Music Festivals and Photography

In about a week or so from today, I am leaving for a week of photography at Creation festival in Mt. Union PA. This annual four day Christian Music Festival draws around 100,000 people, and I have been blessed to get a photopass for the entire event.

Over the past few months as I have planned and prepared for this event I think I have searched for and looked at pretty much every photo and video taken there and posted online. As I have done that one very interesting and unexpected thing came to mind and that was the subject matter of the photos. It should come as no surprise that at a music festival there would be lots of pictures taken of the bands on stage. What I found odd was that for the most part that is all I could find. I just found it strange that an event that has 70,000 people camping for four days (the other 30,000 are day trippers) 90% of the photos of the event are of the bands. Maybe it is the old street photographer in me, but I have to think that there is awesome subject matter away from the stage where overnight an empty field becomes one of the largest cities in the state of PA. The only pictures I could find away from the stage were mainly shots people took of themselves or their friends/family back at their camp site.

I began to wonder if this was unique to Creation Festival, so I searched for pictures at other large music festivals of all types such as Bonnaroo and Jamboree in the Hills and pretty much found the same thing. 

I am really not sure why this is. I have attended many music festivals in the past but I have never really photographed them before in any serious way, at least not in the way I am going to shoot this one where I am planning to expose hundreds of rolls of film. The only thing I can think of is that the Band Shot is to Festival Photography what Half Dome is to Landscape Photography or in other words the Band Shot is the icon and the easy shot. Of course there is nothing wrong with the Band Shot. I plan on taking lots of them, but I also plan on exploring lots of other photo opportunities that may present themselves. I should also point out that I am not knocking anyone for shooting what they shoot.

Strangely if you talk to people who have been to large music festivals and ask them what they enjoyed the most they will of course talk about one of the concerts they saw, but then they will tell you about the great sandwhich they got at the food court, or the great time they had around the campfire, or standing in line for 2 hours to take a shower, etc.

I guess that is the crux of the matter. As a photographer I want my photographs to tell a story and part of that story is the festival itself and what makes it different from any other concert experience you could go to.

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New and Improved

I upgraded to WordPress 3.0 today, and I figured this was also a good time to rework a lot of stuff here. I removed a bunch of stuff and tried to make a leaner site that is just about me and my photography. I have created a new articles section with many of the articles I wrote for the old site. Over the next few days I am going to create several new sections for some of the projects that I am shooting

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Long Pond, Erie PA


Long Pond, Erie PA

Originally uploaded by eye of wally

I has been a few days since I have posted anything. Sometimes life gets in the way :-)

Anyway enjoy this shot from last November

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Coffin Rock

This picture represents a few firsts for me. I shot it back when I was first getting into shooting IR film in a Holga Camera. As such it is one of the first successful images I shot on what would become my favorite film/camera combo.

The other first is that this is the first (and only) photograph I ever previsualized while watching a movie and then went on to successfully shoot. Often times when I am watching a movie or TV show that is filmed outdoors I will see a photographic opportunity. Sadly however most of them are far, far away in locations I can not get to.

This time however it was in reach! I was watching the movie The Blair Witch Project. If you have ever seen the movie you may recall a scene towards the beginning where Heather is talking about the events that happened at a place called Coffin Rock. In the film she goes there and interviews several local fisherman who are fishing at that spot. You see a nice large rock in the middle of a stream.

I thought this could make for a cool photograph. I knew they had filmed much of the movie in a state park in Maryland, very close to where I grew up and where my parents still live. As luck would have it I was already planning a trip back to Maryland in a few weeks so I did some researching online and found out the exact spot where this was filmed. So I decided to go there.

It was puring down rain when I shot this and I did not have anything to keep the rain off the camera. So I took of my shirt and held that over my tripod. As you can see I had waded out into the stream as I usually do. Of course usually I am wearing special watershoes but this time I was just wearing my sneakers and a pair of socks. I actually shot this on my way home and had to drive home for 7 hours with very wet feet.

All in all it was worth it however as this remains one of my favorite shots.

Coffin Rock (as seen in the Blair Witch Project)

Also in case you are wondering where this exactly is so you can find it. Here it is on Google Maps. To get here park at the Mill right off Black Rock road and head upstream. There is a trail on the right hand side of the stream as you are looking upstream. You will get to the rocks in about 15 minutes or so. You can’t miss it. Just watch out for the witch!

