These terns seem to love the posts on this little jetty. I had seen birds on these numerous times before and thought they looked pretty cool. I had ventured to the spot a few times hoping to get a shot similar to this but the birds never co-operated… Sometimes there would be seagulls hogging this prime real estate, but for some reason they just seemed to ‘flighty’ when I would be about to take the shot !  This particular foggy morning the terns were having their turn at the prime real estate and it all came together and I shot this on 6×17 and this is a 6×6 crop so I’m pretty stoked with it.

‘prime real estate  –  medium format 6×6 velvia. ’

Sono lietissimo di annunciare la pubblicazione di una nuova galleria di ritratti su: ch.Rindler photographer!

Si tratta di una serie di foto alla mia Musa & Amica Margherita nei panni, per come la vedo io, di una Erinni, quelle simpatiche dee della Furia & Vendetta, e per dirla con il sommo poeta:

« …….
dove in un punto furon dritte ratto
tre furïe infernal di sangue tinte,
che membra femminine avìeno e atto,
con idre verdissime eran cinte;
serpentelli e ceraste avean per crine,
onde le fiere tempie erano avvinte.
E quei, che ben conobbe le meschine
della regina dell’etterno pianto. »
(Dante Alighieri, Divina Commedia, Inferno, Canto IX, 38 – 41)

Guardare per credere.

ch-Rindler xxx

 The wonderful Welsh hills near Conwy, North Wales, UK

Roughly 120 days from now I’m teaching a workshop in Peru.

My planning has already begun. You might find that a little surprising, but it’s very true. And while this might seem like a lot of prep time, let me assure you, it isn’t. Not by a long shot.

And when I say planning, I don’t mean dragging out my suitcase or beginning to prepare lecture notes. Those will come, in time. I mean, one of the basic questions is which camera will I take – my Leica or my Hasselblad?

At the moment, I’m beginning to prepare the logistics of my photographs. My personal introspection of what I’d like to make while in Cusco for the first time – what I’d like to make while there, not what I’ll be teaching. In fact, this note is somewhat of a primer on what we will be considering while there.

You see, in many ways, I’m in a similar position to the students who will be attending the Peru in Book Form photographic workshop. I’ve never been to Peru. I’ve never witnessed Easter in Peru. I’ve never seen Cusco. I’ve never been to this hotel. I’ve never flown through Lima. So, it is difficult for me to know exactly what will happen, which is what is so exciting.

(For those curious why the heck I’m teaching a workshop in a city I’ve never visited, I’m working with the producer of the PhotoExperience workshops who specializes in photography in Cusco. Between the two of us, we’ve got it covered.)

I think one of the most difficult things about doing an event like this is fighting the urge to preconceive what will happen or what I will see. More seasoned photographers might stand over my shoulder: “been there, done that“ trying to share the easiest solution with me, but again, my mind is telling me otherwise. I have grand visions, but there is always a catch.

In my editorial and newspaper days, assignments NEVER appeared like the concepts I’d preconceived. On the one hand this was frustrating. My visions were always incredible, and often times the visuals in front of me were not. I’d find myself cursing the assignment editor or saying to myself, “Gotta make chicken salad out of chicken sh%$.”

But on the other hand, arriving at unexpected things was fantastic, kept me on my toes, challenged me, and in the end made me a far better photographer. Heading into unknown territory with my camera became second nature, which has helped me tremendously when it comes to shooting weddings or even portraits. I don’t get rattled.

So today I find myself dreaming about Peru and also trying to figure out how I’m going to “design” my photographs – better yet, create my story.

I don’t know what I’m going to see in Peru. I could go online and look up Easter and try to find something specific, and part of me wants to do that, but I’m fighting the urge. Perhaps I don’t really want to know. I want to see with fresh eyes, knowing that what I see has never happened before. Each year brings something new, something I learned from photographing Sicilian Easter over a four-year period. I would return to the same towns, shoot the same events and see different things each time.

I’m thinking about other aspects of my images: how do I want them to look? In what format? Color or black and white? What size prints will I make? Will the prints be digital or traditional? Am I shooting for more of an editorial look? Gallery look? Or a book?

The specific goal of this workshop is to photograph Easter in Peru with the idea of producing a book from the material. What size book? What format? Will this be a commercial book? A personal book? A limited edition? Softcover? Hardcover?

What if I shoot two different ways and make two different books? Can I even do that? Will it water down the images if I try to do two things at once? Should I research previously published books on Peru? Of Easter?

Okay, by now it is evident I just finished my morning coffee, and that perhaps I’m a little fixated on this issue. Guilty as charged.

But this is my reality. You see my “design” on my images changes. I’ve got more than one look, and I’m trying to predict the future.

The easiest thing to do is shoot my Leica and Tri-x. I’ll love it. I know because I’ve done it so many times, in so many places. But I could also use the Hasselblad, which I love for portraits. Maybe I could shoot the action with the Leica and the slower stuff with the Blad?

