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Ian McIntosh
{K:42997} 7/27/2004
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Forgot to say thanks for your time Aurore!
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Ian McIntosh
{K:42997} 7/27/2004
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Sorry bout your recent loss.
About the metering. I had looked your camera up on a website that said the f1 didn't have it so according to that particular expert your f1 didn't exist either! Very special. Could raise eyebrows with the insurance company.
I imagine flashes in such situations would be pretty intusive hence my interest in the big apertures.
I'm intrigued about the issue of brightness since noticing hardly any digitals go below 2 at present.
Just noticed a very very cheap range finder with leica mounts it seems called a Voigtlander Bessa Telemetro selling for $185 (I assume american dollars) it comes with a 1.7 and there is a 1.2 available it seems though I haven't worked out if that's reduced by an adapter.
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Aurore Lynch
{K:1687} 7/27/2004
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I used the built in meter on my F-1. This was over 2 years ago and I didn't have a handheld meter for another year. Then I used some cheap little analog I got on Ebay for under $50. It wasn't worth it... always unreliable. I recently bought a Sekonic L-328. Nice inexpensive ($133 on ebay) digital meter that can be equiped with an optional 5 degree spot attachment. If I had the money I'd buy a Sekonic L-508 or a Gossen Starlite.
I didn't use a flash here. I pushed some 400 film to 1600 and just metered normally, because there were a lot of neon lights in the background (which i edited out) and all-in-all the balance of darkness and excessive brightness seemed perfect for an accurate reading. I guess it's just a matter of trusting your instincts and crossing your fingers. In fact, I never used flash until very recently, when, again, I bought one on Ebay. Still learning flash photography.
Ironically, I took a trip to the post office today, and was inside for 20 minutes. When my son and I returned to the car, my Canon AE-1 w/ 50mm f/1.2 lens was gone from the backseat. Apparently my son had forgotten to lock the door and I hadn't checked it. We live in a fairly crime-free city, but there's just something about cameras. It's the second one that's been stolen from me. The first one was my very first 'real' camera, a Canon FTb with a 50mm f/1.2 lens. Yes, f/1.2. According to all sources, my lens never existed. It was not the 50mm f/1.2 L w/ the plastic collar that everyone insists it must have been. And it was probably worth a lot of money. So, anyhow, I need to purchase a new 50mm lens also.
If you are currently short on cash and dying to shoot, but a Holga or, better yet, a Diana. They're quirky little plastic cameras with minimal technicalities that are wonderfully liberating to shoot with. Diana offers a bulb setting and about 1/100, and f/4, f/8, f/11. It takes 16 4x4cm images on 120 film. Look it up on Google. Have fun!
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Ian McIntosh
{K:42997} 7/27/2004
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Very nice. History shared and imagine a flash here. I've only ever used zooms of some kind with my s.l.r.s but having some gear stolen has forced a re-think and am really excited about using an early 70's 1:1.4 with an old screw mount. I suspect a vast majority of plebs like me have not had the chance to go below two.
You are a fair way away. Can I ask what sort of meter you use? I just over exposed a lot of shots in a possibly similar situation. I'm imagining something exists these days you can point fairlay sharply to select you subject out of the gloom.
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sunrise
{K:6651} 7/26/2004
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great!!!!
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m.c. lopez
{K:14766} 7/26/2004
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excellent
it appears that all the fabulous jazzmen have a son or a daughter trying to continue or challenge them !
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Joao Cleto
{K:145} 6/2/2003
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I like this one!
Like the way the hands seem to appear from thin air.
Would like it a bit more centered, the bass is to close to the edge.
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Marc Gougenheim
{K:5398} 5/24/2003
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Interesting picture. The fact that the body disappears in the dark is what interests me most here. If the neg is very sharp, you've got a good shot. I feel the instrument in nevertheless too close to the picture's border - you may want to clone in a bit of black on the right and reduce the amount of black space on the left. When the subject is THAT simple, there's nothing wrong with centralizing the subject. Classy mood anyway.
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Todd Broadbent
{K:2204} 4/28/2003
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I know it wasn't your choice of lighting, but it would have been nice to eliminate the shadow across his face. I really like the "invisible" bass player look and the jazzy feel.
p.s. thanks for "venting" in the forum ("why can't they take criticism?") I left my response, but I think it just boils down to maturity and/or hubris.
If I submit something on here - critique it! (you'll have plenty of ammunition...)
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Joćo Figueiredo
{K:7674} 4/24/2003
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... like the concept, maybe if the bass where more "in" the images, just a few pixels...
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Kim Culbert
{K:37070} 9/24/2002
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Wonderful balance between neg. space and the subject. Very cool outlook!
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Russell Love
{K:7006} 9/24/2002
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Aurore,
What else can be said? Great job. Can almost hear daddy John's Sax.
Later my friend,
Russ
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John Doe
{K:155} 9/24/2002
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I like the contrast and the mood. To me this image says all the musician needs is his head, his hands and his instrument - everything else is irrelevant. Nice job.
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Katia Cutrone
{K:12940} 9/24/2002
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Hi Aurore,
I like this image very much, it has a surreal effect: it seems that the hands and face of Coltrane's son come out from the darkness, like he wasn't a real person, but an image of our fantasy. Really cool. I like also the shadow, so delicate in his face and on the instrument. You did a wonderful work.
I love Jazz and I think nobody should miss Coltrane's music. I hope his son is great like his father.
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