30. november 2012

Bits and nicks

Wow.

It has been a few months since the last entry, so I'm long overdue with a blog-update.

The past 5 months, I've had a long break from work and just about everything.

I suppose I felt I needed some extra time doing what I want, to ponder over life, see the family and generally just have a little bit of freedom to do what I would like to do, -without having to plan like crazy due to a limited number of available vacation-days.


I'll do a little wrap-up from the extended free-time later, creating some entries about:

- A cultural exchange event between Japan and Norway in Hardanger, which I attended in June.
- A little entry from my trip to Side, Turkey, where I finally felt I got somewhat of a break-trough with my Hasselblad (and Kodak Tri-X ^^).
- A little report from a trip I made to Tokyo in October (always awesome to go there).
- The story on how I became a Rolleiflex TLR-fetishist. =D

But, we can't have a blog without photos now can we? ^^

Here are two:

Yokohama skyline
Yokohama, Japan, October 2012
Hasselblad 503CW, Kodak Tri-X

Hikawa Maru, the old steam-liner
Yokohama, Japan, October 2012
Hasselblad 503CW, Kodak Tri-X

Back with more soon ^^

Have a good one. :)




29. august 2012

Film-noir shoot

Hya ^^

A few days back, I contacted a new person for a possible collaboration and shoot.

Lise-Lene, with her unique look, was very positive and welcoming and we messaged a little bit back and fourth with ideas and concepts before settling on a "Film noir" setting.

I like to do a location-shoot with new models, it's less intimidating than studio. The informal atmosphere usually creates a nice setting to chat and joke around a bit too. ^^

So what exactly is Film noir?

What I take away from the rather lengthy wikipedia-article, concerning photography and light, is this:

"The low-key lighting schemes of many classic film noirs are associated with stark light/dark contrasts and dramatic shadow patterning—a style known as chiaroscuro (a term adopted from Renaissance painting). The shadows of Venetian blinds or banister rods, cast upon an actor, a wall, or an entire set, are an iconic visual in noir and had already become a cliché well before the neo-noir era. Characters' faces may be partially or wholly obscured by darkness—a relative rarity in conventional Hollywood filmmaking."
[....]
"Night-for-night shooting, as opposed to the Hollywood norm of day-for-night, was often employed. From the mid-1940s forward, location shooting became increasingly frequent in noir."


So, my interpretation of the style, is stark, very short, to back lightning and a fill, small lightsources. lots of shadows, model expressing everything from the strong/dangerous/alluring, to the sensual and the dramatic.

Sensual but strong, I particulary like the shadow cast on the wall here

Full figure shot in the same scene.
I wanted to use the lines the narrow street created, more, to draw the attention to the model.

I've only done one other noir-shoot before this and that was 2-3 years ago.
Still, my initial trials and research felt solid, so I kind of knew how I wanted to do the shoot. The chosen location is also nice, because of the lack of (modern) objects and cars.


I like the slightly mysterious expression of the model.
The flash on camera-left, simulate the street-light coming into the entrance.
The weak fill, enhance the darkness without blocking up the face too much.
I also like to place the lights, to simulate the natural light sources in the area, so that the appearance of a flash is less obvious.
- I do want the shadows, for me, it's very important.

Also, bringing in the natural light and shadows from the location itself is key, but this is also what does pose a challenge.

Why is that?

Well, the speedlights I use are way stronger than a poorly lit street at night. This means you will have to turn the flashes down to a minimun. (I set my speedlights to around 1/128'th of full power).

A different look.
This is maybe more la-dolce vita'ish, but put into the noir world, where women can be deadly as well as beautiful. ^^
Also, to pull out the ambient light and shadows, you need turn the sensitivity on the camera way up, so most of my shots was shot at ISO 1250-1600 and 1/10'th - 1/30th of a second -with flash-.

Needless to say, I had to use tripod and a remote trigger on my camera.

The fact that my flashes are battery-driven and doesn't have a modeling-light, makes it even more of a challenge to place and to balance the flash-units properly. In the olden days (and even today), film makers used/use hot-lights and for film noir, they most likely used a lot of lights to control the ambient light and shadows in the entire scene.

