Overview Of Wolfman happenings in Late April Into May
From late April to May I will have works in 4 four separate unrelated showings.
Film N’ Friends - A Street Photography Exhibition
April 26, 2026 - 7PM -> 11 PM
TAG Gallery - Photography Unveiled
April 22 until May 15
Opening Reception: April 25, 5PM to 8 PM
Emerging Gallery - DTLA Art Night
May 7th To May 29th. 2026
Opening Reception(DTLA Art Night): May 7th, 6PM to 10 PM
Art/Space 114 - The Magic Of Light
May 2nd Through June 14th, 2026
Opening Reception: May 9th, from 4 to 6 PM
From late April to May I will have works in 4 four separate unrelated showings. A Guide.
Film N’ Friends - A Street Photography Exhibition
Film N’ Friends is doing a street photography April 26, 7PM to 11PM at Superchief Gallery. I will have one 20×30” print on display
Super psyched to have work exhibited in Superchief. One day event.
Links
Event Insta: https://www.instagram.com/p/DWmJSedlKfV
My Insta: https://www.instagram.com/p/DXFkmgoEn1V/
TAG Gallery - Photography Unveiled
On Wilshire boulevard, next to “The Icon” film lab. Open format, juried photography exhibit, where I will have a 20×30” print on display as well.
Show runs April 22 until May 15
Opening Reception: April 25, 5PM to 8 PM.
Links
TAG website: https://www.taggallery.net/tag-events
My Insta: https://www.instagram.com/p/DXQU6-flCVc/
Emerging Gallery - DTLA Art Night
I continue to exhibit prints here, rotating photos out again for March.
Opening is on May 7th, for Art Night, 6 to 10 PM. Photos will be up in Emerging Gallery until the end of the month, generally last Friday before the next Art Night(first Thursday of the month, generally).
Emerging Gallery has odd hours outside of Art Night: 8:30 PM → 3 PM
Links
Website: https://dtlaartnight.com
My Insta: https://www.instagram.com/p/DXQVN3QlGeA/
Art/Space 114 - The Magic Of Light
Themed exhibition, where again, I have a single 8×12 in the exhibit. Light and Shadow play features heavily in my work. Juried Exhibition.
This one is in Art/Space 114
Runs May 2nd Through June 14th, 2026
Opening Reception: May 9th, from 4 to 6 PM
Links
My Insta: https://www.instagram.com/p/DWztbXlDxlU/
Entry Thingy: https://app.entrythingy.com/artspace114/artspace-114-photography-open-call/
DTLA Art Night, May 7 - Emerging Gallery
I’ve yet again been invited back for Art Night, May 7th. Same bat time, same bat channel, just rotating some prints
When
May 7, 2026
6PM to 10PM
Where
Emerging Gallery
125 E 4th Street
Los Angeles
I’ve yet again been invited back for Art Night, May 7th. Same bat time, same bat channel, just rotating some prints
When
May 7, 2026
6PM to 10PM
Where
Emerging Gallery
125 E 4th Street
Los Angeles
TAG Gallery: Photography Unveiled - April 25
I’ve been invited to participate in “Photography Unveiled” At the TAG Gallery, a juried exhibition that runs from April into May. Reception is April 25th, 2026, 5 to 8 PM.
https://www.taggallery.net/tag-events/2026/4/15/gallery-reception-saturday-april-25-5-8-pm
When
April 25, 2026
5PM to 8 PM
Where
TAG Gallery
5458 Wilshire Blvd
Los Angeles, CA 90036https://www.taggallery.net/tag-events/2026/4/15/gallery-reception-saturday-april-25-5-8-p
I’ve been invited to participate in “Photography Unveiled” At the TAG Gallery, a juried exhibition that runs from April into May. Reception is April 25th, 2026, 5 to 8 PM.
https://www.taggallery.net/tag-events/2026/4/15/gallery-reception-saturday-april-25-5-8-pm
When
April 25, 2026
5PM to 8 PM
Where
TAG Gallery
5458 Wilshire Blvd
Los Angeles, CA 90036
Film N Friends Street Photography Exhibition
Another Gallery Showing. I have a photo in the upcoming Street Photography Exhibition by Film N Friends.
