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Niels - NHSN last won the day on July 26 2013
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Vivian Maier, a nearly forgotten photographer
Niels - NHSN replied to mickeysimpson's topic in Casual Photo Conversations
I am probably of the opposite opinion. I would suggest the mythology may have become a barrier for the appreciation as people that are likely and understandably unsure how much the amazing and heartbreaking story color their perception of the photos - and not least the art world which is always suspicious of things that did not grow out of their eco system. I am very happy that Joel Meyerowitz was out early expressing his excitement on the photographic merits of her work, but other than that, "the usual suspects" of the established photographic world has been very quiet for a long time. With the recent exhibitions at Fotografiska, there seem to be opened a door, though. If one read the thoroughly researched genealogy written by Ann Marks, there is clear evidence that Vivian Maier at a time had serious ambitions of making a career as photographer, but also that she struggled with an increasing mental disability that likely affected her life planning. Maier actually had her work printed during her lifetime, and made notes about her satisfaction with the results. There is also testimony about the heated discussions she had with the personel in the camera shops she dealt with when she was dissatisfied. The excitement around her work was indeed sparked due to the quality of the vintage prints - that John Malloof initially posted on the internet in 2009 to find out more about this unknown photographer. That was before the nanny story was even known. The printing done from her archive are done by professionals now, not random camera store personel, and having qualified people playing a main part in printing, selecting and sequencing a body of work is common practice even among living photographers and certainly among the many monographs published posthumously. We will never know if and what she would have approved of, of course. Would she really be pissed that people are inspired by her work? I am probably a little cynical in this matter. She is dead and has no ancestors that may care. From my perspective it seems that her artistic legacy is largely presented respectfully and I have no problem enjoying her amazing photos. If you think we pay attention to Vivian Maier's photographs only because of the story, I can understand the element of unfairness you express. I think her photographs have qualities that could have been celebrated even without the nanny story. We have the "benefit" of Vivian Maier being dead, and we can look at her work for what it is, in the historical context it was made. Her strongest work we have seen so far, is clearly from the early 50's to the early 60's IMO. She had a well developed personal vision and visible empathy that stylistically radiates from her photographs without obviously copying contemporaries. She had very well developed technical control and compositional competency (if you have used a Rolleiflex in the streets, you will know that in itself is quite an accomplishment). I cannot think of any photographer of this era that she did not match. When placed in this context, I find that she clearly stands out as an exceptional photographer in her own right and I seriously doubt her visually impactful images would have gone unnoticed in her own time, had she chosen to pursue that route. -
Vivian Maier, a nearly forgotten photographer
Niels - NHSN replied to mickeysimpson's topic in Casual Photo Conversations
The discovery of her work in 2009 was a miracle IMO. Her work stands out as extremely strong and personal and she would no doubt have been appreciated in her own time, had she followed the path a photographic artist would have pursued in that era. There have been some challenges in presenting her work in a coherent manner, partly due to the hype surrounding the discovery, eagerness to bring the work out there quickly, fragmentation of the work in different collections and not least copyright issues. I guess or hope we will see better compilations in time. She certainly deserves a place in photographic history. She obviously didn't have an impact in her own time, but if one watch youtube videos with young, especially female, photographers one will soon realise she has become an artistic hero to many. -
HC110 shelf life
Niels - NHSN replied to Mike Gammill's topic in The Wet Darkroom: Film, Paper & Chemistry
I have read that it has returned to the thick substance again in some markets. First mentioned was about a year ago. Don’t know if the revival of the thick viscosity affects longevity as well. BTW. The alleged poor shelf life of the intermediate formula you mention. Is that based on personal experience? -
What camera(s) are you using this weekend?
Niels - NHSN replied to Mike Gammill's topic in Classic Manual Film Cameras
Another Nikon for this weekend. This time with color film (Superia 400). FE2 + 50/1.8E + SB-15. -
Very comprehensive and useful as a reference. The article could have benefitted from separating the compatibility information (pre-Ai, Ai, Ai-S, AF, AF-D, AF-S, DX/FX...) from the information that relates to lens properties (.C, Q, UD, ED, FL, N, Micro, etc.). I would think a person new to Nikon would be more confused than clarified by reading this.
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Widelux Panoramic 35mm Camera on the way back
Niels - NHSN replied to Colin O's topic in Classic Manual Film Cameras
I doubt it is possible to make an inexpensive Widelux. Even in it's own era, the original Widelux was not the easiest to keep in alignment and free of banding. The new project cannot allow themselves to go down the slightest on manufacturing quality if they hope to make a functional camera -- unless they have found a new innovative way to inexpensively ensure stable lens rotation. If the new Wideluxx doesn't carry a high price, I'd be very suspicious of its longevity. -
What camera(s) are you using this weekend?
Niels - NHSN replied to Mike Gammill's topic in Classic Manual Film Cameras
I picked up the F2 w. AIS 50/1.2 and the Bolex again this weekend. Still lots of autumn colors out there but I forgot both had B&W loaded. -
What camera(s) are you using this weekend?
