Tag: journal
SOVIET UNION
Wondering about the Diana Mini

So, if the Diana Mini can shoot 72 half-frame pictures on a 36 exposure roll, or 36 square exposures, does the film advance advance the film on 24×36 boundaries?
Two half-frame shots should print out on a 4×6 print with a fine line between them, and normal spacing between 2 half-frame shots. I’m assuming the square frame would advance the same distance as a 24×36 image?
If you shoot one half-frame shot, then switch to square, then shoot half-frame again, how would the negative look? And, would your photo processing lab try and follow along, or just print evenly-spaced 24×36 prints regardless of what’s on the neg?
Photos of science fiction writers’ nests
In 2000, I found Kyle’s “Leicaslacker” pages and found his writing entertaining and his photos deserving of envy. I followed Kyle’s Armed America project through his LiveJournal, and continually wish I’d taken his photos.
Exposure-Mat, a free light meter (no batteries required!)

I’m a big fan of the Sunny 16 Rule for determining exposure. Print film is forgiving enough that you don’t always have to get the exposure *exactly* right to get a good shot.
The”Sunny 16″ rule, paraphrased, says, “Set the shutter speed to the reciprocal of the film speed, and set the aperture to f/4 for open shade, f/5.6 for overcast, f/8 for hazy sunlight, f/11 for sunlight and f/16 for snow, water, or bright surfaces in sunlight.
Here’s a great link to a do-it-yourself paper slider exposure meter. Use one of these and you won’t need a meter for 90% of your outdoor shots on print film.
Shooting an old retro camera without a meter and guesstimating exposure is a liberating experience. I recommend it.
Sketch Tuesdays at 111 Minna (Updated)
Slow Photography in an instantaneous age
http://lens.blogs.nytimes.com/2009/05/17/
essay-slow-photography-in-an-instantaneous-age/
Fast is fine, but slow can be much better.
Digital photography and the ascent of the Web have quickened our jobs. Instead of one deadline a day, we now have continual deadlines, bringing exponentially increasing speed to what we do at The Times.
One advantage of using larger formats is that the process is slower. It takes time to set up the camera. It takes time to visualize what you want.
When doing portraits, it enables the photographer to talk and listen to subjects, to observe their behavior. A camera can trap a photographer sometimes. You can look so intently through a viewfinder that you are unaware of the picture in front of you. When I use an 8-by-10 camera for portraits, I will compose the picture and step back. Using a long cable release, I will look at the subject and wait for the moment. It’s very liberating.
[ Fred R. Conrad, via nytimes.com ]
Hunt for the West Chester Guerilla Drive-In’s secret AM broadcast
John Young says:
Back in 2007, you posted a link to the West Chester Guerilla Drive-In, where we project 16MM movies at secret locations from the sidecar of my 1977 BMW motorcycle:The kit-built AM transmitter in the photo you posted is the MacGuffin, a secret AM transmitter in a waterproof case hidden somewhere in the area, and broadcasting around the clock. In order to find out where movies are going to be shown, you have to find the broadcast, tune in, and discover the secret access code.
This year, the audio for the AM broadcast includes a freshly-recorded cover of “Brazil”, which you will probably remember as the soundtrack for the Ministry of Information in Terry Gilliam’s awesome 1985 movie.
You can see the MacGuffin and hear the first bit of the secret message on the Guerilla Drive-In website.
[via boing boing ]
Film is not dead…
…But it’s not moving around much.
My local film sources are drying up, and I’ve had to resort to buying film on the (gasp!) internet. Wolf/Ritz Cameras used to sell Fuji Superia 100/24 4 packs but the last few stores I checked said they haven’t received ANY FILM in their last few shipments. WAL*MART and Walgreens are closing out their 110 film; I bought WAL*MART out of their Kodak 400 110 a few weeks back. Last year, Walgreens had a run on Kodak HD 400 and Kodak 400, both great films. I bought 9 rolls, in retrospect I should have bought more – HD 400 has wonderful colors and surprisingly small grain. I haven’t been able to find Lucky 100 film in years, I’m down to my last half-dozen rolls dated March 2005.
100 ISO film has been scarce for some time; as people shot with point-and-shoot cameras, they needed the extra 2-3 stops of exposure to make up for slow zoom lenses. The industry stepped up to the plate, and new 400 and 800 ISO films are much less grainy and much more vibrant than old 400s were in 2000.
So, what’s left? The internet is still going strong. B&H, Adorama and Amazon all have stocks of 35mm. Cheap film is getting scarce, but semi-pro and pro film is still going strong, but at more bucks per image. Your Local $.99 Store may surprise you. Often, $.99 200 ISO no-name film is really Fuji, Agfa, or another brand. If you’re shooting film in a $.99 camera, why not try $.99 film?Ditto for expired film. Don’t be afraid to experiment. The Four Corners Dark Store and the Lomographic Society have expired film specials, and most indie camera stores will sell their expired film or “short” film (film due to expire Any Day Now) at a discount
Keep your eyes open for closeouts.
Good Hunting!
Krappy Kamera Gallery
(I so missed this – that’s what I get for not subscribing to EVERY BLOG OUT THERE… Do check out the link to the 2008 winners…)
Soho Photo Krappy Kamera® Competition