When
April 24, 2026
7PM → 11 PM
Where
Superchief Gallery LA
1965 S Los Angeles St
Los Angeles, CA 90011
Another Gallery Showing. I have a photo in the upcoming Street Photography Exhibition by Film N Friends.
When
April 24, 2026
7PM → 11 PM
Where
Superchief Gallery LA
1965 S Los Angeles St
Los Angeles, CA 90011
The Magic Of Light - Arts/Space 114 - May 9th
I will be exhibiting a print on May 9, 2026 at Art/Space 114 in Downtown Los Angeles for their “The Magic Of Light Exhibit”. I have one photo, I think you might be able to guess the work. The exhibit is for photography using shadow and light play, huge part of my work.
When
May 9, 2026
4pm → 6pm
Where
Art/Space 114
114 4th Street
Los Angeles,CA 90013
I will be exhibiting a print on May 9, 2026 at Art/Space 114 in Downtown Los Angeles for their “The Magic Of Light Exhibit”. I have one photo, I think you might be able to guess the work. The exhibit is for photography using shadow and light play, huge part of my work.
When
May 9, 2026
4pm → 6pm
Where
Art/Space 114
114 4th Street
Los Angeles,CA 90013
Under The Bridge
When I was 5 years old I wanted to be a biker. I saw the bikes in a parking lot going rum-rum-rum and from that instant thats all I wanted to do. So I grew up, and then I got to be a biker.
The Wild And Dangerous
The event was roped off, everyone was forced to the sides, behind the tape, except if you had a camera. Then you where in the action, 800-pound machines inches from your face like a snarling war horse.
When I was 5 years old I wanted to be a biker. I saw the bikes in a parking lot going rum-rum-rum and from that instant thats all I wanted to do. So I grew up, and then I got to be a biker.
The Wild And Dangerous
The event was roped off, everyone was forced to the sides, behind the tape, except if you had a camera. Then you where in the action, 800-pound machines inches from your face like a snarling war horse.
Perhaps you like the excitement. Perhaps the thrill. Perhaps the Danger. Perhaps you’re willing to play with 800 lb death machines inches from your face for just a few really sick shots.
Smoke ‘em if you got ‘em.
Smoke ‘em if you got ‘em.
This is a photo essay for the Iron Horse, the bikers.
The Weenie Bite
In biker culture, a “Weenie Bite” is you put a hot dog on a string or hook, and a biker rides underneath it, and his ol’ lady on back tries taking the biggest bite with her mouth. Its a little lewd, raucous, but ultimately harmless fun.
Under The Bridge
Its a building, its an entire abandoned block used as a mural. Its the bridge. Its LA. Lost Angeles
Emerging Gallery - April 2, 2026
Time and Date
6 → 10 PM
April 2, 2026
Location
Emerging Gallery
125 East 4th Street
Los Angeles, California, 90013
I’ve been invited back, once again for Emerging Gallery, opening on Art Night, April 2, 2026.
I’ll be there part of the evening, but I’ll be floating around to other galleries.
Time and Date
6 → 10 PM
April 2, 2026
Location
Emerging Gallery
125 East 4th Street
Los Angeles, California, 90013
Portfolio March 2026 Available
I’ve now put together a proper portfolio to showcase my work. This has my best works I feel worthy of printing. Its also a catalog with prices.
It can be obtained for $20 here: https://www.blurb.com/b/12797468-portfolio-and-catalog-2026
I’ve now put together a proper portfolio to showcase my work. This has my best works I feel worthy of printing. Its also a catalog with prices.
It can be obtained for $20 here: https://www.blurb.com/b/12797468-portfolio-and-catalog-2026
It will also be available upon request, as I’ve ordered 5 copies.
Gallery Showing: Emerging Gallery - March 5th
I am back in Emerging Gallery for March DTLA Art Night opening. I’ll once again have 5 prints on the wall. Prints will be up all month of March. I’ll be at the Gallery at least some of the night, but will be walking around visiting other galleries.
Where
Emerging Gallery
125 East 4th St
Los Angeles, CA 90013
When
March, 5th, 2026
6 -> 10 PM
I am back in Emerging Gallery for March DTLA Art Night opening. I’ll once again have 5 prints on the wall. Prints will be up all month of March. I’ll be at the Gallery at least some of the night, but will be walking around visiting other galleries.
