The 52 Project, Week 31: Swanson's on Sandusky Street

What started as a quick practice in large format camera setup has suddenly become my most successful 8x10 B&W to date. 0__0 Here's the low-down.

It was about two weeks after my trip to New York, I was bored, starting to feel the winter weather creeping in, and really starting to miss shooting that big 'ole 8x10. There were still many prints to be made, as I was in the early test stages of fine-tuning my Pyrocat HD developing regimen; aka, the initial contact prints looked horrid. For those of you that follow the blog regularly, you can take this post as the big excuse why my posts started to backup throughout December.

So anyway, I had these god-awful contact prints on the cheapest fiber paper known to man, made under darkroom conditions unbeknownst to cause horrendous post exposure fogging ("Doh!"). I was taking them to my good friend Leslie over at Findlay's only photo-related shop, Imagine That! for some peer review. What I love about Leslie is that she's too nice a person to tell a bad photo off, unless you ask her for her honest opinion. Of course, I did just that and got the earful that was needed; my consolation prize was getting to pet with the "shop cat" Schmoop, a monstrous rag doll cat with enough fur to take out an army of allergic soldiers.  With my now low-hanging self-esteem, I sulked back to the car, when I happened to notice Leslie's next door neighboring business for the first time. It was a quaint little '50's style barber shop with a simple everyday scene occurring. I was so struck, I went in to ask Mr. Swanson's permission for a picture while he finished up yet another haircut. There was very little time for the setup and capture to occur before this haircut was over, and daylight was fading fast. This was the perfect opportunity to capture something meaningful with the 8x10.

And here's what I got:

It's great slices of Americana like this that give me hope for the continuance of Mom & Pop shops in the future. ^__^The exposure was quite a long one, 5-6 seconds, with a LOT of faith placed on the busy barber and his patient patron. I needed as much light hitting the film as I could possibly get, so a lot of swing was used to manipulate my depth of field while keeping the lens close to wide open. Only after processing the film did I realize there was MORE than enough light captured, I had in fact created the most dense Pyrocat negative I'd ever seen. >__< Just to get the "crappy" print on RC paper needed a low f-stop and a lot of Grade 0 time on the enlarger. Translation: I ignored protocol and consistency of calibration in order to get a cool shot, much paper would be wasted in obtaining a good print.

All in all, the severely diluted Pyrocat HD came through for me in preserving the highlight detail in the fluorescent bulbs while pulling out plenty of shadow detail towards the back room of the barber shop. No complaints in the image department, except maybe the overall framing (or frame within a framing :p).

When I started printing bigger, 20x24 fiber prints to be exact, you can bet multiple, multiple copies of this print were made. They're all pretty close to one another, with some softer in contrast than others. Dodging and burning gets a little trickier when dealing with split-grade printing; more about that insane process another day. So far, the prints have been doing incredibly well. It's three for three thus far, getting into:

• Art Space Lima's Annual Photo Show
• The Findlay Art League Photo 29 - Winner of Best B&W
• FAVA Biennal Photo Show 

So what was learned from this image?

Something Good: It appears to have an impact favorable to a majority of viewing audiences. Perhaps its the simplicity of the image, or the familiarity of the subject matter. Either way, it's doing quite well in the aesthetics department.

Something Bad: This neg is dense, like 5+ minute print times dense. I'm terrified to use reducer as I've heard horror stories about what it can do to pyro stain. The flip side is this makes a fabulous negative for Platinum/Palladium printing should I ever have enough disposable income to start "printing money".

Something Learned: Judging from the very few images I've taken which include other people, I'm starting to tell that I like environmental portraiture, a lot. Not that head-on portraits without context are a bad thing, I just feel they're a waste of the detail capturing power of 8x10.

Next Week: We're going back down to medium format, for some off-beat fun shots. Don't wanna get too serious for a personal blog. :p

The 52 Project, Week 23: I Think There's a Pattern Here

On yet another seemingly boring Sunday afternoon, which may after today be called “8x10 Day”, I took to the streets of Toledo, OH looking for an image. Not feeling adventurous enough to go all the way downtown, I started at the Toledo Museum of Art and started working my way east, in hopes of an interesting image. Having the same kind of photo on my mind as taken in Week 20, I knew this kind of image might take a while to find; two hours to be exact.

I still need to work on scanning these contact prints.

Finding the patterned building leading against the sloped street was the easy part, filling it with somebody was much harder. Quite hard to tell in the photo, but I was on the opposite side of a four lane, very busy highway. So even when someone/a group of someones were coming into the scene, that doesn’t mean a semi, school bus, or sedan wasn’t. >__>

After about an hour and a half of queer looks, honked horns, and explaining this camera outfit to passers by, I was done; something needed to happen quick. Just then, a small pickup truck pulls off the road, nearly up onto the sidewalk, which would have simultaneously ended my loaner 8x10 and this project. Turns out, it was the owner of the building that the Eastman Commercial had been staring at for nearly two hours.

“Oh crap, here we go,” I thought.

Judging by the manner with which he pulled in front of the shot, I wasn’t expecting anything pleasant. Fortunately for my optimistically paranoid self, he was a fan of all things antique, AND willing to “pose” for shot with his building. He pulled away, only to come walking back into my shot 15 minutes later.

That brings us to this week’s key issues.

Is this image too much like Week 20’s?
Is the feeling of the image compromised by the fact that the person was encouraged to participate? Is it still Street Photography?

Why are there no answers here? Much like anything else art, the answers to these questions are entirely subjective. But that doesn’t mean you out there can’t weigh in. I’d welcome your open and honest opinion, as comments and critique only serve to help the artist. Thanks for playing along.

Something Good: Having well over an hour to meter the shot, compose, recompose, etc., etc., the shot and its processing were more than controlled, even with a red filter on a directly sun-lit scene.

Something Bad: Aside from the drama llama that comes riding in from the aforementioned issues, there’s some obvious dust spotting on the negative itself. This is the result of a dust being trapped on the darkslide and migrating to the unexposed sheet prior to exposure. Drats. >__<

Something Learned: There’s really nothing quick about the large format process, and I think I’m really starting to like it.

Next Week: A deliberate and very personal portrait.