In the upstairs gallery, the Krappy Kollage–all the entries (over 1,400) for 2007’s Krappy Kamera show.
The beginning
Don’t think, just shoot
This LOMO mantra’s been getting easier for me – since I’ve been growing my hair longer and spring breezes are here, I’m having a hard time looking through the viewfinder without my hair getting in the way of the lens or the viewfinder!
I shot a roll of some generic $.99 cent store ISO 200 film on my way home last night and didn’t look through the viewfinder once. We’ll see how it turns out!
<Obligatory photo posting>

Always check your settings…

I’m a bargain shopper, and when I see film on sale or closeout (which is happening more and more these days) I stock up.
I bought all of Walgreens’ Kodak HD400 film when they closed it out a couple of years ago, and it sat in my freezer ever since. I’ve had a fixation with slower speed film and my LOMO in a quest for the most saturation and finest grain, and so shot 100 speed film in my LOMOs and 400 in my SLRs. 100 speed film is getting harder to find, and I thought I’d try out 400 speed film to see if my bias was unfounded.
One benefit of 400 speed film in a LOMO is the extra two stops of film sensitivity. With the LOMO’s guesstimation zone focusing system, being able to stop the aperture down 2 stops helps widen the depth of field.
I loaded up a roll of HD400 in my LOMO and took it to the Mission Open Studios I blogged about yesterday. I was pleasantly surprised at how short the exposures were inside, even shooting in available light. I took 12 shots and was looking forward to seeing them. This morning, I took out my LOMO and noticed that I’d forgot to move the aperture setting back to A after shooting flash shots. This meant that ALL my shots yesterday were taken at f/16 and 1/60th second. I might be able to pull some detail out of them with photoshop; we’ll see how that turns out when I get the prints back.
The moral of this story is ALWAYS CHECK YOUR SETTINGS BEFORE YOU SHOOT.
Art Explosion Open Studios this weekend!
From my friend Splicer’s blog.
I’m going to try to make the opening tonight, otherwise I’ll be there tomorrow.
Splicer and I go way back. He’s someone who knew me first as “Poindexter”…
Barbed Wire
Persnickety cameras…
My LOMO LC-A has had problems intermittently on the tail-end of the roll. It takes more and more effort to wind the film on, then at frame 18 or so the mechanism slips. It happened again so I shorted the roll and opened it up. It seems the take-up reel has cracked in a couple of places, and it wasn’t turning. I was able to free up the mechanism, but it’s still a little wonky. 20-year old Soviet-era plastic can’t be expected to last forever – as it is, it’s still going after 100+ rolls!
I took my Vivitar IC 100, the newest $1.00 camera in the family out for a test roll and noticed that the winder was an odd retrograde design. The guide sprockets rotate left to right, then the take up reel rotates counterclockwise. It jammed at frame 16, and I had to take the camera into a dark closet, open the back and manually feed the film back into the case. I could feel the sprockets had shredded at some point on the roll.
Thefts at the Museum of Bad Art
I’m not making this up:
The loss of two MOBA works to theft has drawn media attention, and enhanced the museum’s stature. In 1996, the painting Eileen, by R. Angelo Le, vanished from MOBA. Eileen was acquired from the trash by Wilson, and features a rip in the canvas where someone slashed it with a knife even before the museum acquired it, “adding an additional element of drama to an already powerful work,” according to MOBA. The museum offered a reward of $6.50 for the return of Eileen, and although MOBA donors later increased that reward to $36.73, the work remained unrecovered for many years. The Boston Police listed the crime as “larceny, other,” and Sacco was reported saying she was unable to establish a link between the disappearance of Eileen and a notorious heist at Boston’s famed Isabella Stewart Gardner Museum that occurred in 1990. In 2006—10 years after Eileen was stolen—MOBA was contacted by the purported thief demanding a $5,000 ransom for the painting; no ransom was paid, but it was returned anyway.
Prompted by the theft of Eileen, MOBA staff installed a fake video camera over a sign at their Dedham branch reading: “Warning. This gallery is protected by fake video cameras.” Despite this deterrent, in 2004 Rebecca Harris’ Self Portrait as a Drainpipe was removed from the wall and replaced with a ransom note demanding $10, although the thief neglected to include any contact information. Soon after its disappearance the painting was returned, with a $10 donation. Curator Michael Frank speculates that the thief had difficulty fencing the portrait because “reputable institutions refuse to negotiate with criminals.”
Be sure and notice the camera.
[via Schneier on Security ]
How to develop film using coffee and Vitamin C!
http://photojojo.com/content/tutorials/coffee-caffenol-film-developing/
Survival scenario #117:

