A THOUSAND WORDS - Alex Waterhouse-Hayward's blog on pictures, plants, politics and whatever else is on his mind.




 

Yesterday, Today, Tomorrow?
Monday, August 12, 2013



Greer Grimsley

 “Will all great Neptune's ocean wash this blood Clean from my hand? No, this my hand will rather The multitudinous seas in incarnadine, Making the green one red."
Macbeth
William Shakespeare
Baritone Greer Grimsley in Giuseppe Verdi’s Macbeth


As I prepare myself for my Buenos Aires trip at the end of September in which I will have many photographic projects of my liking I have been agonizing on what equipment to take.

In one trip I made for a Toronto magazine called Vista (when magazines paid photographers to travel and paid them, handsomely for their photographs) I decided I needed some sort of compact studio flash. These were the days before 9/11 when my only hassles were convincing Latin American airport security not to X-ray my film.

In later trips abroad if I happened to pack a tripod in my suitcase, the suitcase would be opened. Those were the days when we locked them. The folks of US Homeland Security would forcibly open it, stick a paper that they had done this and then they would tie (if you were lucky) your suitcase with a rope or tape it.

Alas in my magazine paid trip to Argentina (and Uruguay) my Norman 200B flash arrived at Buenos Aires with a broken flash bulb. Finding a new replacement for my unit in Argentina was as difficult as purchasing there Canadian maple syrup.

On another trip to BA I was sandbagged from the rear near the Retiro train station and much of what I owned was stolen including my credit card which I had hidden inside my camera bag. Fortunately the American Express ads are accurate and by the next day I had a new card but fewer cameras.

Since then I have learned my lesson and I am very careful. I have a black ballistic cotton shoulder bag that does not look like a camera bag. In it I can pack rather nicely three 35mm cameras, one light meter and four or five lenses. Since I shoot film, I pack it in clear plastic bags and when I ask (very politely) airport security not to X-ray it but to use visual (they use a special swab) I get my wish. Nowadays so few use film that I get asked with smiles by the security all kinds of questions on why I use film!

Since I believe in the idea that two identical cameras, one loaded with colour film, and the other with b+w will produce similar pictures but (yes!) different I must always travel with two 35mm Nikon FM-2. They are compact and they are fully mechanical and will operate without batteries.

So in my planned trip to BA I am taking two Nikons, a 24, a 35, a 50 and 85 mm lenses. But I have a really outstanding Pentax 20mm so I will have to take two Pentax MXs for that.

I just might pack the lenses and two of those cameras in my hard luggage. Why? Because I am almost sure that I will take my heavy 6x7 cm Mamiya RB-67, with one lens, the 90mm. Why? Because I want to shoot Fuji Instant b+w film. I am very excited with the results I have been getting with the scanning of the peeled negative.

My Rosemary has thrown a wrench into this equation and will definitely scrap the two Pentaxes but certainly not the Mamiya. Why? The wrench is that Rosemary has insisted and I have purchased a Fuji X-E1 with an 15 to 55 zoom. Will I be comfortable enough with it by the time I leave? Who knows? But I am excited as this camera with a $70 adapter will accommodate all my Nikon lenses.

I find it fitting to explain why I have placed here two images. One I took in 2006 with film that is not made anymore. The photograph of baritone Greer Grimsley is the scan of a Polaroid 100ISO film. But it is not of the print but of the peeled “negative” which rapidly darkens. With Photoshop I am able to lighten it enough and I like the result, alas one that is no more.



David MacGillivray

 The other snap is of my former photography student David MacGillivray who came to visit me today (I am writing this August 10). I am way ahead in blogs. The picture is a scanned Fuji FP-3000B negative peel that I reversed in Photoshop to get the strangely semi solarized effect. The Greer Grimsley is the old and the David’s is my latest. Will all this be moot if I get excited over the possibilities of the X-E1? Only time will tell.

As an afterthought I have decided to also include the Ektachrome 100G transparency of Greer Grimsley. Like Kodachrome, now Ekatachrome is a memory that will probably not make it into a song.


 



     

Previous Posts
Romance

Shoes, Spats, Timpani & Handel's Israel In Egypt

The Photo Trailer In Lillooet

The Malibu Dom

Edward Weston's Azotea Revisited

St. Isidore's Bed & Art Bergmann

Harold That German Robot & Johnny Tomorrow

Persuasion With Sensibility

Ian Bateson's My Mother's Red Shawl

Guaranteed Rugged - Lillooet



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5/1/16 - 5/8/16

5/8/16 - 5/15/16

5/15/16 - 5/22/16

5/22/16 - 5/29/16

5/29/16 - 6/5/16

6/5/16 - 6/12/16

6/12/16 - 6/19/16

6/19/16 - 6/26/16

6/26/16 - 7/3/16

7/3/16 - 7/10/16

7/10/16 - 7/17/16

7/17/16 - 7/24/16

7/24/16 - 7/31/16

7/31/16 - 8/7/16

8/7/16 - 8/14/16

8/14/16 - 8/21/16

8/21/16 - 8/28/16

8/28/16 - 9/4/16

9/4/16 - 9/11/16

9/11/16 - 9/18/16

9/18/16 - 9/25/16

9/25/16 - 10/2/16

10/2/16 - 10/9/16

10/9/16 - 10/16/16

10/16/16 - 10/23/16

10/23/16 - 10/30/16

10/30/16 - 11/6/16

11/6/16 - 11/13/16

11/13/16 - 11/20/16

11/20/16 - 11/27/16

11/27/16 - 12/4/16

12/4/16 - 12/11/16

12/11/16 - 12/18/16

12/18/16 - 12/25/16

12/25/16 - 1/1/17

1/1/17 - 1/8/17

1/8/17 - 1/15/17

1/15/17 - 1/22/17

1/22/17 - 1/29/17

1/29/17 - 2/5/17

2/5/17 - 2/12/17

2/12/17 - 2/19/17

2/19/17 - 2/26/17

2/26/17 - 3/5/17

3/5/17 - 3/12/17