Where
Emerging Gallery
125 East 4th St
Los Angeles, CA 90013
When
March, 5th, 2026
6 -> 10 PM
DTLA Art Night Feb 5th
I’ll be out selling prints in the Alley this time, taking a break from Emerging Gallery(will return for March 5th). Little last minuet so I don’t have a flier, but details:
Where
Spring Street Arcade
541 S Spring St, Los Angeles, CA 90013
When
Feb 5th, March 2026
4 PM - 10 PM
I’ll be out selling prints in the Alley this time, taking a break from Emerging Gallery(will return for March 5th). Little last minuet so I don’t have a flier, but details:
Where
Spring Street Arcade
541 S Spring St, Los Angeles, CA 90013
When
Feb 5th, March 2026
4 PM - 10 PM
DTLA Artnight Jan 8th
I am returning at the Emerging Gallery on Jan 8th, hosting 5 new prints. These will be up all month January. Come by and check it out. While you are there, also get a map, and be sure to check out the 50 some-odd other vendors and exhibits in DTLA. Maps of events in Emerging Gallery
I am returning at the Emerging Gallery on Jan 8th, hosting 5 new prints. These will be up all month January. Come by and check it out. While you are there, also get a map, and be sure to check out the 50 some-odd other vendors and exhibits in DTLA. Maps of events in Emerging Gallery
When
January 8th, 2026
6PM -> 10 PM
Where
Emerging Gallery
125 East 4th Street
Los Angeles, 90013
Gallery Showing All Month
As you know, last Thursday was the opening at Emerging Gallery for Art Night. The photos will be up all month. You can stop in when this Gallery is open to see these in person.
These are 20”x30” printed as a set from LA Film lab using their relatively new 350 Gram Museum Etching process, resulting in absolute bright colors and vivid deep satin blacks, especially with the neon work.
All of these are framed 20”x30”, with a price of $350 each.
For sales, contact me directly, either through the contact me directly through “Contact” tab, or message me on Instagram in the “Links” section. I take cash, credit card, and Venmo.
Only the 20”x30” photograph are mine. The smaller photos and other media are other artists. Do not contact me about those works.
Full details in article
Emerging Gallery
125 East 4th St, Los Angeles, CA 90013
As you know, last Thursday was the opening at Emerging Gallery for Art Night. The photos will be up all month. You can stop in when this Gallery is open to see these in person.
These are 20”x30” printed as a set from LA Film lab using their relatively new 350 Gram Museum Etching process, resulting in absolute bright colors and vivid deep satin blacks, especially with the neon work.
All of these are framed 20”x30”, with a price of $350 each.
For sales, contact me directly, either through the contact me directly through “Contact” tab, or message me on Instagram in the “Links” section. I take cash, credit card, and Venmo.
Only the 20”x30” photograph are mine. The smaller photos and other media are other artists. Do not contact me about those works.
Work Featured by Prints
Emerging Gallery, DTLA
Works Featured By Name
From left to right, top to bottom
The Idle Hour - Shot on beautiful Kodak TriX 400, this piece is a favorite. The old-timeyness of the TriX adds authentic old fashion, being in production since 1946. The grain of the film really brings out the wood grain of the exterior. The tight crop gives a larger than life imposing feeling that the building is large barrels contrasted with an actual normal size barrel in the front
What Remains Of Hopes and Dreams - This is a somber piece. Remains of a house on the Pacific Coast Highway in Malibu, after the January 2025 Palisades Fire. Burnt outline of a house in the background with the tides coming in, while a single brick wall panel withou mailbox in the foreground. Shot on Arista Pan 100, adds moodiness contrast and forebodingness. With the fireburnt brick in the foreground contrasting strongly with the waves crashing on the beach in the background which can only be seen because the house is missing, only evidenced by its outline. Its a perptual reminder of the temporal nature of man vs the eternalness of the tides.
America: Open - Miss America Diner, Jersey City, New Jersey. This is one of my earlier works. Time exposure tripod shot of a neon and chrome glad diner, a staple of New Jersey culinary institutions.