You’re trapped in a grocery store. Zombies are closing in from all sides. You have a crucial photo that could end the carnage, if only you had some way to develop the film.
What do you do?
You grab some instant coffee and vitamin C, you develop the film, and you vanquish the zombies.
What, you don’t think we’re serious?
First of all, zombies are an inevitable part of life.
And secondly, you really can develop film using vitamin C and coffee. For reals.
Read on, and we’ll show you everything you need to know. Quick, before the zombies regroup!
[ found photography, via photojojo ]
Miru Kim Naked City Spleen Photo Series
  
Miru Kim is known as the “naked urban photographer,” a fearless artist who walks around naked in abandoned urban locales in cities such as New York, Paris and Berlin. She has photographed various familiar urban settings, such as abandoned subway stations, tunnels, aqueducts, factories, hospitals and shipyards. Her series, Naked City Spleen, is a dissection of places built and forgotten and somehow exposed by the naked body of the artist. She also founded Naked City Arts, a not-for-profit art concern in downtown Manhattan, helping young artists to further establish their careers.
[via coolhunting.com ]
Boodler and Buddha Machine together
I’ve been playing with my Buddha Machine v2.0 for the past week and love it. I downloaded the .wav files played by Buddha Machine 1.0 and decided to buy one to play next to my 2.0 unit.
While googling around, I came across a post on the Healing Beats forum describing a program called Boodler. From the web page:
Boodler is a tool for creating soundscapes — continuous, infinitely varying streams of sound. Boodler is designed to run in the background on a computer, maintaining whatever sound environment you desire. Boodler is extensible, customizable, and modular. Each soundscape is a small piece of Python code — typically less than a page. A soundscape can incorporate other soundscapes; it can combine other soundscapes, switch between them, fade them in and out. This package comes with many example soundscapes. You can use these, modify them, combine them to arbitrary levels of complexity, or write your own.What rocks is that FM3 has released the .wav files for 1.0, as I mentioned, and the author of Boodler has written agents to use them:
1. Download the soundscape buddhamachine and place in the ‘effects’ folder. (of course you will need to extract it first) http://eblong.com/zarf/boodler/extraboo … ine.tar.gz
2. Download the buddha machine sounds which you will need from here: http://www.fm3buddhamachine.com/downloa … Vfiles.zip
3. Extract these and stick the ‘buddha loops loud’ folder in the boodler-snd folder.
4. Start one of the agents (see the buddhamachine readme for a list) I like buddhamachine.Layers or buddhamachine.ComplexLayers
5. Instant Buddha machine with virtually infinite combinations and pitches = CRAZY DELICIOUS.
Buddha Machine
My Buddha Machine arrived yesterday.
I opened the shipping container to find a box roughly the size of a deck of playing cards. The outside is festooned with the FM3 logo and chinese lettering.

The box opens to reveal a retro-looking plastic slab resembling a 1970’s transistor radio. It’s the brainchild of FM3 (aka Christiaan Virant and Zhang Jian) an ambient duo based out of China. The Buddha Machine plays “drones”, little low-fi downtempo ambient clips ranging from 2-45 seconds. Each drone plays continually, or at least until the 2 AA batteries run out. A 4.5v DC adapter (not included) allows the unit to play for longer periods of time.

The only controls are a volume control/power switch, a push button to change drones, and a pitch-bending dial. The Buddha Machine plays through a small speaker and can fill a small room; the tinny response seems to improve the quality of the sound. Think of film grain improving an image. If you choose a more personal experience, there is a mini headphone jack on top.
Even though you could download the sound files from FM3’s site, it’s just not the same unless you hear the cracks and pops of the unit’s tinny little speaker. It’s deliciously analog, completely non-upgradable, and offers a warm, imperfect analog sound.
The Buddha Machine can only be found a few places right now, including Forced Exposure.




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