Back in the day, they didn't have softboxes and scrims. At least, my impression is that there were mostly harder light sources and a limited number of modifiers, like regular flash-mounted reflectors, snoots, grids, barn-doors and freshnel lenses.

I don't have the luxury of a studio crew and a truck-load of hot-lights, so high-iso and tripod and using the existing scene along with bare bulb flashes was the solution. :)

Focusing in the dark can also pose a real problem, I used manual, pre-focusing techniques when I had to -with varying luck-, so a few shots were scrapped due to mis-focus. ;) 
In one-light settings, I put one of the flashes on the camera and let it's focus strobe do the work to obtain focus.
(For the shot, I blacked out the on-camera flash-bulb).

One flash to the camera right.
This created a nice shine in the hair, simulating the light from the light-post in the background.

As for Lise-Lene, I think she did an excellent job. It's not easy walking on cobblestone pavements in high heals at night, in fact that's a real health hazard. Posing and getting into character went very well and she seemed to be really into it, in addition, off course, to being a nice person . ^^



My favorite.
IMO a superb job from Lise-Lene and the light works really well here.
This is actually a two-flash setup.
It seems, like the only light is coming from the lanterns above and behind the model, love it!
These photos were all shot with my Canon 1ds mk II. The black and white conversion is aimed to simulate the old-school orthochromatic emulsion look, thank god that I also shoot analog, so I know what to do! =D

I am looking forward to more shoots with Lise-Lene (and so should you!)  =)

That's it for this entry ^^

12. juli 2012

Droplet Collisions

Hi

Been a while since the last entry now.


Basically I had a photo-assignment in June in Hardanger and then I went for a two-week a holliday-trip, so there wasn't really much to blog about.

Anyway, a few entries back, I got a tip (and I took it as a challenge as well :P) about droplet photography. And since it's raining like crazy here, what better subject to shoot than water-drops?

Le green snake
The last time I tried was.....well it was a fairly long time ago, I stopped, because of various things and activities, but mainly because I had problems controlling viscosity and "stickyness" of the water.

This resulted in, kind of, boring stuff.
Anyway, after some research from the tip/challenge ( ;) ), I dug out my drop-catching/collision kit, brushed some dust off it and cleaned it, before I set it up again.


 Challenges right now, are:
1. Controlling splash-stem height, other than altering the height of the rig.

2. Viscosity and stickiness of the drop-water influence what size of drop that can be made, this again (it seems) influences 1). Drop size is also dependant of nozzle size ^^

3. Too "thick" water creates problems getting two drops to fall fast enough after each other, because they take too much time to be created and release from the nozzle.

4. Experimenting with the surface tension of the capture-tray water, have some unknown effects (for me) at the moment. I've tried thickening the tray-water (resulting in a lower splash-stem). But, reducing it with dishwasher liquid doesn't seem to have any practical influences, as far as I can see anyway, I may have used to little dishwasher?

5. My rig is flimsy! I need to build something that can be adjusted in height, as well as being tight and controllable. Right now, the drops seem to fall a bit randomly, as the nozzle angle varies to the capture tray each time I change the water or make adjustments. :)

I even created a double-baffle macro softbox exclusively for the drop photos, works very well with the speedlights and it isn't too large. (more on that in a later post I suppose).

- If anyone has any good tips on how to get the drop-stems higher, please contact me. Right now, I am gradually decreasing viscosity to the drop-water to create bigger drops, in hope that they will jump higher.
I am already at about 60cm nozzle-height above the surface water and the drops doesn't seem to want to jump that high really, they aren't even releasing from the stem on the way up for some reason.

- It's a slow, meticulous process....but it's fun. :)

Oh, here are some of the photos I've created so far.
I've only used photoshop to clean up the background and removing splatter and bubbles in the tray, the shapes and colours are as-shot.



Golden Vase

Rocket punch

Purple light

Red tree

Blue sombrero
I'd like to recreate the rocket-punch thing, but that was a pure fluke, so I am not sure how I did that one (drop height was around 70cm though, so 60cm should create something similar as well).

As for the light on these, I used two speedlights (580 EX and 580EX II) triggered by my Pocketwizard II triggers. The last two photos were shot with the home-made softbox on one of the speedlights.

