed gratification, which is a lesson it took me a long time to learn. When all one has is film, it doesn't seem to be such an exercise. One knows film must first be exposed, then processed, then the images may be worked up further in any of the various means. Usually this meant prints of course, before the advent of scanners to digitise images, though it could be a 'slide show' of transparencies (and hence the calling of a 'power point' presentation as a slide show). I've worked with film for the majority of my time as a photographer, and I've worked with film in the past five years since acquiring my Nikon D70s DSLR. I will also be the first to tell you, I've not shot as much film since 'going digital' as I did before.

Along this line, last year during the summer I eyed the pool at a friends house and pondered some of the imagery I've seen where photographers worked underwater with their models. I'm not discussing either artistic or scientific open water photography here of coral reefs or fish or underwater wrecks, though those qualify as well. I am thinking about nude figure work, and the fact that this friends house and therefor pool are rural, secluded, a good environment for an experimental stretch.

So I priced waterproof housings for SLR, DSLR, and even some of the housings for point-and-shoot cameras and... um... wow... maybe not so much for an introduction. How, then to experiment with a new environment? Walking through a CVS Pharmacy store I found an answer. Inexpensive (as in less than $20 US) disposable use-once underwater film cameras. Designed for fun and family amusement, for folks who may not be thinking Oooo, Art, and very available. First step in this experiment even involved simply purchasing one for my friend to use when they entertained nieces and nephews to see what the basic quality we'd be obtaining would be. Paid for the processing as well, as this is part of my experiment.

Pleasant outcomes; a packet of family memories, a series of images to examine and project possible outcomes. While picking up prints for last year's Necronomicon Art Show, I even found some more of these same type (different manufacturer) cameras at my lab, on sale. On sale because film 'out-dates' at a point in time. It is after a a product of chemistry, and such things do change over time as entropy effects them. However, as all students of photography know, how film is stored also effects that out-date business. My lab stores their stock in climate-controlled areas, so I knew these outdated cameras hadn't been exposed to excess heat or humidity. And I store my film in a refrigerator after purchase, sometimes even in the freezer. This greatly prolongs the actual service life of the chemistry.

I bought two.

And then, we ran into scheduling problems between model and site availability and weather and... then along came winter. Sure, hard-core Polar Bear Club members may think that North Central Baja Jorja's winter was mild in terms of swimming in a pool. We aren't Polar Bear Club members. Then along came Spring, albeit slowly, slowly. And Rhona told me the pool is warming up nicely. Then she got her job offer, teaching overseas. It's good, the homestead stays in the family for now since her parents will move in. I've met, and like her parents, however I'm not sure I care to ask if they should like to host a nude photography session in their pool.

We jumbled some calls, and some schedules, and today we eyed the sky a bit skeptically due to major clouding and an 80% chance of rain, and we still brought together photographer, model, and two 'lookouts' for a couple hours of work in the pool.

Let me tell you, for the two of us in the pool, it is work, too. First of all, hind-brain must kick it in and remember to advance film/cock shutter between frames. No, first of all one must remember that there are only a limited number of frames that may be shot while holding breath. Second of all, remember about advancing film. Third, figure out how close one may get with a fixed-focus camera. And then get going with the general concept of what poses (if we may so call the body stance floating underwater) we want, and shoot away catching breath between three to four frames.

And then we get to wait on taking the film to the lab for processing. Which really means in this case Tuesday, because tomorrow is another Stay Late day in my role as Perioperative Registered Nurse (and major income source), which are averaging five hours past normal end of shift time. Therefor, do not count on taking film to lab tomorrow, Monday. Tuesday, much more likely. Which means Thursday or Friday for pickup.

However, not all the cameras working today went underwater. I brought along the D70s thinking after the film ran out I'd work from the pool-side. Herself suggested she'd work on the basic concepts I wanted from poolside while Dee and I worked in the pool. When she wasn't distracted by a truly beautiful butterfly that found the wet edge of the pool a delightful source of hydration she did get some interesting photos. A few are of the 'session'; those are for future reference and sorry, not public consumption. Others, though...

Declared NWS, though it is very very abstract )

I could say this one image makes the day worth it. There's some truth in that. However, there are more even from the side of the pool, and there will be more from inside as well. All in all, a worthy experiment. Many thanks already delivered to all involved.

Oh, and a two-hour nap in the afternoon as well. Did I mention that underwater photography is work?
madshutterbug: (C) 2005 S Grossman (Stalking_Elusive_Photograph)
On Sunday, that is. Cleaning off the back deck of Studio 318 which while in the shade, when I went out to give Houdini a bath (he and Herself got into a game of Hose, perfect time for a bath) was not in shade. Add to that cleaning out two ice chest coolers which were on the back deck, and none of that wearing my hat, and t'were afternoon.

When did my hair get so thin...

Anyway, after yesterday there being quirkiness with connections and very weird dreams (more in a bit) last night, I feel like posting Something Which Is Not Work Safe. Notice Given )

Working title, Magdalena. Alternate title, Odalisque. Done in 2000 using Mamiya C330 and 80 mm lens and Ektachrome colour transparency.

Dreams which may or not of inspired today's posting selection. First, either trying to get into the mind of (or was I the) serial killer. Just how did the car drive into the house non-destructively, anyway? Not as in garage attached to house, in the Living Room. Second, van stopped at traffic light (van hasn't run for... long time) and unscrupulous vendor types begin dis-assembling engine through the hood (how did they open it from outside, anyway?). Unrequested, undesired, and delayed us starting a 5 hour drive, which we didn't complete as a consequence.

However, the dead body from the serial killer proved handy, as I left it in the vendors office and called the police.
madshutterbug: (C) 2005 S Grossman (Stalking_Elusive_Photograph)
Not Work Safe Notice )

Spent the afternoon working on teh Ranch. Simply being a day off of Hospital does not mean it is a day off. Expanded one hog pen, which fact did affect the selection of subject for today's post. Not the specifics, the model. Those of you who know Marjai will know why the juxtaposition of hogs, hog pens, and Marjai is somewhat ironic.

Houdini tried to go walkabout while I worked on the hog pen. Little did he know that I was keeping an eye on him. Too bad for Houdini. He will, however, accompany us when we go out to give the kids their evening feed, and he'll walk by with me to feed the cows. Good for Houdini.

Curiosity

NSFW Jan. 31st, 2010 10:34 am
madshutterbug: (C) 2005 S Grossman (Stalking_Elusive_Photograph)
( You're about to view content that the journal owner has advised should be viewed with discretion. )

Curiosity

18 Jan. 31st, 2010 09:22 am
madshutterbug: (C) 2005 S Grossman (Stalking_Elusive_Photograph)
( You're about to view content that the journal owner has marked as possibly inappropriate for anyone under the age of 18. )
madshutterbug: (C) 2005 S Grossman (Stalking_Elusive_Photograph)
( You're about to view content that the journal owner has marked as possibly inappropriate for anyone under the age of 18. )
madshutterbug: (C) 2005 S Grossman (Stalking_Elusive_Photograph)
( You're about to view content that the journal owner has marked as possibly inappropriate for anyone under the age of 18. )

September 2015

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