This FP4+ Party is on FIRE!

For this month’s #FP4+ Party, and after being disappointed with much of my shooting over the past few months, I decided to try some macro-type stuff this time. I dressed the FE up in the Micro-Nikkor 55mm f/2.8 and PK-13 and started looking for stuff to shoot.

Didn’t find much.

It was a bit cool outside and rained some early in the week, and my darling, adorable wife seized the opportunity to get a fire going, and I got to shooting…

It’s remarkably difficult to focus on fire. I let the FE handle the exposure, more or less. I wanted a narrower aperture than I could focus or handhold, even (unknowingly) pushing the FP4+ to the astronomical heights of EI200.

I’m a party animal, I am.

I guess I’m more of a Fuji guy, I guess

Just before I went off to Arkansas, I shot and developed two rolls—Fuji Superia X-TRA 400 and Kodak Gold 100—of expired film from the FPP LoFi HiDrag box I picked up a month or so ago, and shoved some selects into a folder with the intent of writing up posts and sharing them while on holiday.

I didn’t even turn on the computer, though, and last week went to clean out the to-upload folder, I found these and didn’t remember what they were about. I did remember the notes I made while processing all that film from the Arkansas trip, and I remembered that I never talked about Kodak vs. Fuji to the extent I intended to in that series. Looking back at these now, I see echoes, antecedents, perhaps, of the things I experienced with the fresh consumer stocks I shot during the Arkansas trip, even matching somewhat the things I noted in my one brief comparison.

Before I get started, though, one thing: if you enjoy shooting film, please shoot fresh film. Expired film is fun to play with, but please purchase, shoot, and talk up fresh film as often as you’re able, lest Fuji and Kodak Alaris and the very few other manufacturers stop making film altogether and we get stuck with dwindling stocks of expired stuff like these two rolls from the good people at the FPP… Continue reading “I guess I’m more of a Fuji guy, I guess”

Cloudy, with a chance of Orwo NP7

Back in January, I ordered up a mess of Compania Imago film. I was especially excited by their recycled wood and plastic film canisters and the (exceedingly remote) possibility of reusing them to roll some whatever whenever. I’ve shot through most all of that film now, and just have one roll of ancient Ansco left in the fridge. I’m saving that one because it’s so old; I was saving this one because I had such trouble with it the first time (largely due to my own errors, but still: once bitten and all). This time, I was sure to get my settings all set, and I think I got it right, or right enough.

The negatives are ludicrously dense, probably fogged by age and poor storage or something. God knows. But at EI 200, everything came out fine, though I did have to ‘scan’ them with a ridiculously long exposure. B/W negatives usually get something like f/8 and 1/60th; Color usually goes more like f/5.6 and 1/30th. I scanned the Orwo NP7 at f/5.6 and 1/8th: thank God for sturdy tripods. Continue reading “Cloudy, with a chance of Orwo NP7”

Unboxing Wafaa Bilal’s ‘168:01’

In 2003, looters burned the library at the College of Arts at the University of Baghdad. 70,000 texts were lost. Wafaa Bilal put together ‘168hrs. 01sec’ to memorialize the cultural and historical losses in Iraq, symbolized by the installation of a library of blank, white books at the Art Gallery of Windsor, ON earlier this year. I contributed some money via Kickstarter, and during/after the exhibition, brother Wafaa replaced one of the white books with an text that was later sent to the College of Fine Arts to help rebuild their library. I’m honored to help my brothers and sisters in Iraq in this limited and symbolic way.

https://youtu.be/t-haaH4CstM

Wafaa Bilal is a performance and installation artist, and Associate Arts Professor at the Tisch School. His Canto III was in the 2015 Armory Show and the Venice Biennale, and his works can be found in museums around the world.

Carrie Mae Weems-‘Kitchen Table Series’

I don’t know where they got my email address—probably some mailing list-type service—but Light Work sent me an email with an advertisement for their 2017 Book Collectors Offer: a signed copy of Carrie Mae Weems’ new book of her 1990 Kitchen Table Series and a 2017 subscription to Contact Sheet for a fairly reasonable price. I hemmed and hawed about it for a couple of days, and then pounced. I’m thoroughly enjoying the subscription to Aperture I received as a gift earlier in the year, and I reasoned that 1) another regular photography publication will be welcome, and 2) a signed copy of a photobook I didn’t know anything about would at least add something to the bookshelf.

Little did I know the importance of the Kitchen Table Series. It’s a look into a life we all share, and simultaneously a life we, or I, for one, really know nothing about and to which we have little access. My mom would recognize something different from it; my wife something different still; none of us would get all the way to what some of my coworkers might understand. Yet it’s a universal, and important tale. If you can get your hands on a copy, do it.

Continue reading “Carrie Mae Weems-‘Kitchen Table Series’”

Returning Home

After three and a half days with Mom, I drove back home on November 21. I started to take the direct route out of Arkansas, but then decided to detour some, and ended up taking the same route through the wilds of Eastern Oklahoma. Continue reading “Returning Home”