It would be so great to board the plane with two small bodies, two lenses and a small bag of film. Light, easy, simple. But my mind tells me I can do more, make more, but this might just be another trick.

But in the end I can’t allow the concept of a book, or what a gallery might like, overpower the basics of light, timing and composition. I need to put myself in the best position to make the best photographs that are most reflective of me as a photographer.

It’s so easy to get lost in the “design”.

So, today my planning and designing continues. Soon I will work on lecture notes, slideshows, etc. I will curse myself for losing at least half of my Spanish ability. But I will also relish the idea of what will happen 120 days from now. I will dream about the moments and the happiness we will experience.

Like a fire burning inside, keeping us creatively warm, until that moment when the starter gun says,” Go!”

www.santafeworkshops.com
www.photoexperience.net
www.milnorpictures.net

The more i shoot with my Yashica Mat, the more i get motivated to learn to stuff at school and new things to try. Thanks to my friend april who works at delaware camera in buffalo, NY i got a bunch of color 120mm film for super cheep so i can keep shooting.
here are some shots from the past couple of weeks;

Earl andJ P standing in sunset

Earl standing on beach.

Church Rooftop.

Fall windows.

Lake Ontario.

The Tank.

Self Portait- Stairing at buildings.

when i went to a local photo store to pick up some stuff i noticed as soon as i walked into the store a mamiya rz67. ive been looking at these medium format cameras for a while now and i had one of the guys the worked there pull it out for me so i could take a look at it. everything about this camera was beautiful and he said it came with the 120mm lens that was on it and another 90mm lens plus with a winder and hard bodied case for $850. i was in awe when he told me the price for such an amazing camera. ive been looking around online at cameras like these and the body alone sells for $700 not to mention the 2 lens that came with it were around $300 dollars. I wish i had the cash cause i would throw down some serious cash for this amazing camera. Its in amazing condition and the price is unbeatable. God i wish i had money haha.

I guess it is difficult  for me to get out whilst it is sunny outside now it is winter and the night falls so early (and I get up well late, take my time living…). Anyway on a walk out at La Villette with Amit I found myself stuck with a 200ISO film in my camera and the night already falling… So I tried pushing it to 400ISO. This is all new to me since I never tried doing this before. I developed the film with some standard Rodinal and left it a bit longer. God I was scared of what I would get… But in the end I think it is one of my best roll for a long time. Youpie !

P.S. : I might just not be so fussy about my pictures today…

P.P.S. : As for my arty research not much going on this side, just reading bits and pieces here and there…

dajdajdaj (pieprzone d300s szadoka zostawia podpis, ehh, buła moja i fota moja)

I have been mostly shooting my beloved Canon G9 but nothing feels or looks like film, especially medium format, whether it’s a plastic camera like the Holga I used to shoot these first three or an amazing high quality glass machine like the Mamiya 6 which I refer to as a 35mm camera on steroids.

: )

in the lab…

Heidelberg, Nov 09

Ziedaar Dhr. Verbeken Jr.

Since i moved to utica back in september there have been a bunch of old buildings that ive been wanting to go into and take pictures of. This week i finally had the time to drive over to one that i have had my eye on and go into it.
Here are some 6×6 shots that i got form that journey.

Rusted light box

Rusted stove

Rusted machine

Rusted Utica fire truck

Old boat

Old hallway

Self portrait in beam.
See it?

Along with my very strange journey to this building i made 2 prints at school before this as well.

Railing

No digging

กลับไปบ้าน เห็นแม่สบายดีขึ้นเราก็สบายใจขึ้น

I
She liked to talk; that much was evident. She had been described variously as loquacious, garrulous, sometimes downright chatty, and she liked to write. Her excessive verbiage was filled with tautologies, periphrasis and prolixity. Editors asked her to stop beating around the bush. She said they were all philistines. It was poetry she was after.

II
He had his outlet; she had hers. Hers, she thought, did not endanger their relationship. In some ways, she was just as guilty. She’d let herself go, while propounding on the right way to be. He’d let himself be dissuaded from his dreams, seeking recompense elsewhere. Things remained static until discontent bubbled to the surface.

III
During drinks with his director, he put her down. She exercised, dieted and toned; had dental work done. By summer’s end she was buff, moving through life at sixty miles per hour. She’d made herself over. She ran a foot race; he slowed to a crawl. He’d created a monster that grew out of hand.

IV
It was his boss’s sympathy toward her circumstances that made her feel inadequate. It made her feel confined, running in place. She was averse to any kind of sympathy. Mostly she despised him for winking as if he understood. He was patronizing her. He stroked her pudgy fingers when they both reached for the salt.

V
He found poems, but couldn’t deduce what she was trying to say. In college, he played football, and when she wrote of her hero, he recognized her emotions. He thought that was the voice he married. These words he now held were the voice of another. They were not beautiful. He saw her in them.

VI
She said if he saw her in that light, she would be that person. He said he loved her for what she was. She said he didn’t have a clue. He said give me one then; just help me out here. She said she wasn’t her brother’s keeper, and then she left. He remained clueless.