View Larger Map

If you click on the View Larger Map link above you will be taken to Google where you can get door to door directions

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Holga or Leica all the same

Over the last day or so I read an interesting article written by Michael Reichmann on another site and read an interesting thread over on flickr. Michael’s article was really an open letter to the good folks at Leica about improvemnts he would like to see on the next Leica M series digital camera which would cost a cool 8 grand or more. The flickr thread started off with a review from a first time Holga shooter that quickly turned into a rant about why Holgas suck etc.

What struck me was the fact that both carried the idea that they need better view finders. Funny that this would be a common thread on a camera that costs $25 and on one that costs many thousands.

Calvert Cliffs, Maryland July 2008, Holga 120N

I began to think about it and discovered that Holgas and Leicas are actually quite similar in many ways. First off many of the people who shoot with them seem to take great pride in the fact that they shoot with them. It is not just a photograph it was shot with a Leica. Or it is not just a photograph it was shot with a Holga. Both camera systems have garnered quite a cult like followers by the true believers while the rest of the world looks on or does not really care. The main thing however is that both camera systems take a bit of time to get used to.

On the flickr thread I wrote the folling response and I thought it would be good to repost it here. I think it sums up the issue quite nicely

“I actually find the Holga to be quite predictable and find the viewfinder to be very accurate once you know how to use it. What is funny is that people think the viewfinder on a Holga is not accurate, but then praise the Leica M series when it has the same viewfinder issues of parallax and coverage as any non TTL reflex camera

I previsualize all of my Holga shots and often use the zone system with them just like I learned a long time ago from Saint Ansel’s books. Nothing I photograph with my Holgas is random or an accident in anyway.

The problem with the Holga is that much like any camera or lens system it takes a while to learn how they see the world. My guess is that if you gave a brand new Leica M7 and a Leica Noctilux 50mm f/0.95 lens to the average person on flickr who has never shot with a range finder before it would take more than a few rolls of Tri-X to get a feel for it, and they would have many framing and focus issues with it. Even though it costs 15 grand. The difference of course is that not many newbies drop 15 grand on a camera but they will drop $25 on a Holga.

The Holga allows me to use it in places where I would never use any other camera such as in the middle of a river. It however did take me around a hundred rolls of film before I really got a good feel for it.

The beauty of the Holga at least for me is that it has one focal length which is kinda wideangleish yet kinda normalish one f/stop and two shutter speeds 1/100ish and bulb. One you get that figured out you can move from the simple to the complex and start playing around with filters and film speeds to control exposure”

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10 Golden Rules of Plastic Landscape Photography!

I wrote this little diddy as part of an article I wrote a few years back for Light Leaks Magazine. My Mom says it was a genius piece of writing so I thought I would share it here again for you. After all my Mom is totally unbiased right?

1.) Plan where and when you are going to shoot.

This is perhaps the most important part of landscape photography. After all if you want to shoot a waterfall you need to go to one. Want to shoot flowers? You need to go where they are. I like to shoot moving water and spend lots of time scouting for new locations.

 2.) Day or night think about the light and your exposure.

On the surface toy cameras seem to offer little to no exposure control. You often have only one shutter speed and one aperture setting. You can let this limit you or free you. The biggest control you have is with film speed. Choose a slow film and build exposures, or use a faster film and then use filters to cut back light. Or just use a film speed like 400 that will work in a variety of lighting.

 3.) Landscape Photography is an escape from normal life.

There is nothing like getting out in the woods or fields to get a brief escape from cell phones, fax machines and email. Use this time to escape, renew your soul, and enjoy God’s creation.

 4.) Use a tripod

Shooting with a tripod will force you to slow down. It will also allow you to shoot long exposures.

 5.) Think about objects and spaces in your frame

Toy cameras often have wide angle lenses or at least lenses that are wider than a normal lens for the negative size. They also often have small apertures that create deep depth of field. This creates a different perspective than our eyes see. Use this to your advantage.

 6.) Think, think, then think some more.

Think about your shot before you press the shutter. Ask yourself “why am I taking this picture?” If you don’t know don’t take the shot. Ask yourself “what caught my eye?” and then frame the shot so that whatever it was is the focus of your shot. If nothing really catches your eye don’t take the shot.

 7.) Slow Down!

Limit yourself and slow down. I like to limit myself to two rolls of film per outing unless I am going out all day then I limit myself to two in the morning and two in the afternoon. Working this way forces you to make every shot count. Again really think about each shot.

 8.) Know exactly what you are shooting and how you are shooting it.