Here is an amazing video of some droplet collisions


Peace out. =)


3. juni 2012

Spring project 2012 with Imageakademiet

In the beginning of May this year, the annual spring project with the students at Imageakademiet kicked off.

This year, the theme was "Avant garde, superpower", which basically ment, Avant garde with some element of a super power in it.

New, as for 2012, was that the team consisted of two makeupartist-students (MUA) and one fashion consultant student (MOT). Earlier years, the teams consisted of one MUA and one photographer.
Unfortunately, one of the MUA's got sick during the project and had to pull out of the group, but we were still left with one MUA and one MOT. =)

Normally, in a professional setting, it's the final customer and the photographer that does most of the planning and deciding in projects.
- As this was a project for the students though, the students were responsible for planning, design and organization of the idea, using the photographer as a resource and consultant for the photographic aspects of the project.

The mua/mot team landed on an idea around scarecrows and the special power was flight.
On shoot-day we traveled north of Oslo towards the farm-land area and did the shoot in a large field.

Here's the final photo:

"Scarecrows"
MUA: Grete Skjæveland
MOT: Linda Schulstad
Models: Linda Schulstad and Arild Skullerud

I decided to shoot the models on top of a crate and move them around a bit and then shoot the scene without models. In post production, the crate was removed and the feet and poses on the models were altered to create a more believable impression of hovering/flight.

After that, I altered shadows and light to create more depth and to match the angle of the partly hidden sun in the background.

The crows themselves were shot 2 days later and added into the photo.

As a final step, I tonemapped the whole scene to create drama in the skies and the mood and also added the hazy sunlight breaking trough the clouds in the horizon.

Conditions were windy and cold, so the models really did a great job in this, being very lightly clothed.

I am fairly pleased with the final result, but as always there are things I may have done differently and better if I was to do this again. ^^

The photo was displayed in the annual exhibition-event they have in conjunction with this kinds of project, great fun to see what the other groups had come up with.

1 year until the next collaboration with Imageakademiet, I hope to be able to participate then too =)

This blog entry comes from the fjords in Hardanger, as I am currently on assignment for the Japanese musician Rio Yamase who plays the violin as well as the extremely Norwegian Hardanger fiddle.

I'm having a really great time here, Japanese people are both friendly and funny to hang out with. =)
Off to vacation soon! \o/

21. mai 2012

Infrared - Shooting what you can't see

The past two weeks, I've been fiddling around with infrared photography again.

I created a little slideshow from the result, for those out there more interested in the photos than the technical jabber.

Make sure to watch it in HD, enjoy ^^


Watch it on YouTube if maximise don't work




Last time I tried infrared photography (or more correctly, near infrared), was late autumn 2011 and my initial trials with EFKE IR820 in 35mm didn't go too well to be honest.

The negatives were vastly underexposed  and I could hardly get any good results from them, even after scanning.
- Too much noise and generally bad tonality, but at least I got my feet wet.

Generally, the first experience with IR-photography, can be summed up by this amusing and fitting meme by Copperrein over at APUG





Estimating exposure with IR is quite hard, because the light meter will only meter visible light.
The actual amount of invisible IR-light is unknown and will vary with the season, as well as the time of day and sun position.

A good rule of thumb though, is to measure normally, then calculate filter factors and then bracket from there. I use a Hoya R72 filter and calculate a 5-6 stop filter factor with it.


The EFKE IR 820 AURA (nominal 100 ISO without filter) was shot at EI ISO 1.5-3 and it worked ok. A little early in the day still (I like the sun to be lower), but I got good exposure and nice and quite normal'ish negatives.

The AURA version of the 820 IR film has a nice glow in the highlights. This is due to a missing antihalation layer on the film, which, in turn, let the film pass IR-light trough itself and then reflected back trough it.
This can create a nice moody halo effect, or misty effects around the highlights.








I also did two rolls of Rollei IR 400
These photos with Rollei IR400 were shot at EI ISO 12 and that proved to be just about perfect.