The Waiter - From “The 2005 Collection”. From a day trip to Brussels, Belgium, from Germany, me and a friend where wandering the winding allies of Brussels’s cafe district looking for a specific bar. We heard a smash of glass and some footsteps on the cobblestone streets, and out rushed a waiter, after a person we did not get to see, who dramatically stares down the alley towards the street. Just in time I pulled up my Nikon FM2 and snapped his picture. It sat in a box for 19 years before getting a hi-res negative scan and become an instant favorite.
Liquorscape (2025) - Pop Art Remix of an earlier 2012 work named “Liquorscape”, shot on Portra 400 against the backlit “Sidewalk Cafe” in the LES of Manhattan. The warm orange tones gave a natural mysterious surreal-esq vibe, as the bottles appeared as silhouettes. The 2025 remix features a new hi-res negative scan, and given the monotones, could easily be color shifted. After discovering the photo worked along almost the entire spectrum I picked four colors, at approximately quadratic points on the color wheel and made a collage. Bottom left orange is true color. Pop Art is not my usual style, or my comfort zone as an artist, and this piece was an experiment to give it a try to see if I could in fact master it. This one turned out to be a best seller and favorite.
HWH Holiday Market - Dec 4, 2025
HWH is the corner space with the big glass windows next to emerging gallery. They have having a holiday market on art night. The specifically asked for “more affordable” works under $200/piece. In addition to showing the big 20x30s for Emerging Gallery, I have 5 8x12 framed prints I will be selling at the holiday market. These are 5 picked from inventory of existing museum grade 8x12s, framed. Normal price for a framed 8x12 is $120. For this night, and this night only, I will be selling these for $99.
HWH is the corner space with the big glass windows next to emerging gallery. They have having a holiday market on art night. In addition to showing the big 20x30s for Emerging Gallery, I have five 8x12 framed prints I will be selling at the holiday market. These are five picked from inventory of existing museum grade 8x12s, framed. Normal price for a framed 8x12 is $120. For this night, and this night only, I will be selling these for $99.
Note: HWH is a market, Emerging Gallery is a Gallery.
What this means: If you buy and pay for what I have in the Emerging Gallery, it still needs to stay up for the rest of the month. If you buy one of the smaller prints from HWH, you take it home with you that night.
Update: If there is any photo you want to buy, let me know and I will bring it. for larger prints this only applies to in inventory, but I can print any 5x7s you want
Eastman Kodacolor
Finally have it. I’ve shot Kodacolor in 100 and 200, and had some time to think it over. This is Eastman Kodak’s new film stock. Some say its Plus 200 and ProImage 100. But is it? I did NOT do a shootout, as I’ve done with other films. I just decided to shoot both, in daylight and then check results.
Finally have it. I’ve shot Kodacolor in 100 and 200, and had some time to think it over. This is Eastman Kodak’s new film stock. Some say its Plus 200 and ProImage 100. But is it? I did NOT do a shootout, as I’ve done with other films. I just decided to shoot both, in daylight and then check results.
The results? Colors are a bit dull, but otherwise its a solid film. Exposure lattitude is good. Contrast is good, and grain is rather good, especially for the 100. Grainwise, you still can’t pick out individual grains with with Kodacolor 100 and a noritsu 30 MP scan. In fact, you get more noise from the scanner than you do grain. Really not bad for a film that is less than $10 for a roll of 36.
Now.
This isn’t Portra. It doesn’t have the color, the contrast, or the absolute fineness of grain the Portra 160 has. But for less than half the price, and very much not half the quality. Compared to the vintage(Jesus, really?), still produced Gold 200 and 400(Ultramax is relabeled Gold 400), they are less saturated, less warm, closer to neutral tones. This makes a much better point if you are just getting them scanned anyway. So, if you want something other than the warm vintage tones of Kodak Gold 200, this is an alternative.
Lets take a look at some photos:
Kodacolor 100
As published - Edited in GIMP
Unedited - As Scanned
Kodacolor 200
As published - Edited in GIMP
Unedited - As Scanned
Conlusion
Not bad. Not bad at all for a film stocks that are under $10/roll. If you are budget conscious, this just might be a film for you.
Gallery Showing: Dec4 DTLA Art Night Emerging Gallery
I’ve been invited to participate in the Emerging Gallery for DTLA Art Night, December 4th. This is my first proper gallery showing. For this event I will have 5, Special Edition 20x30s framed printed with LA Film Lab’s 350 Gram Museum Etching. I will not spoil which photos I am printing, but they are all some of my most favored works.