One of the great things about photography is that you are constantly learning. Take notes either on paper or in your head about your photographs. Record film speed, film type, developer, camera used, weather, and any other information you can think of. Trust me this will come handy later when you find yourself in a similar situation.

 9.) Afterwards review your photographs.

When everything is said and done look at the output of your workflow, your photographs. Think about what works and what does not. Post them online and ask for feedback. Think about what you would do differently next time.

 10.) Don’t get hung up one way of working or take yourself too seriously.

When you are out in the field shooting don’t forget to be flexible. Sometimes the light is not right for that waterfall shot so look for something else. Other times as you are hiking 3 miles to get to that cool overlook you might pass something that is even cooler so look around. Also never forget that photography is fun. Even if you never shot a frame you still were outside having fun. That is perhaps the most important thing.

Atlantic Beach Pier, North Carolina May 2009

Atlantic Beach Pier, Atlantic Beach North Carolina, May 2008

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How to develop B&W film at home the easy way

So you would like to try your hand at developing your own B&W film but you think it is to hard. Or you have done it in the past and don’t like dealing with having to worry about exact times and temps. Or you think that you can’t because you don’t have a true darkroom. Well think again, using Diafine to develop your B&W film could not be easier, times and temps really do not matter much, and you do not even need a true darkroom. Besides being very easy Diafine also works great for Toy Camera Photography because it is so forgiving of exposure and you can develop two different types if film together at one time.

Part One: What do you need to develop your own B&W film

 In order to start developing your own B&W film with Diafine you need just a few basic items. The good news is that you can get everything you need for less than $50-$100 and if you need to buy a scanner you can get a great scanner like the Epson 4490 for less than $200 or even less than $100 sometimes. So every thing will pay for itself in no time.

 The basic list of what you need is listed below. You can easily find everything you need online. I order my stuff from www.freestylephoto.biz. I have no connection with freestyle other than to be a very happy customer.

 1.)Changing Bag-This is used in place of a darkroom to load up the film reels and put them in the daylight tank.

 2.)Daylight Tank(s)-This is used to hold the reels and develop the film. You can do this in regular light with no problems. They come in many sizes. I like the size that holds two 35mm reels, or one 120 sized reel.

 3.)Film reels.-These are used to load the film up. I like the plastic ones that are adjustable for both 35mm and 120 sized film. Most of them can also do 127 and other odd sizes.

 4.)Diafine-One package comes with 2 cans of powder. One for Solution A and one for Solution B.

 5.)Fixer-This is used towards the end and makes the film ready to scan or print. I like the Arista Rapid stuff that Freestyle sells because it is cheap and works great.

 6.)Three “one gallon” sized plastic jugs. Get the brown plastic ones that are designed for darkroom chemicals. They are quite cheap and easily found online or at a good camera store.

 7.) Measuring cups and funnels. I got mine from the dollar store. I got them in different colors and use them just for this purpose. The different colors make it easy to not contaminate with other chemicals.

 8.)Three gallons of distilled water to mix up the chemicals with. Get these at your local grocery store.

 9.)Some string and some plastic clothespins. I got a big bag of them from the dollar store.

Part Two: Mix up the Chemicals

 This part is pretty easy. If you got the brown plastic “Datatainer” jugs you will find out that the one gallon sized ones actually hold a bit more than a gallon. The first thing you need to do is open the can for Solution A and dump it down a funnel into the jug. Then pour around ¾ of a gallon of distilled water down the jug. I warm the water up a bit by putting the jug into a sink full of hot water for a few minutes. Once you get ¾ of a gallon of water into the jug put the cap on and shake well for a few minutes, then dump in the rest of the water. Repeat the same thing in another jug for Solution B. Be sure to label each jug so you know which is which.

 To mix up your fixer follow the directions for your brand. Most of the liquid types are a simple 3 parts water to one part fixer.

 I like to mix up everything at least 48 hours before I am going to use them. This gives everything time to settle and reach room temp.