I just love the look from the Rollei, it's got plenty of wood effect and it seems to be a bit less contrasty and have pretty high tolerance to overexposure (albeit not fool proof if you're dorking around, like I do sometimes), definitely going to order more.
The Rollei has higher resolution and is less noisy than the EFKE -and the Rollei is a ISO 400 film unfiltered. (The EFKE is ISO100 but shows much more noise than the Rollei for some reason).

- I must stress that I more or less blew a whole roll with the Rollei the first day, I overexposed it grossly by shooting it at EI 1-3 (that's 2-3 stop overexposure, ouch!), more or less 100% like the above funny-meme. ^^

I only got one usable photo out of that roll, well, you live and learn.^^

I've decided to only use the AURA version of the EFKE, as I don't see a huge point using the regular version over Rollei's cool film.

So, the shots came out well.
Both films were processed in HC-110, dilution B for 8 minutes (EFKE) and 9 minutes (Rollei)

Still, one must take note that these shots were made -in May-, -at my latitude-, -at that time of day-, things can change rapidly trough the year.

Too bad Kodak decided to kill off the amazing color IR film a few years back, namely the Kodak EIR, the only option for color-ir now days, is to convert an old DSLR into infrared, effectively making it an IR-only camera.

Could be an idea to buy an old DSLR on the used marked and convert it, hmm....

I can't wait to get into the darkroom and print the negatives, they look really good and printable, scanning was a breeze.

7. mai 2012

Macro and the reversed 50mm trick ^^

Yep, true story, there exists a trick! =)

May is here, time to dust off that macro equipment and get the winter-dead body outdoors.

Still a little early here for anything spectacular though, I went for a ride on my bicycle in my neighbourhood last weekend, to see if any flowers had sprung.

A few flowers were up early, so I was able to shoot a whole roll of Fuji Acros with my Canon 1v with my macro stack on it. My stack consists of a Canon 25mm extension tube  + Tamron 1.4x teleconverter + Canon 100 F2.8 macro lens (works swell)

Acros is 100 ISO, so I had pretty slow shutter speeds (1/30s and such), even on F4 in direct sunshine.

I had a sturdy tripod with me though, so the only thing that was moving, was the flowers each time the wind picked up a little, so I blew a few shots on that.

Since I had a ISO 100 film in the camera (35mm) and didn't want to push, I decided to go with composition and play with shallower dof's (f5.6-f8).

Oh....and yeah, I did this first macro-outing with film because I wanted to see if I could get a couple of shots for my walls (tired of looking at the current ones here at home).

Two made the cut into the darkroom and onto paper and these two are now on my wall, framed in 30*40cm (12*16 inches), so mission complete, thus far this year anyway, I know I can do much better.

The prints are too large to scan, but I've scanned the negatives and adjusted them to be similar to the prints. I printed them on Ilford warmtone paper and thus I gave them a little tint to match here as well.

Both flowers are maybe around 0,5cm in diameter. 



The second photo was pretty heavily cropped (I framed it wrong in the camera), but still it holds up just fine in 30*40cm. Both look nice on the wall. ^^

I used Kodak HC-110 developer, dilution B at 6 minutes at 20 degrees on these, as my Tetenal bottle went sour the other day and I've changed over to another dev brand for a while.
(Idiot tip of the day: When Tetenal Ultrafin looks like strong tea, toss it! :) )

Also, the same day, I wanted to try out the reversed 50mm trick, but since I'd already shot a roll of 35mm film -and already knew that this trick would work with my Canon, I opted to try this trick with my Mamiya RZ67 medium format camera and see where it led me.

In medium format-land, I am in the very situation that I do not own a dedicated macro lens, so it's just fitting that I'm trying this trick out anyway, seeing it's a a poor man's macro solution. =)

Basically I had my 110mm lens on the camera and hand-held the 50mm in reversed position against that lens and fought to get focus.

Here are two captures from that fiddly session (it was really awkward to shoot like this, but I really wanted proof of concept):

The widest cross-section of this leaf is about 0,5cm (0.2 inches)
Mamiya RZ67 pro II with 110mm lens with a reversed 50mm lens mounted
Fuji Acros 100 at EI 200 in HC-110 Dil B

Mamiya RZ67 pro II with 110mm lens with a reversed 50mm lens mounted
Fuji Acros 100 at EI 200 in HC-110 Dil B

A couple of notes:

- The 50mm was set wide open, if I was to do this again, I would probably stop it down to at least F16 and lock it there, as the DOF is so shallow that it was extremely hard to focus.
As you can see in the above photos, even individual parts of the leaves, which seemed to be in the same focus plane, were in and out of focus.

