ARTS 2110 - Roll 6 - Ilford HP5+ 400 - (for reference) - started 10.2.2009
On my way downtown. My attempt at street photography, which of all types of photography, is probably the kind I am worst at.
1/60 f/4
On my way out of Georgianne Stinnett's exhibit "Daemons" at Second Street Gallery. She taught me photography in high school! Her photos were of unfinished taxidermy armatures. I didn't print it this well, and people in the critique were unsure whether the picture was taken at day or night; it was at dusk, braced on a construction barrier.
On my way out of Georgianne Stinnett's exhibit "Daemons" at Second Street Gallery. She taught me photography in high school! Her photos were of unfinished taxidermy armatures. I didn't print it this well, and people in the critique were unsure whether the picture was taken at day or night; it was at dusk, braced on a construction barrier.
1/4 f/5.6
This was on the way back; some skateboarders were staring at some police officer across the intersection (as stereotypical skateboarding teenagers are wont to do) and I was debating whether to try and photograph it or not; I couldn't get closer (there was a road in the way and besides, I was not about to involve myself in whatever was going on over there) and it was too dark, really, but once this jogger crossed the frame, I had to trip the shutter. It was reflexive. It's been cropped heavily because I was so far away, and there was a crescent at the top of the frame from where I must've bent the film during processing. It's definitely a Cartier Bresson 'decisive moment' reference. On the print, I tried to spot out a crescent from creasing the film during development (this is almost impossible to do) but I just cropped it out of this version. I think in both versions I spotted out some filter flare of the squad car lights.
This was on the way back; some skateboarders were staring at some police officer across the intersection (as stereotypical skateboarding teenagers are wont to do) and I was debating whether to try and photograph it or not; I couldn't get closer (there was a road in the way and besides, I was not about to involve myself in whatever was going on over there) and it was too dark, really, but once this jogger crossed the frame, I had to trip the shutter. It was reflexive. It's been cropped heavily because I was so far away, and there was a crescent at the top of the frame from where I must've bent the film during processing. It's definitely a Cartier Bresson 'decisive moment' reference. On the print, I tried to spot out a crescent from creasing the film during development (this is almost impossible to do) but I just cropped it out of this version. I think in both versions I spotted out some filter flare of the squad car lights.
1/60 f/2.8
These are some IRC residents I met randomly at breakfast one day over break, who generously invited me over for s'mores later.
These are some IRC residents I met randomly at breakfast one day over break, who generously invited me over for s'mores later.
1/125 f/8
This one didn't come out on the contact sheet, but I was sure it would scan all right. Turns out it was a little too dense for that even; lately I am tending to overexpose things in order to get shadow detail, but sometimes end up losing highlights. Here I lost both; even film is only film.
This one didn't come out on the contact sheet, but I was sure it would scan all right. Turns out it was a little too dense for that even; lately I am tending to overexpose things in order to get shadow detail, but sometimes end up losing highlights. Here I lost both; even film is only film.
1/60 f/5.6
I printed this weird little (fungus?) ball way too light for critique. It looked good on the contact sheet and the scan looks all right. I don't recall whether I ended up putting a reprint of it in the final portfolio.
I printed this weird little (fungus?) ball way too light for critique. It looked good on the contact sheet and the scan looks all right. I don't recall whether I ended up putting a reprint of it in the final portfolio.
1/125 f/5.6
My shadow was unavoidable here. The angle on the door and that silly sign made it too good to pass up.
My shadow was unavoidable here. The angle on the door and that silly sign made it too good to pass up.
1/125 f/11
I printed this without enough contrast, then accidentally spit on it while trying to blow dust off it. I realized that this was a sign from God that it wasn't actually a good photograph and moved on. I didn't show it at critique.
I printed this without enough contrast, then accidentally spit on it while trying to blow dust off it. I realized that this was a sign from God that it wasn't actually a good photograph and moved on. I didn't show it at critique.
1/125 f/5.6
I actually got much closer than this, but with my camera and lens setup, there was no good shot close to the door, and I bailed instead of trying to go inside (I had work in a few minutes, if I recall correctly). You can see that I like this angle on doors, as well as photographs of places that you're not really supposed to see. Secret dungeon of Minor Hall.
I actually got much closer than this, but with my camera and lens setup, there was no good shot close to the door, and I bailed instead of trying to go inside (I had work in a few minutes, if I recall correctly). You can see that I like this angle on doors, as well as photographs of places that you're not really supposed to see. Secret dungeon of Minor Hall.
1/60 f/5.6
Secret pipes of Minor Hall, running alongside and underneath McCormick Rd.
Secret pipes of Minor Hall, running alongside and underneath McCormick Rd.
1/60 f/4
This squirrel tail, just stuck in the ground. I couldn't make this up. But it could just be a reference to this.
This squirrel tail, just stuck in the ground. I couldn't make this up. But it could just be a reference to this.
1/60 f/2.8 1.5 stops of bellows compensation
I could do a set of lame photographs from the end of every roll. You can tell because it's very near where I live. Still, continues on the industrial-pastoral theme. Not bad, but not great.
I could do a set of lame photographs from the end of every roll. You can tell because it's very near where I live. Still, continues on the industrial-pastoral theme. Not bad, but not great.
1/60 f/4
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