 Part 3: Load up the Reels

 While you are waiting for your chemicals to settle, now would be a good time to practice loading up your reels. It is pretty easy but does take practice. Practice first on some sacrificial film since you will waste it. This can be any film color or B&W. If you are going to develop 120 just unroll the paper until you get to the film. Then slide it onto the reel and pull it past the two ball bearings. Each half of the reel moves back and forth and as you do that it should pull in the film. Keep on doing that until you get to the end of the film where it is taped onto the paper backing. Then just pull it off of the tape and fold the tape over the back of the film. The tape will not harm the film in anyway. Since this is your practice roll once you do that undo the reel and do it again. The corners of the film may get bent so if that happens just take some scissors and snip off the end. If you are using 35mm film you will need to get it out of the can first. Just take a bottle opener and pop-off the top and pull the film out then load it up the same way as the 120. Another alternative is to use a special leader retriever. This allows you to pull the leader out of the film can and then you can load it on the reel. No matter which method you choose you will need to first trim off the front of the leader to make sure it is flat. Once you practice it enough in the light, try it with your eyes closed. Once you master that try it in the changing bag. Once you master that you are ready to go.

Part 4: Developing your first roll.

 These instructions are a little bit different than the directions on the package of Diafine. After developing hundreds of rolls of film with Diafine over the years, I have found that I get much more consistent results by doing it this way. The biggest complaint that people have with Diafine is that they often get uneven development or streaks caused from something called “Bromide Drag”. I have never had any such problems by doing it this way, but I did have those issues when I was following the directions on the box. You will need to use a sink to develop your film as well as have a place to hang it up to dry. I use my bathroom to do this.

 1.)Load the film on the reel and get it into the tank.

 2.)Turn on the sink and adjust the hot and cold water so that the water comes out pretty much at room temp. Fill the tank with tap water then turn off the water. Let the film sit in the water for 2 minutes or so. Then dump out the water. Depending on the film it may look very blue or purple from the antihalation dye in the film. Other films will not have any color to the water. Once again fill up the tank with tap water and dump it out. Do this a few times more until the water looks for the most part clear.

 3.)Pour in Solution A. Then put the lid on the tank and invert the tank 2-3 times. Using a watch/stop watch start counting the time. After one minute and thirty seconds have passed invert the tank another 2-3 times. Then wait another minute thirty, and (you guessed it) invert another 2-3 minutes. Then wait another sixty seconds and dump Solution A back into your jug.

 4.)Do the same thing for Solution B as you did for solution A.

 5.)After you dump solution B back in the jug fill the tank with tap water and dump it out. Then fill it up again and dump it out again. Then fill it up again and put the lid on the tank. Invert 2-3 times and dump it out again. Then fill it up again put on the lid and invert 2-3 more times then let it sit in the water for a minute or so. This process is called a “stop bath”. The idea here is to rinse off the developer and stop development. You can buy special chemicals to do that also but with Diafine you just need plain water. You goal is to rinse off the film with water and remove the traces of developer that are left behind.

 6.)Dump in your fixer and follow the directions on the bottle. Each brand is different so just follow the directions. I prefer the rapid type as it is quicker.

 7.)After fixing your film it is time for the final wash. I fill up the tank and dump it out 2-3 times with plain water. Then I fill it up again put on the lid then invert it 5 times. Then I dump it out refill and invert 10 times. Then I dump it out and refill then invert 20 times. This method is often called the “Ilford Method” as it is widely promoted by the film maker Ilford. It uses far less water than other methods and works very well.

 8.)All that is left now is to remove the film from the reel and hang it up to dry. I use plastic clothes pins and hang them up on a string over my bathtub. In dry weather they dry in around an hour. If it is humid like in the summer it can take 2-3 hours, if it is dry like in winter it can be much faster.

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Why the current gallery system does not serve photographers

I remember it fondly. The year was 1978 and I had my first piece proudly hanging up in a gallery. It was not a photograph but rather a painting. Oh and by the way I was in elementary school. The gallery called the piece “shapes and colors”. It was entered into a contest by my art teacher in school. I won first place and for that I got a savings bond and gift certificate to the local art store. In addition to that my work proudly hung along with other works from other students around the Washington D.C. area.

The work was a magnificent abstract painting (or at least that is what my teacher said). It was painted using water colors on a large piece of watercolor paper. It had a red background and had yellow, brown, and black shapes and swirls abstractly drawn on it. My teacher and the gallery owner were full of praise for me. They were shocked that a young kid could paint such a fine piece of modern art.

There was only one problem. I had never set out to paint a piece of “modern art”. You see even way back then I was a big science nerd and a big science fiction fan. I loved to watch Sci-Fi on TV and in the moves, and I had seen Star Wars around 10 times. When my art teacher said we could paint whatever we wanted to I decided to paint what I thought Mars might look like as seen from a spaceship. Yet to other people it was some sort of fine art conceptual piece. The gallery owner tried to shoehorn a budding painter into something he was not and in the process did not serve the artist or his art.