I’ve been invited to participate in the Emerging Gallery for DTLA Art Night, December 4th. This is my first proper gallery showing. For this event I will have 5, Special Edition 20x30s framed printed with LA Film Lab’s 350 Gram Museum Etching. I will not spoil which photos I am printing, but they are all some of my most favored works.
Pricing for these will the the same $350 for a framed 20x30, but will be a one of one print.
Emerging Gallery is the start point for DTLA Art Night.
Details:
When: December 4, 2025. 6-11 PM
Where: Emerging Gallery. 125 East 4th Street, Los Angeles
Look At The New Eastman Kodacolor
All the rage is now that Eastman Kodak has released a new color film, after selling the brands to what is now Kodak Alaris.
The “Kodacolor” brand was previously what morphed into Kodak Gold in the 80s. The New Kodacolor is anyone’s guess, and comes in 100 and 100 ISO speed films. I’ve purchased a roll of each and have since shot both rolls, and will blog about it shortly.
All the rage is now that Eastman Kodak has released a new color film, after selling the brands to what is now Kodak Alaris.
The “Kodacolor” brand was previously what morphed into Kodak Gold in the 80s. The New Kodacolor is anyone’s guess, and comes in 100 and 100 ISO speed films. I’ve purchased a roll of each and have since shot both rolls, and will blog about it shortly.
Kodacolor 100 - Beer and Cameras Halloween edition in South Pasadena
Kodacolor 200 - Dodgers World Series Parade.
Filmstock Review: Arista Pan 100
This is a cheap film stock, currently on sale, for 5 rolls for $20($4/roll) at Freestyle Photography Supply in Los Angeles. The price was right, so I’d thought I’d see what I could do. So far I’ve shot 3 rolls of the stuff. One at box speed, and the remaining two pushed to 400 and 1600. Perhaps next roll I might try pulling.
For a cheap film, it works pretty well. Especially if you are just scanning them. Lets take a look.
This is a cheap film stock, currently on sale, for 5 rolls for $20($4/roll) at Freestyle Photography Supply in Los Angeles. The price was right, so I’d thought I’d see what I could do. So far I’ve shot 3 rolls of the stuff. One at box speed, and the remaining two pushed to 400 and 1600. Perhaps next roll I might try pulling.
For a cheap film, it works pretty well. Especially if you are just scanning them. Lets take a look.
ISO 100 - Box Speed
I did a decent ride around LA County on my motorcycle. I stopped at a protest for people, hit the mountains, the PCH for ocean, and got urbanscapes and landscapes. Very reminiscent of TriX.
For the most part these are unedited, and they look like this direct scan. Pretty good. Little grainy, especially for a 100 speed film, and our darker friends, its a little sketch, but overall handsome looking film. Lets look at the unedited files for the few scans that needed some contrast correction
As you can see, not much of a difference.
ISO 400 - Push 2 stops
NOTE: Some of these had a yellow filter used.
As you can see, 400 is a little more punchy, but not by much. Not very grainy, and still perfectly good. Note that even in mixed light we still get detail in the shadows.
Lets look at a few of those unedited. The contrast correct is very slight.
ISO 1600 - Push 4 stops
This is where the fun starts. I did something really spooky for Halloween. I pushed cheap 100 speed film 4 stops to 1600. A dusk long beach photo-walk led by Open Gallery. Now this gets spooky. Punchy, Contrasty, Mysterious. There is no reason to do this, over lets say pushing TriX or HP5+ to 1600/3200, unless you really want to hit people over the head with film effects.
These are also heavily edited for contrast. far more so that more serious films like TriX or HP5
Lets take a look at the unedited photos. Total wash of grey. Usable with contrast correction, but this isn’t my first pick of film. Not bad for just fucking around with tho.
Conclusion
Film is very much worth the time, even if it comes with some limitations. Its not replacing Ilford or Kodak Black and Whites, but its certainly fun, and certainly has its uses, especially in broad daylight. Being slower than TriX, it gives grain and contrast in broad daylight that doesn’t leave you reaching for that 1/4000s shutter speed or an ND filter.