Niels - NHSN replied to Mike Gammill's topic in Classic Manual Film Cameras
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What camera(s) are you using this weekend?
Niels - NHSN replied to Mike Gammill's topic in Classic Manual Film Cameras
Hoping to catch some early autumn colors with my F2 & 35/1.4 AiS loaded with Fujicolor Superia X-tra 400. -
Great idea. i am sure a brass instrument workshop is better qualified to do that specific job, and probably easier to find as a real brick and mortar shop than a camera repair shop.
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What camera(s) are you using this weekend?
Niels - NHSN replied to Mike Gammill's topic in Classic Manual Film Cameras
Such a great well executed camera. Great find! When these were in the Nikon catalogue in the first half of the 70’s, they were more expensive than the Nikon F with plain prism - which was still available. Somehow people today thinks the Nikkormats were entry level, but with the exception of Nikkorex (with which Nikon outsourced most of production), the first entry level Nikon SLR was the EM in 1980. The EL viewfinder interface is timeless. Introduced in 1972 and survived all the way to 2006 with the Nikon FM3a. It still feels fresh. -
Saw this documentary linked on another site and found it quite interesting, maybe a little long but worthwhile if the subject is of your interest. It contains an interview with the Fuji CEO responsible for the transition of the company from what it was to what it is now. There are several interesting takeaways, depending what interests you may have. I noted that it took Fujifilm 40 years to equal and exceed Kodak's color science quality, which makes me think that it is very unlike that any of the current small scale attempts to make color film (by Harman and others) will ever amount to anything other than "experimental" film. Both Fuijfilm and Kodak were prepared for the digital transition already in the 80's but nothing happened in the mass market. Film/processing demand continued to grow to historic highs until the early 2000's and then crashed within extremely short time-frame causing the now infamous complete film-business meltdown. I get the impression that the statement often heard "They should have seen it coming" is way too simplified. The speed by which their market permanently eroded seems to be completely unique in business history. The Fuji CEO's brief reflection on the reason for Kodak's failure to survive as a profitable company is interesting and even obvious: Kodak thought it needed to transition from a chemical company to a technology company. Implying that the failure was that Kodak wanted to move away from their core competences. Whereas Fujifilm realised that they couldn't transition quick enough to save the company if they didn't use their existing chemical science knowledge for their competitive advantage. I guess Kodak's mistake as a company was to think of itself as being in the imaging business. Fujifilm correctly asserted it was in the chemical science industry. As should be known by now, Fujifilm took a lateral move, first into cosmetics and then into pharmaceuticals with accounts for most of their current profits. On the upside from the perspective of those of us using film; the Fujifilm CEO makes a very strong pledge to continue supporting the company's film photography heritage - even if it is unprofitable. Let's hope his successor also share that opinion.
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Re-issue Decisive Moment Cartier-Bresson
Niels - NHSN replied to steve_bellayr's topic in News from the Photo World
Be aware that the new one is much smaller than the original and Steidl facsimile. -
Re-issue Decisive Moment Cartier-Bresson
Niels - NHSN replied to steve_bellayr's topic in News from the Photo World
@steve_bellayr Do you have a link? I don't think it is Steidl's large impressive 2015 facsimile that is re-issued. The Cartier-Bresson foundation published a smaller normal priced version in June this year. I would think that this one may be the one that is released for US distribution in October: https://www.henricartierbresson.org/en/publications/pre-order-henri-cartier-bresson-the-decisive-moment-new-edition/ -
What camera(s) are you using this weekend?
Niels - NHSN replied to Mike Gammill's topic in Classic Manual Film Cameras
Still staying with the 8mm cameras. Last weeks Eumig C3M with the 6.5mm lens-view was much more to my liking, so I looked around, found and just received a Kern-Paillard PIZAR 5.5mm f/1.9 in D-mount for my Bolex C8 - to replace the 12.5mm for general shooting. The PIZAR lens actually came mounted on a camera; a Bolex B8-VS which sports a turret for two lenses. There was a fix-focus Yvar 12.5mm f/2.5 mounted in the second spot. I replaced with my Yvar-FILTIN 12.5mm f/2.8 as it has build in filters and focuses normally. If this B8-VS camera checks out, I will probably use it over the C8 I presented a few weeks ago. Most of Bolex's hobbyist 8mm cameras of the 50's were build over the same brick-like design. This one and the C8 should be sharing most parts, and since they are allegedly not too difficult to maintain yourself, I will use one of these bodies for parts if needed. I continue with Fomapan 100 negative 2X8mm film, and will also bring my Olympus Pen-FT loaded with the same 35mm filmstock. When shooting Fomapan 100 in the past I have always rated it 50 ISO, as it was closer to actual speed in HC110. I want the full 100 ISO speed when filming, I have bought Fomadon LQN. This developer is said to be the only developer that provides true box speed for Foma's conventional grain films. I haven't tried it before, so I will practice on regular rolls of 35mm before souping full lengths of cine film.