Blind Cats and Street Photography

I’ve always admired people who are good at street photography. I absolutely do not count myself as one of those people. I think it takes a certain kind of bravery, an ability to be in a singular world where you are an observer totally unaware of the way people are in turn observing you. For better or worse, when I take a camera out in public, I can feel eyes looking at me. The reality is, most, if not all, people really aren’t, and even if they are it shouldn’t matter. But I can’t help feeling a tad bit of discomfort about it every single time. The best street photographers probably don’t get this feeling. Or if they do, they turn that energy into great photographs. I haven’t quite figured out how to do that.

I’m sure it takes practice and perhaps part of my problem is I haven’t invested the time to get good at it. Very few things in this world come naturally after all.

Photographed with a Hasselblad 500c/m and Ilford HP5 120 film.

It’s because of all of this that my personal street photography tends to not be about people. Buildings, plants, flowers, random animals, old cars, that sort of thing are more my speed.

For this image I noticed a random cat just chilling out on the sidewalk. It wasn’t until I trained my camera on him that I noticed he was completely blind. It didn’t seem to bother him. He was friendly, purring on the warm concrete, only a few steps away from a porch with a cat door. Clearly he was well cared for so the scene didn’t make me sad. In fact, I envied the little guy. He seemed quite relaxed when I made a little portrait of him.


World Pinhole Photography Day (on 4x5 film!)

Well, it looks like another World Pinhole Photography Day has come and gone. I certainly can’t be the only one when I say that it is hard for me to wrap my brain around the fact that it is currently the year 2023. Where on earth did the last three or four years go? I suppose COVID happened. That accounts for some of the whiplash. But still… I guess I’m just quickly hitting that age when time speeds up and the world around you moves faster than you’d like it to.

Photographed with an Ilford Titan Pinhole camera and Ilford HP5 large format film.

Perhaps it is for that reason that pinhole photography feels more important than ever in my life, and why I made it a point to go out and make some pinhole photographs on World Pinhole Photography Day. I’m no different than most people in that I spend the vast majority of my day in front of a computer. I even use that term “computer” very loosely. In reality I spend my day in front of a laptop with three screens, two smart phones, and several televisions pumping out 24 hour cable news. It’s mind numbing to say the least. Would I prefer to have far less screen time? Absolutely yes! But alas, I need a paycheck just like everyone else.

The simplicity of pinhole photography feels like a natural reaction to that unfortunate fact. It is my opportunity to slow it all down. To turn off every single screen. To work with a basic tool that requires slow and methodical interactions. Measure the light. Make an exposure calculation with my notebook. Compose. Open the “shutter”. Wait. Sometimes wait for a long time. Breath the air. Take in the silence. Repeat. It’s a refreshing experience to say the least. There are times when it actually feels like magic.

This year I decided to take out my Ilford Titan Pinhole 4x5 camera loaded up with Ilford HP4 film. I’ve been really happy with that camera ever since I bought it. While it might not be the most elegant looking of cameras, in practice it operates perfectly. It’s nice and light weight which means more room in my pack for film backs. Anyone who has ever worked with sheet film out in the field can understand the value of keeping the weight you carry with you to a minimum. Plus I like the focal length quite a bit. Equivalent to about 20mm on a 35mm camera the angle is nice and wide which is great considering composition is a guessing game with pinhole cameras.

Exposure time on this image was about 25 seconds metered at ISO 400. Negative was developed in Rodinal with a ratio 1:50 at 20C for 11 minutes.


Large Format 4x5 Film In The Studio

It feels like it has been quite a while since I’ve worked with 4x5 film. After a recent photo session in the studio I think I intend to change that habit. For anyone who has ever worked with large format film you know that it is a slow moving process. Very slow. Like sloth climbing up a tree slow. But as I get older and the meaning and purpose behind photography changes for me over time, the slow methodical nature of large format film appeals to me more and more.

Photographed with a Calumet 4x5 Camera and Ilford HP5 Large Format Black and White Film.

From a technical perspective this image has a lot of failures. I think there is a bit of a light leak in the 4x5 film back I was using which was made all the worse by the fact that my studio lights were very close to the camera and the model. Either that or there is a light leak in my developing tank. I’m going to have to do some experimenting to figure out which of those two potential problems is true. In addition, when I developed the film my temperatures were a bit high making the final results a bit too contrasty for my taste.

However, for some reason i’m more forgiving of technical errors when it comes to large format photography. The slow methodical nature of the process makes everything feel more organic, including mistakes. I don’t feel as compelled to have perfect results like I normally would with 35mm, digital, or even medium format film.


8x10 Pinhole Camera and Double Exposure

I haven’t done a lot of work with a pinhole camera lately but looking at this image makes me feel inspired to break out the 8x10 pinhole camera and take it for a spin. This image was made under bright sunny conditions on an 8x10 piece of Ilford RC paper. I metered the exposure at ISO 3 and exposed for about ten seconds with the model in the frame, and then another ten seconds with the model out of the frame.

Photographed with an 8x10 pinhole camera and Ilford RC paper.

Pinhole photography has always been very hit or miss for me. For every frame that I enjoy, there are probably about twenty that I don’t. That might sound a little defeatist but in a way that is something I actually like about it. The bad images can be a little discouraging, but when I get an image that I really like it feels like I did something extraordinary. Plus it can be really nice working with paper negatives. It keeps the costs down to a minimum which allows a bit more freedom to experiment.


When Figures and Landscapes Merge Together

Lately I’ve been far more interested in landscape and nature photography over figure studies and portraits. I suppose it is normal for any artist to go through phases in their work and I’m certainly no exception. There is something very appealing in this (sort of) post COVID world about taking a camera outdoors and just absorbing the silent stillness of nature. It’s nice to take my time with very little or absolutely no agenda at all and getting through a roll of film over the course of several hours as opposed to several minutes, which is the norm when I’m working with people.

Photographed with a Hasselblad 500c/m and Rollei RPX ISO 100 film in Medium Format.

I suppose it was inevitable when I was making this creative transition in my brain that I would create some images that merged the landscape and a nude together. I managed to find this spot at the perfect time. The weather was still fairly warm yet there was plenty of overcast and cloud cover to make the lighting very soft and even. Basically the kind of conditions the Pacific Northwest is famous for, though the extreme weather we’ve been having the past year or so has made less common. A tree on Sauvie Island had broken apart during a recent storm and made for a great piece of architecture for the model to pose on.

Looking at the final edited image, I feel confident that taking several steps back and capturing the entire scene was the right call here.