DLTA Art Nite, Nov 6, 2026
I will be in the spring street arcade selling prints. So come stop by
When:
November 6th, 2025
Where:
Spring Street Arcade
541 S Spring St, Los Angeles, CA 90013
More details:
I will be in the spring street arcade selling prints. So come stop by
When:
November 6th, 2025
6PM -> 11 PM
Where:
Spring Street Arcade
541 S Spring St, Los Angeles, CA 90013
More details:
Phoenix 200(original) - A Review
I’ve got one last roll of this stuff, as well as a roll of the new Phoenix II. After numerous complaints, the original Phoenix 200 was pulled for being just too hard to shoot, and just a little too grainy for a 200(125 native) speed film.
My experience is that it was a great film, but you needed the exact right lighting conditions, and if you shot an event where you didn’t have control of placing the object you are shooing and the sun was in the wrong spot, the photo could be ruined. It had no versatility, very unforgiving, and you needed to get the metering just right.
I’ve got one last roll of this stuff, as well as a roll of the new Phoenix II. After numerous complaints, the original Phoenix 200 was pulled for being just too hard to shoot, and just a little too grainy for a 200(125 native) speed film.
My experience is that it was a great film, but you needed the exact right lighting conditions, and if you shot an event where you didn’t have control of placing the object you are shooing and the sun was in the wrong spot, the photo could be ruined. It had no versatility, very unforgiving, and you needed to get the metering just right.
Lets get into some photos
Neons
My favorite subject matter. Lets start with some winners.
You get a very vintage feel. very quickly, blacks get crushed, and the black is zone 3 black, not zone 1. Very grey. Kinda feels like pre-ripped jeans. When the subject is the light itself, and you don’t want or need detail of the rest of the scene, it works great. Especially for the one on the left, where the intent was to fade to black very quickly, and produce negative space.
When you try getting background with a neon shot it doesn’t work. Here is a bracket of a sign. You can get the sign, or the background, not both. Halations look sloppy.
Now, lets say we want a mixed scene, something like “Amsterdam Billiards & Bar” my famous shot of the 11th street poolhall in Manhattan, where the neon doesn’t dominate the photo, but is a light source itself for the other elements of the film, and can be used as a fill.
You can see here that under these conditions the pictures are beyond soft, pictures run flat neons blow out beyond the tasteful halations(see Jacks Rules On Halations), and people are very blurry. Yes, I can focus, and they where in focus when taken. Both of these shots would have been amazing on either Kodak Gold or Portra
Next we can see how this works with exterior shots
The ability to use neons for fill lighting is very limited. This film doesn’t have the exposure latitude to get subtle halations while using the neon as a fill lighting to get a shadow filled wonderland. The one on the left can be a hit if you like soft, out of focus retro photos. The one on the right is a miss in any book. Halations look like crap, and blow out hard, and does not have the fill lighting effect. This would be a hit with Portra or Gold.
This one didn’t turn out too bad, but also not too good either. Its just medicore. The halations on the sign are fine, but the focus on this is terrible, and everything is fuzzy. The halations from everything else looks terrible. This could have been a crisp image with other film stocks
One last image. This one is blue-purple in real life. Phoenix looks good with red neons, OK with green neons, and complete ass for everything else. Complete color shift.
People - Daylight
Provided you mind the time of day and where the sun is. People shots, at least in daylight, tend to work well. All skin colors look handsome. It has a nice, faded look of vintage yellowed kodak film. Its grainy, but reasonable. Just make sure you get your lighting right, and get the metering right.
Motorcycles - Daytime
Motorcycles, especially chrome ones, tend to be trickier. The reflections from the chrome can blow out highlights and then shadows in the nooks and crannies can have crushed shadows. This can be an issue if you don’t have control of how to position the bike.
You have the color of the bike that matches the background, it can fade in. Note how this green chopper might have a brilliant shade of candy green, but on phoenix it looks like the grass
Born Free this year, on Phoenix 200
Architecture - Daytime
If you like blown out highlands and crushed shadows, then this looks good. Again, gotta be very careful where the sun is.
From a beer and cameras meet. This automatic clock company(?) had a nice shade of red in real life, but looks somewhat sour in and the trees don’t like good either. In this case it falls flat and the brilliant colors of the clock are muted.