- Film used was Fuji Acros (because!) but shot at EI 200 and pushed in HC-110. This was because I had limited light. I used a hot-light and not a flash for these.
Previous push attempts pushing Acros to EI400 in 120 format have been very successful, so EI 200 is no problem at all.

- The leaves themselves, are around 2.5 cm long in total (1 inch), and the leaf in the first photo is about 0.5cm (0.2 inches) wide. Both photos show a smaller part of those leaves which were actually in focus, but the latter photo was shot at absolute focus limit and have much greater magnification. You can really see extremely small details using this trick and the above photos could easily be printed in 30*40cm.

- You'll get massive amounts of vignetting, because you are basically looking into a smaller hole than your mounted lens has, so only half the negative area is left usable for the actual photo. Still, you'll have enough negative to make pretty big prints from it.

- Holding the lens to the camera isn't a good option in the long run (causes vibration and you are pushing the camera out of focus), so a reverse ring is highly recommended.

- Metering was pure guessing, so I was lucky, plain and simple :)

More experiments later this summer, next up on the medium format front, is infrared photography with Rollei IR400 (loaded, but I found out that we need another week before the foilage on the threes are large enough for any good photos).

Also up in a later post, the results from my collaboration with Imageakademiet here in Oslo, theme this spring is "Avant garde" and this year, I am working together with a group consisting of 2 make-up artists and one stylist.
Earlier years, we've only worked on a 1-1 basis with a single make-up artist.

Now get out and get those macro's going! ^^


23. april 2012

Candy time!

Hello!

Late in February I had a cool shoot with Nicky.
The theme this time, was basically "Candy and goodies, pink and wigs", in other words, loads of fun! ^^

We combined this shoot with a few shots for a competition she was to attend as well, but since those are not meant for publication yet, I will post the Candy part only in this entry.

What I think was cool this time, was that she brought with her loads of interesting, funny and quirky expressions, coupled with fun props.

Enjoy! ^^


"Fancy a treat?"
Canon 1ds mk II with Canon 24-105 F4 L
"Tasty"
Canon 1ds mk II with Canon 24-105 F4 L
"I'll chupa-chup-you!"
Canon 1ds mk II with Canon 24-105 F4 L
"Catty-Lollipop"
Canon 1ds mk II with Canon 24-105 F4 L
"Armed with candy"
Canon 1ds mk II with Canon 24-105 F4 L

:-)
Canon 1ds mk II with Canon 24-105 F4 L
The post-work on these was rather extensive, because all of the backgrounds, shadow effects and reflections. (I don't have the room for background props and stuff i my house).
The model was originally shot on a peach colored background with a reflective plastic sheet on the floor.

The masking job was pretty tough, but I learned a lot, so it was really worth all the hours nit-picking in front of the computer. =)

In the shot where the model has the strawberry in her mouth,  most of the post-work went into creating a doll-like look, really kind of over the top and slightly "Chapelle'sque".

The surprised look is awesome! Haha! =D

Regards ^^



11. april 2012

Spring outing with Selin


I hooked up with a new model in March for some initial get-to-know-you shooting in a local park here in Oslo.

Selin is absolutely not a newcomer in this game, as she has been modeling for some time now. Although we do share some common friends, our paths have not crossed before this shoot, so it was interesting to hook up and collaborate on a fun-shoot like this.


Selin, Canon 1v with Canon 135 F2 L
loaded with Fuji Neopan 400 ISO
Scan from print on AGFA MCP 312 RC paper



I think the shoot worked out well, although the park still had some watery snow-slush here and there and the winds on that particular day really made it tough to use my location-flash setup.

Anyway, even though the winds and the melting snow did it's best to increase the stress-levels, the shoot went very well I think.

Especially the last frames we shot on the bridge in the park came out great, as I got some help of some thin clouds diffusing the light very nicely.

