[Film Photography]:Bèeeee

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Prato della Valle (Padova) – maggio 2019

HP5+ @400 24x36mm / ID11 1+1 / Yashica 35 electro gx

Negative scan

 

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[Letizia Battaglia] : a veder fotografie

Venezia, giornata primaverile soleggiata e sognante.

Alla Tre Oci in quel della Giudecca, una antologica di ben 300 immagini scattate da Letizia Battaglia tra il ’78 ed oggi. In rete trovate tutto e di più sulla mostra. Da parte mia un positivo giudizio per l’organizzazione lodevole e il percorso espositivo nonché per la proposta delle sequenze di alcuni soggetti che rendono giustizia dello sguardo veritiero della fotografia. Spesso si vedono delle immagini simbolo, iconiche , ma non si vede altro attorno. Due esempi per tutti: la bambina col pallone (scelta come foto della mostra) e i ritratti al vivo di P. P. P. In entrambi le sequenze mostrano bene il contesto reale. Mi ha sorpreso la sua fotografia (che conoscevo assai poco) che possiamo dire riflette la sua bellissima visione della vita. Una fotografia femminile (e vuole essere un vero complimento) che attraverso gli sguardi delle bambine ti mostra passato, presente e futuro tutto assieme. Una fotografia potente, come credo lo sia la Battaglia stessa. Consigliata!

Tre cartoline per un segno in soggiorno.

[Film Photography & Space]: Photography during Apollo

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A transparent glass Reseau plate, or register glass, engraved with grid markings was placed between the film magazine and the camera body, immediately in front of the film plane. The plate is engraved with crosses to form a grid and the intersections accurately calibrated to a tolerance of 0.002 mm. The crosses were recorded on every exposed film frame.

 

Astronaut Still Photography During Apollo

Before Apollo

At the beginning of the space program hardly anyone thought of photographs from space as anything more than a branch of industrial photography. There were pictures of the spaceships, and launches, and of astronauts in training, but these were all pictures taken on the ground.

When John Glenn became the first American in orbit, bringing a camera was an afterthought. An Ansco Autoset 35mm camera, manufactured by Minolta, was purchased in a local drug store and hastily modified so the astronaut could use it more easily while in his pressure suit. At the time, everything that John Glenn did was deemed an experiment. At the beginning of the program, no one knew for certain whether weightlessness would prevent a man from seeing, or from breathing, or from eating and swallowing. Photography was deemed nothing more than a recreational extra.

Not only was little expected of those first pictures taken from space, but there was serious concern that taking pictures of other nations from orbit would be seen as an act of ill will and even one of war, as sovereign and sensitive nations might resent having pictures taken from orbit. But space photography developed quickly. Weather satellites permitted weather predictions as never before, saving lives and billions of dollars. In the first decade of the space program, satellites were orbited for Earth resources and for mapping. Satellites took over many of the intelligence gathering responsibilities that aircraft such as the high-flying U-2 previously provided.

Nearly 100,000 photographs taken by NASA’s lunar probes, Ranger, Surveyor, and Lunar Orbiter, helped to map Apollo’s landing sites. The first photographs from the Moon came in 1964 when Ranger 7 radioed photographs back as it plunged into the lunar surface, crashing and being destroyed in the process. Next, Surveyor probes landed softly on the surface. Beginning in 1966, the probes dug, analyzed, and transmitted pictures from the same height an astronaut would see as he was standing there. Then Lunar Orbiters methodically mapped much of the Moon, examining the candidate sites for manned landings. These spacecraft carried fully automated film processing laboratories. After processing, the film was scanned for radio transmission of the pictures back to Earth.

Unmodified Hasselblad 550C medium format cameras were first used on the last two Mercury one-man missions in 1962 and 1963. The Hasselblads proved the mainstay of the early space program and were used throughout the Gemini two-man spaceflights in 1965 and 1966. In addition to the excellent mechanical and optical properties of the cameras and their Zeiss lenses, the cameras were relatively simple to use, and film was pre-loaded into magazines that could easily be interchanged in mid-roll when lighting situations changed. In addition to the Hasselblads, on the second Gemini mission, history was made when the first picture of a spacecraft in orbit was taken by astronaut Ed White as he floated outside his spacecraft. He used a Zeiss Contarex 35mm camera mounted atop his gas-powered maneuvering gun.

Two human missions, Apollos 8 and 10, orbited the Moon before the Apollo 11 landing. On Apollo 8 human beings saw, with their own eyes, the Earth as a sphere in space. Few sights in human history have been as exhilarating as that first Earthrise over the lunar horizon. These new views of the Earth in space were an unforeseen revelation. Interest in ecology and the protection of the Earth’s environment can be traced to these first missions to another world.

