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I had been saving this image to announce my participation in a new project, until I realized that it has nothing to do with the project. I’ll announce the project soon.  It’s not a secret, and it’s not my personal project, but I don’t have the pieces in place to make my first entry and announcement yet.

So this image, meanwhile, was shot an on Olympus 35 SP on Ilford HP5+ film. The scene is much more friendly and bright than this image. The painting is brightly colored, and sits on a railroad embankment very near to an overpass, and I presume is part of some program to brighten up such areas, which are usually rather neglected.

But when you shoot it in bkack and white film it generates a completely different energy.

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  • LensScaperDecember 13, 2014 - 1:12 pm

    That has a magical child-like property to it. Like a shadow cast on that white background. What a great find, Mark.ReplyCancel

    • MarkDecember 15, 2014 - 9:07 am

      Thanks Andy. This was an instance where I guessed right that the tool I happened to be carrying was just right for the job.ReplyCancel

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Early Sunday morning in the West Village, at the corner of Leroy and Greenwich Streets. The entire outside of the building is a copy/version of a previous work by Martin Creed originally shown at the Tate in London.

I think the idea behind the piece — “the whole world + the work = the whole world” — is the same as the math concept of adding to or subtracting from infinity:

infinity plus 5 = infinity
infinity minus one million = infinity

I’m not sure whether or why he’s trying to make the particular point that work is worthless. Or maybe just his work is. Or not, I’m not actually that hostile to this.*

Many thanks to the man walking through in just the right way at just the right time.

* OTOT, giving a major prize to a light turning on and off was a bit much.

 

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This is my second shot of the bubbles – the first is here. This one is a real film image, using motion picture film stock that’s been modified to use in 35mm still film cameras. The 200 refers to the ISO. Like many, but not all motion picture films (some are set for daylight or other light sources as well), it has a white balance set for tungsten lights and so it will shoot with a blue tint in daylight. It is recommended that you overcome this with a 85A warming filter. I used a much weaker 81A warming filter, in part because that’s what I already had and in part because I wanted to allow some off-color elements to pass through. It ends up working very well in scenes that have a lot of green like the shots I took in Acadia National park, including the scene at Jordan Pond.

This particular batch of repurposed movie film came from the Lomography store, and the run is completely sold out.  But you can also buy similar films from CineStill, and the Film Photography Project Store. Before you buy, check if the product has the remjet layer removed. This is a special coating used on movie films to allow it to move smoothly through the movie cameras at 24 frames per second. It mucks up developing unless it is removed first. Home developers can handle it themselves but most commercial/consumer developers won’t touch it. As far as I know, the FPP Store is the only place I have seen that sells movie stock without removing the remjet, and they will also either sell you the kit needed for home developing or point you to a developer who will handle it for you.

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  • Michael CriswellDecember 7, 2014 - 9:27 am

    Wow, film! You da man Mark, I missed that when we were there, nice work and great photo frontier articleReplyCancel

Nothing to do with the movie of the same name, except that the Mystic River in Boston (the source of the movie name) and this one in Connecticut, are both based on the same Native American Indian word for large river.*  This Mystic River splits Mystic, Connecticut.  On the opposite bank is the part of the town with the Seaport Museum, which is maybe a half-mile or so north of here. On this side is the quaint old town section, with lots of restaurants and art galleries.  My family and I ate at an amazing restaurant called The Oyster Club which I highly recommend, located very near to the spot where I took this shot.

Real film again:

Minolta CLE camera
Voigtlander 28mm f/2 lens
Kodak Gold 400 film

* Wikipedia says it’s an Algonquin word on the Massachusetts river entry and a Pequot word in the Connecticut river entry.

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