I also got the chance to shoot some frames with my Canon 1v, loaded with Fuji Neopan 400 ISO film, which I developed in Tetenal Ultrafin 1+20. The photo on the left is a scan from a actual print I made in the darkroom.
(The AGFA paper has been remade by ADOX, so it is available)







Here are some of the main shots we did. They were mostly processed in Lightroom and then I ran a self-made action in Photoshop, to create the tonality and contrast you see on the finished photos.

Park-bench rim-light, Canon 1ds mk II with Canon 70-200 f2.8L IS USM
Relaxing on the bridge, Canon 1ds mk II with Canon 70-200 f2.8L IS USM
A friendly smile, Canon 1ds mk II with Canon 70-200 f2.8L IS USM

I really hope to work more with Selin later on other ideas and projects, as I like how she use her facial expressions a lot, her ethnic background really gives here that unique look and she is a really nice person too off course. =)

Visit Selin's page on facebook and become a fan ^^

"See y'all on the flip side" ^^



5. mars 2012

Shoot with Ms. K. Maila ^^

She was the first person I photographed outside my friends back in 2007 and also the first person from the goth and alternative sub-culture that I collaborated with.

Trough her, I did get to meet and work with several other people, so I thank her for any good words and recommendations that she might have passed on to the people that came after her. 

A few tons of water has passed under the bridge since then. We had a couple more shoots after the first, before other things, like studies and interests, moved her away from modeling somewhat.

But a few weeks back, we had a little shoot again, good times. =)
I've always liked her unique look and lovely eyes.

This setting was of a normal type, with a nice dress and nice makeup and hair, somewhere between beauty and portraiture. (she did the beauty bit, I did the portraits :) )

It has always amazed me how women can transform trough style and clothes. I've seen her in a variety of styles in the past, ranging from goth, to extreme Mohawks, to short hair/half shaved punk styles and now in a normalized and feminine evening dress. =)

I think she did great and she should definitely try and do more shoots and collaborations. =)

All photos were shot with my Canon 1ds mk II, then converted to monochrome in post.





 

If you are interested in seeing the earlier collaborations between us, visit my creativity and alternative styles album on my facebook page (and become a fan even =D ).

In other news, I got a real bargain on some darkroom equipment this Saturday, after, incidentally, going to a huge photographic fare in Lillestrøm with the above mentioned young woman. (she is a working photographer now).

I will be talking more about those things in a later post.

Have a great week and don't forget to celebrate your girlfriends/spouses this Thursday, it's the international women's day (or you will be sorry haha! ^^ )

Regards

27. februar 2012

Locked station makes for fun nursing home

Went for a little urbex trip on Sunday. ^^

I originally wanted to visit an old abandoned electrical station on this trip. I got a tip on that site 2 years ago, but never got around to check it out.

Unfortunately, when I got there, the station was locked (actually it was welled shut!). But at least I got to see it up close and it was damn huge, 3-4 floors at least!

I did snap some photos, but they were detail shots of the exterior and such, so nothing interesting urbex-wise.

Anyway, I was a bit disappointed about the locked power station, especially after driving that far, I really didn't want to drive all the way back without photographing something cool.

So, after checking the the net, (while eating some lunch in my car ^^), I got a tip about a nursing home that was in the area, so after a little more research and googeling, off I went! \o/

I checked the door at the front desk when I got to the nursing home and, to my surprise, it was open.

"Hi, just looking" ^^

I decided to shoot all-film this time, using my Mamiya 6*7 and 120 black and white film.(10 shots per roll)
I used two films, Fuji Acros 100 (which I love) and a new one, for me; Ilford FP4+ 125 ISO, which I decided to push to ISO 200 on this occasion.

I scanned the pushed Ilford film after development and then created some tonemapped HDR photos of those in Photoshop.

I think I got one hell of a gritty feeling from these, too bad I cannot replicate this stuff in the darkroom with the enlarger and paper...


