May 2009 Archives
Despite being exhausted from a weekend of staying up late and playing host, I couldn't resist processing the roll of film I had during my New York weekend. I even printed some contact sheets, which I'll post in all their scratchy, contrasty glory.
One lesson learned: 200 speed film is such a hassle! I bought a bunch of it thinking I wanted a little less grain, but it just needs too much light for my tastes. On the next roll I'll go back to my trusty 400 and make more use of my new backdrop paper.
Anyhow, some images that caught my eye on the first glance:
One lesson learned: 200 speed film is such a hassle! I bought a bunch of it thinking I wanted a little less grain, but it just needs too much light for my tastes. On the next roll I'll go back to my trusty 400 and make more use of my new backdrop paper.
Anyhow, some images that caught my eye on the first glance:
The boys, with messenger bags and plaid abounding.
Sheena on the phone outside the Middle Eastern grocery.
This seems a little cliche but I like it anyway.
Sheena on the phone outside the Middle Eastern grocery.This seems a little cliche but I like it anyway.I was sorry to see that last one is a little underexposed, but perhaps it can be helped along with the few darkroom tricks I've got up my sleeve.
Overall, I feel like this roll was par for the course: a few gems scattered in a sea of mediocrity. I can't wait to shoot more film for just that reason: digital makes us lazy. With big flash memory cards and long-life batteries, there's not much motivating me to make sure I frame up a nice shot every time. Film adds a physical element, using up resources with every click of the shutter. Film isn't so expensive that I hesitate to take pictures, but it adds a healthy element of appreciation for each frame. I'm anticipating a new round of work that is more well-considered and intentional than my recent digital projects.
Overall, I feel like this roll was par for the course: a few gems scattered in a sea of mediocrity. I can't wait to shoot more film for just that reason: digital makes us lazy. With big flash memory cards and long-life batteries, there's not much motivating me to make sure I frame up a nice shot every time. Film adds a physical element, using up resources with every click of the shutter. Film isn't so expensive that I hesitate to take pictures, but it adds a healthy element of appreciation for each frame. I'm anticipating a new round of work that is more well-considered and intentional than my recent digital projects.
"A portrait photographer depends upon another person to complete his picture. The subject imagined, which in a sense is me, must be discovered in someone else willing to take part in a fiction he cannot possibly know about."
-- Richard Avedon
This sums up my entire current preoccupation with portrait photography. As I read more about Avedon's work, I am increasingly fascinated by the connection he builds between photographer and subject.
In a way this wordless connection strikes a deep chord with me as an introverted person. This doesn't just describe portraits. For me, it describes the underpinnings of how I relate to other people.
At first I wondered if a difficulty connecting with others in everyday life would beget a similar difficulty in pulling the "subject imagined" from those I photograph.
The answer, I think, lies in the integrity of that wordless connection. As I watch people from afar, am I imagining my perceptions of them? If they don't reciprocate of even know about the connection I feel, is it real?
Or, do I understand people well but just have trouble expressing myself to them? If this is the case, one could argue my portraits of people are a window to how I see/understand them.
-- Richard Avedon
This sums up my entire current preoccupation with portrait photography. As I read more about Avedon's work, I am increasingly fascinated by the connection he builds between photographer and subject.
In a way this wordless connection strikes a deep chord with me as an introverted person. This doesn't just describe portraits. For me, it describes the underpinnings of how I relate to other people.
At first I wondered if a difficulty connecting with others in everyday life would beget a similar difficulty in pulling the "subject imagined" from those I photograph.
The answer, I think, lies in the integrity of that wordless connection. As I watch people from afar, am I imagining my perceptions of them? If they don't reciprocate of even know about the connection I feel, is it real?
Or, do I understand people well but just have trouble expressing myself to them? If this is the case, one could argue my portraits of people are a window to how I see/understand them.
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