Some more shots mixing greenery and buildings from USC/Science center tend to work pretty well. Again, with a very vintage feel
Lets get to some more “normal” buildings in town centers. Its going to be highly dependant on time of day, where the sun is, and of course, the color of the buildings. These ones look fine.
These ones are blown out
And for a sky shot. Very faded, vintage, like pre-washed, pre-ripped jeans
Ruralscapes
Last, we got some ruralscapes. Not quite rural, but empty spaces on the edges of LA County. THis is Pomona
Lots of grain. Colors tend to be nice, but crushed shadows limit its usefulness
Conclusion
Can be very beautiful, but its very tricky to shoot, and its limited in its utility. I have one last roll I am saving.
Camera Day On The RMS Queen Mary
This past weekend was National Camera Day. The ocean liner-turned-hotel RMS Queen Mary permanently parked in Long Beach held an event. There where vendors, and I was able to snag a spot on a private tour with Nikon brand ambassador Vincent Versace. This was one of the hardest days in photography I’ve had so far.
I brought 4 rolls of film, two color and two black and white: Ilford HP5+ and Kodak Portra 400.
This past weekend was National Camera Day. The ocean liner-turned-hotel RMS Queen Mary permanently parked in Long Beach held an event. There where vendors, and I was able to snag a spot on a private tour with Nikon brand ambassador Vincent Versace. This was one of the hardest days in photography I’ve had so far.
I brought 4 rolls of film, two color and two black and white: Ilford HP5+ and Kodak Portra 400. I had no idea what to expect. Lighting conditions on the Queen Mary are rough, very rough. You go from hard sunlight to interior lighting from back in an era where indoor lights where a full 4-5 stops darker than modern lights. This isn’t reflected in most modern digital pictures and walk through. As such, 400 speed film at box speed is too slow for indoors on this ship. ISO 1600 is barely light enough being forced to work with F/2 and F/1.4 at 1/60 and 1/30th of a second. Down in the engine room/hold of the ship, that isn’t even close, that is about 4 EV below that as well. On top of that, the tour went from light to dark and ended with a model shoot. On top of everything Versace based his photo shoots around modern digital cameras with high speed sensors and auto focus, shutter and aperture cameras. I do regret not trying out a Nikon Zf that the folks at Nikon where allowing people to borrow for free.
Registration started at 3 PM, and my tour was at 5 PM, so I killed some time with some above deck and top deck shots. Portra 400 and HP5+ at box speed.
Next, we went below decks. It got really dark here. I burned half a roll of HP5+ and reloaded the second roll and set the meter to 1600, and attached my speedlight. Needless to say that even down here, finding a shot that you could meter at 1600 was difficult. Still, a few hits.
From the holds of the ship, we where shown three locations with studio lighting and models posing for us while Versace went over lighting. The lesson itself was worth the price of the VIP tour. Portra 400 is very versatile film designed for digital editing. I was able to bring out the background and really bring out the color of the models in post. Still: I wish I had some Portra 160 for this one.
Bottle of champagne that was set against a light. This was an easy one. A table with a plain tablecloth and flier with a bottle of champagne that was pre-arrange and lighting was pre-done. This was an easy one.
On the way out I ran into some of the models again. They where pretty chill about me snapping some extra shots. My forte is street photography, shooting ambient light. Back in my element, I do my best work.
NOTE: Two versions for the lady in the hall ways, changing the saturation to try and get the vibe of the 1920s and better capture the earth tones inside the ship. I am split on which ones I like more, saturated or de-saturated.
Supposedly the ship is haunted. They had a separate ghost tour, but the tour guides did in fact tell me that the passenger suite B340 is one of the haunted rooms. Its locked, but they have a light on, and you can look inside. Metering is intentional here. Portra 400 has really great dynamic range, but pushed HP5+ black and white is super spooky.
One last photo. I saw a fellow photog standing on the rocks outside the ship pointing his camera through a gap in the fence on some rocks. I decided to check it out. I’ll give this one as a freebie. If you are going to see the RMS Queen Mary to take pictures look for a chain running between two fences past the bow. Bring a 50mm lens, and get the camera between the gaps where the chain is. The 50mm focal length with 35mm/FX sensor is absolute perfect, and the gap will line you up close to perfect, just get the fence bits out of the photo. All I had left was 3 shots left of HP5+ at 1600. This looks fine as is, but really doesn’t do it justice.