"Very special letters" Mamiya RZ 6*7 Pro II, Ilford FP4+ @ 200, Tetenal ultrafin 1:20 14 min. Scanned, tonamapped
"Crooked canopy-room" Mamiya RZ 6*7 Pro II, Ilford FP4+ @ 200, Tetenal ultrafin 1:20 14 min. Scanned, tonamapped
"Some punk's getting 7 years of bad luck" Mamiya RZ 6*7 Pro II, Ilford FP4+ @ 200, Tetenal ultrafin 1:20 14 min. Scanned, tonamapped

"Washy-washy no more" Mamiya RZ 6*7 Pro II, Ilford FP4+ @ 200, Tetenal ultrafin 1:20 14 min. Scanned, tonamapped

The nursing home was more wrecked by vandalism than regular decay. (luckily no graffiti crap).
All (well, 90%) the windows are still unbroken, so the weather and rain is kept out, delaying the inevitable decaying process. The fairly large building had three floors and loads of rooms to explore, I only explored one "wing" and two floors before running out of film ^^

Let's hope it can stand around for a few more years and it will become a real bad-ass horror-house for sure.

The Acros, with the shots of the exterior of the power station and additional shots of the nursing home, is not yet developed.
I'll develop the Acros at a later date.
The Mamiya isn't extremely suited for this kind of stuff, it's just too heavy and big, so I think I'll head back at a later date and shoot some photos with my "nimble" 1ds mk II as well. ^^

Please do not bother to ask where these locations are, because I'm not telling.
Just do some research and you'll eventually find the information out there.

Peace out ^^

6. februar 2012

Inspirational masters: Richard Avedon

I highly recommend this moving 1995 documentary of one of our finest portrait and fashion photographers, Richard Avedon.

I find both his large body of work, from fashion, to portraiture and human emotion, and his philosophy about life and people, very inspirational.

Here is a documentary, that currently reside on youtube, for your enjoyment.
Even if you are not a photographer, the story of the man behind the photographs and art is really enjoyable.

Richard Avedon passed away in 2004, 81 years old.


25. januar 2012

Storms and studio things

Just a small update.

It's been a while, last entry I talked about travelling to the north to try and capture the aurora, but no such luck.

There were several storms hitting the coast, causing overcast weather most of the Christmas holliday and when we had some clear weather, the aurora wasn't active, better luck next year I suppose.

I was located on the shielded side of the island of Senja, so the only effect we noticed from the storms, were several big storm-surges.

Storm surge overflowing the pier. Canon 1ds mk II with Canon 17-14 F4 L

In the beginning of January, I went to Baden-Baden in Germany to hook up with someone ^^, it was a nice trip, though the photos I took were more of the casual "family/friends" type, no shoots or fancy tourist shots, sorry =)

I did have a chance to visit Fotoimpex and Monochrom during my 9 hour transit stop in Berlin. I made sure to pick up 20 rolls of Fuji Neopan Acros 100 in 120 format and 5 rolls for 35mm, as well as a few bits for the darkroom.

Right before I left for Germany though, I had another shoot with Nicky Namnam , main goal was "funky angles" type of shoot, to get something different than the usual "straight on".

Looking good as always and always a joy to chat and joke with, here are some of the finished ones, all shot with my Canon 1ds mk II:






These are from the first setting, more coming later as I work my way trough the photos =)


I also had a shoot with an old friend of mine, Kari, the first alternative model I ever worked with. This time, the setting was more "plain" or civilian if you like, this works very well too =)

She is also a working photographer =)

I took both analogue and digital photos, I've only finished three of these yet, too much stuff going on these days to be able to get the time to work properly, but here goes:

Canon 1ds mk II with Canon 24-105 F4 L

Hasselblad 503CW 80 zeiss planar 80mm, with Fuji Acros 100 in Tetenal ultrafin 1:20. Scan from Ilford multigrade IV silverprint.

Hasselblad 503CW 80 zeiss tessar 160mm, with Fuji Acros 100 in Tetenal ultrafin 1:20. Scan from Ilford multigrade IV silverprint.
I love the wild hair on these =)

I still have more in the backlog from both shoots.

I also have been tinkering in dry-mounting fiber prints properly, as I have had a hellish time drying them straight and getting them to stay straight when framing, more on that in a later blog post. =)

Next week on this very day, we are in February, shortest month of the year, amazing.

Peace out =)