Today all these years later the current gallery scene still does not serve the artist, the art, and from my perspective and in my opinion this is even more the case with photography.

Once upon a time the whole point of a gallery was to sell art pieces. You would get your work displayed. They would sell it. They would keep a percentage of the sale as a commission and you as the artist would get the rest. That wasn’t a bad system and was just like any other retail endeavor where someone would make something and someone else would sell it.

Along the way galleries somehow lost this idea. Galleries stopped being retail outlets and instead started viewing themselves as museums that sell stuff. Suddenly they became all about the wine and cheese opening night, and less about actually selling art. This had a disastrous effect on the art market for both the artists and the people who buy the art.

Today there seems to be a whole group of artists who don’t create art they want to, but rather they create the art they think the gallery owner will like.

Sadly over the past few years this situation has gotten far worse. It seems every week I get an email or see a posting on a photography related web forum about another gallery show. They all work the same. They charge you a fee usually $15-$30 or more and for that fee you get the “privilege” of having the gallery look at your work. Then they pick the “winners” for the show. The winners then get to spend their own money to have the work printed and framed. Then they get to spend their own money to have the worked packed and shipped to the gallery. Then if the work does not sell they get to pay to have the work sent back to them. If the work actually does sell the gallery keeps so much out of the sale that you as the photographer are lucky to break even on the deal.  A recent twist on the above is that the gallery will have books printed using a POD printer as a “catalog” of the show. So you give them the image for free so they can publish the catalog and of course they are more than happy to sell you one.

So basically what happens is that the gallery takes no risks and makes all the money. Meanwhile the photographers are out all the money and take all the risk.

The good news in all of this is that this system is getting so abused that I think it is going to reach a pint of critical mass where it gets so overdone that people will stop doing it. I can only hope that this day comes sooner rather than later.

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Sharpness is a bourgeois concept

Photography is full of ironic things. Often times irony in a photograph can really make it work. That is not however the irony that I wish to write about today. As is my usual habit I was wasting time on flickr and I came upon this thread in the Canon DSLR Group. The irony in that thread is amazing on several levels. It starts off with an innocent question “Given optimal conditions which lens, in your opinion, is the sharpest?”  Right off the bat the responses to it were rather sarcastic in tone.

 I should state in the nature of full disclosure that I am a big believer and fan of sarcasm online (and in life in general). Especially on Photography Forums such as that one. I have written hundreds if not thousands of sarcastic responses to questions posted online over the past 15 years. This goes way back to newsgroups back in the day. My favorite sarcastic answers are usually to the people who buy a DSLR, immediately book themselves to shoot a wedding for money, and then post “I just booked my first wedding what lens should I use” questions.

Anyway back to that thread and what I find ironic. I believe that the original poster was actually very sincere in his question. It is a common trend that I am seeing more and more of on various photography forums. The problem is that it seems like the vast majority of users online seem to really, really worry about sharpness and think that lens sharpness is the most important thing in photography. While they might not actually think this,  is is precisely what the communicate over, and over, and over again. So the original poster came to the exact same forum where this gets expressed countless times and gets blasted.

What is even more ironic is that the same people that are very vocal in their praise of all things sharpness also obsess over all things “bokeh”. If you are unfamiliar with that term it basically is how a particular lens renders things that are out of focus or (and here comes the irony) very soft (the exact opposite of sharp).

Many years ago the famous French Photographer Henri Cartier- Bresson said “Sharpness is a bourgeois concept.” So I guess even back then many people were obsessed with sharpness.

I think that this unhealty obsession with sharpness and bokeh is actually more of a symptom than the actual disease. The problem is that as artists we lack the confidence to really create our vision so in the end we rely on parlor tricks to make them work. This sends us down the road of buying gear, then buying more gear. We think that the answer to all our photography issues lies in buying gear, and that the only thing keeping us away from that National Geographic cover shot is that we don’t have an $8,000 DSLR and a $4,000.

I think that is why I enjoy shooting with Holgas so much as I take great pleasure in making photos with a $25 camera. What I enjoy even more is posting some of my better images on various web forums where people obsess over sharpness and bokeh. I enjoy the comments I get from people telling me that I should use a better camera and make sharper images.

Waterfall, West Virginia, April 2009 (sorry it's not very sharp)

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Blatant promotion for a friend

One of my online friends and a great Holga shooter has a portfolio online that you should check out here

http://www.artistswanted.org/HolgaJen

take a look and rate it

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