Being a film photographer I move a bit slower and am more concerned with the nature of delayed rather than instant gratification. Also, this image happened to be the first exposure on the roll, meaning I had to make it through another 11 shots to finish this up and even see this exposure. The notion of first exposures is a worthwhile one to explore. A higher-than-normal percentage of my favourite images tend to be the first or last exposures on a roll because I tend to lend more weight to the making of those photos. For example, I typically don’t load an empty camera, or empty film back, until I have a picture to make. That means when a roll of film does get loaded it is because I have enough of a purpose in mind to motivate me to load film. And the film that gets loaded is being selected for the first image it will be used to make. Along those lines, when I get to the last frame I really try to make that last exposure count. There is no better way to wrap up a roll of film than with an image you are excited about. Another way of approaching this is to go out without any spare rolls of film. I did this on this outing with my two Hasselblad backs, one of which is dedicated to colour and the other to b&w. I opted to not take any extra rolls of colour film with me and that back was on exposure 10, meaning I had only three shots remaining for an entire excursion. It is limiting but scarcity can also place greater value. With only three shots, or by waiting on my first shot of the roll, or the last shot, I am placing a higher-than-normal value on those exposures and because I do so, I tend to enjoy a higher-than-normal success rate with those images.
On October 17th, 18th, and 19th, in celebration of the 40th anniversary of “Heroes”, and in collaboration with Arts Brookfield and WNYC’s New Sounds Live, Jonathan Meiburg, Emily Lee, Sadie Powers, Lucas Oswald, and Josh Halpern (Shearwater and Loma) were the nucleus of an all-star lineup performing Bowie’s entire “Berlin Trilogy” of albums (1979’s Lodger, 1978’s “Heroes”, and 1977’s Low) at the magnificent Winter Garden Atrium at Brookfield Place in lower Manhattan.
Shearwater Manchester Nov 2012
Jonathan and David
Boys keep swinging. Me in my Hometown 1978
Sound and Vision Home 2019
Words without sound Feb.2019
Big House Small House. Lomography Purple and Pinhole
I love a misty Forest.
Over the years I have noticed a trend in my photography. To be fair, I notice many trends. It is sort of how I work: I make photos over a long span of time then see where the pictures settle and read them like tea leaves. It gives me a perspective on what I am doing that I don’t have while I am out doing it. But I digress. It is a lot about feeling, mood, perspective or whatever other abstract ideas you want to associate with what guides us through the creative process. I tend to be more in a black and white mood, for lack of better words. I love the simplicity of black and white. It pares the world down a bit to more essential elements. It makes things a bit simpler, a bit quieter… in a way. And that is a big part of what is driving me. I appreciate that simpler rendering.
I think part of it is also the timeless nature of b&w film/images. Colour is date able, by which I mean, you can generally tell when a colour image is made by its palette. The colour films of the 1970s look like the 1970s, just as the colour palettes of today’s images have a distinct look that is temporally anchored. Black and white eschews this dating to some degree. And I appreciate this too. That I am more easily able to make an image that is not anchored to a particular time, because sometimes the image I am making is not about a specific time at all, and if that is the case I don’t want that association to be baked into the photo. If that makes sense. But I do just like the concept of time as this slippery, amorphous, crazy notion of a thing and so if there is a way to set it aside just a bit, to make a photo that isn’t necessarily of a certain place at a certain time but perhaps somewhere sometime, then I enjoy doing that as well.
So there it is, just some of my thoughts hammered out in a bit of a stream-of-consciousness manner.
Ride until the darkness closes in
Until the ravaged soul begins
To reflect the open skies
In these days
Absurdities never change
Saddle up your thoughts and run to ground
In this world of lost and found
Callac Lake Jan.2019
One of my photographic interests has been to collect an exposed roll of every type of black and white film. For years I used almost exclusively just Tri-X. And I love Tri-X, but every roll of Tri-X I shot was a roll of some other film I didn’t and asking myself the question what would this look like with another film. I got a bit tired of not having good answers. What are the differences between Delta 400 and Tmax 400? How about Tmax 400 and APX 400? What does that Adox CMS 20 II look like? Or the Copex Rapid film? I think it is true that there is not enough time in the day to use every roll, which is why it has been a project that hopefully will never end. Unfortunately 35mm takes me half of forever. But I have been using my Nikon more and more. I can keep that trusted camera loaded with weird films and have been carrying it with me everywhere, trying to move faster than I normally do but not too fast that I produce a bunch of ho-hum images.
Wood Ducks Home Jan.2019
It is nice when I do finish one of these rolls though. I just got through a roll of the Washi S. It took about a month or so. I also underexposed it a bit because I thought it was ISO 80 when it is really ISO 50. Ooops. But that is ok because the results turned out interestingly enough. Deep shadows, high contrast, no grain. And that is one of the benefits to a project like this, it nudges me in directions I wouldn’t have gone without that nudge. Would I have tried a roll of this out otherwise? I highly doubt it. And hence I wouldn’t have made these images either. Anyway, just thoughts on this ongoing experiment. Now the Nikon is loaded with a roll of Lomography Berlin 400 film.
Susan New Years Eve Mont St. Michel 2018
Tree and Birds Jan 2019
There is more I have to say for these than time I have to say it. And as time is the best medicine, just stand quietly for a minute and enjoy.
Aged Lomography Purple iso 400 Negative film
Small Car Mael Carhaix Jan 2019
Purple Train Gouarec Jan 2019
Veneno para las hadas Malvran Forest Jan 2019
Pink Slide (in the real world it’s Yellow) Lac de Guerledan Jan 2019
As mesmerising as the Mont is at a distance, and trust me, it is completely entrancing even from afar, Susan and I were eager to head closer to it. So that is where you and I are heading now.
Mont Saint-Michel is currently connected to land via a dry causeway, which is causing all sorts of problems, namely the fact that it is changing Saint-Michel from an island to mainland as silt builds up on one side of the causeway and cannot be washed away by the tides.
The causeway itself is roughly a kilometre long. There are buses that trundle along it every few minutes transporting visitors, but we preferred the walk on the other side of the canal. Getting to know Mont Saint-Michel step by step was an enjoyable process. And it is something else to see it grow steadily in front of you as you get closer and closer; there is certainly more gravitas to it than zipping up in a bus crammed full of tourists smashed up against the windows with camera phones out and the reflected backwash of flash lighting everything up. Although, that is an experience of its own.
Especially on a misty afternoon like this though, with only two other individuals to share the road with and this beautiful and famed abbey rising slowly in front of you, it wasn’t hard to imagine the experience of past pilgrims to this site. Though I think my journey was a drier one.
To state the obvious, France is a land of fairy tales. Walking under the Eiffel Tower. See Mont Saint-Michel rise out of the fog above the tidal plains for the first time. Running your hands along the many rough, ruined stone walls. I am thankful that such places exist. Even more amazing that they were built by people. But I guess when you think about it, in one sense or another, all the best fairy tales are created by people. We create the stories that we make appearances in.
And as a new year starts for me and with it new stories, that I’ll share some moments from this particularly lovely fairy tale of a trip that was momentous and fleeting all at the same time.
Like Dean Moriarty’s ghost I came in quest of secret knowledge
in the winter of my journey to a crumbling Granite college .
I saw three crosses pierce the sky above that distant hill
the sky burned red as I turned my head and I left that scene behind
I took another god to be my guide, the one inside
our destinies entwined