On Apollo 8, Hasselblad EL electric cameras were used for the first time. The electric motor in these Hasselblads largely automated the picture taking process. The astronauts needed only to set the distance, lens aperture, and shutter speed, but once the release button was pressed, the camera exposed and wound the film and tensioned the shutter. Two Hasselblad EL cameras, each with a Planar f 2.8/80mm [normal] plus a single Sonnar f5.6/250mm [telephoto] lens and seven magazines of 70mm film, were carried. The cameras, film magazines, and lenses used on Apollo 8 had black anodized surfaces to eliminate reflections. Modifications to the cameras included special large locks for the film magazines and levers on the f-stop and distance settings on the lenses. These modifications facilitated the camera’s use by the crew operating with pressurized suits and gloves. Additionally, the cameras had no reflex mirror viewfinder and instead a simple sighting ring assisted the astronaut in pointing the camera.

Each film magazine would typically yield 160 color and 200 black and white pictures on special film. Kodak was asked by NASA to develop thin new films with special emulsions. On Apollo 8, three magazines were loaded with 70 mm wide, perforated Kodak Panatomic-X fine-grained, 80 ASA, b/w film, two with Kodak Ektachrome SO-168, one with Kodak Ektachrome SO-121, and one with super light-sensitive Kodak 2485, 16,000 ASA film. There were 1100 color, black and white, and filtered photographs returned from the Apollo 8 mission.

In addition to the Hasselblad cameras, Apollo 8 carried a black and white television camera, a 16mm motion picture camera, exposure meters, several types of filters, and other camera accessories.

Apollo 11

A comprehensive set of camera equipment was carried on board Apollo 11. This included two 16mm Maurer motion picture film cameras, a color television camera in the orbiting Columbia, and a black and white TV camera outside of the lunar module to transmit to Earth Neil Armstrong’s first steps on the Moon’s surface. A Kodak stereo close-up camera was used to film the lunar soil from only inches away. Three Hasselblad 500EL cameras were carried.

Two of the Hasselblad cameras were identical to those carried on the earlier Apollo 8 and 10 lunar orbit missions. During the Moon landing one Hasselblad was left aboard the Command Module Columbia, which remained in lunar orbit. Two were taken on the Lunar Module Eagle to the Moon’s surface.

The Data Camera used on the lunar surface during the Apollo 11 mission and later Moon landings was a 500EL with additional modifications. A transparent glass Reseau plate, or register glass, engraved with grid markings was placed between the film magazine and the camera body, immediately in front of the film plane. The plate is engraved with crosses to form a grid and the intersections accurately calibrated to a tolerance of 0.002 mm. The crosses were recorded on every exposed film frame. From the markings, it is possible to calibrate distance and heights in photos taken either on the lunar surface or from space. Such markings were not new or unique to the space program. They were commonly used for large format scientific and aerial photography prior to the Moon landings, when the large size of the photographic negative could be distorted either during exposure or the printing process.

When film is normally wound in a camera, static electricity is generated on the film surface. This electricity is dispersed by metal rims and rollers, which guide the film, and by humidity in the surrounding air. In the lunar surface camera, however, the film was guided by the Reseau plate’s raised edges. As glass is a poor electrical conductor, and with the absence of surrounding air, the charge built up between the glass surface and the film could become so great that sparks could occur between the plate and the film. In order to conduct the static electricity away and prevent sparking, the side of the plate facing the film was coated with a thin transparent conductive layer and silver deposited on the edges of the conductive layer. The electrical charge was then led to the metallic parts of the camera body by contact springs.

The outer surface of the 500EL data camera was colored silver to help maintain more uniform internal temperatures in the violent extremes of heat and cold encountered on the lunar surface. Lubricants used in the camera mechanisms had to either be eliminated or replaced because conventional lubricants would boil off in the vacuum and potentially could condense on the optical surfaces of the lenses, Reseau plate, and film.

Two film magazines for the lunar surface Hasselblad 500EL data camera were carried for use on the Moon’s surface. Thirty-three rolls of the same film types as used on the earlier missions were carried on the Apollo 11 mission. The film used for Apollo 11 was loaded and several test shots exposed prior to flight. When the film magazines were returned for processing after the mission, the test shots were cut off and processed first. These were compared against accurate color charts to ensure that there would be no defects in processing the remainder of the film and that the colors would be most accurate.

Each film magazine was finished in the same silver color as the camera body. The film magazines were each fitted with a tether ring. To the ring, a cord was attached that permitted the entire camera to be lowered from the lunar module cabin to Neil Armstrong on the surface using a clothesline-like arrangement. The exposed film magazines were lifted from the surface in the same manner. The camera and lens were left behind and still rest on the Moon’s surface at Tranquility Base.

The Apollo 11 Kodak Stereo Close-Up Camera

Seven months prior to the Apollo 11 mission, a new camera was commissioned by NASA. The camera would be used by the crew to take close-up stereo views of the lunar soil and rocks. The camera had a shutter speed of 1/100th of a second, an aperture of f/22.6, film was held approximately 10 inches from the lunar surface, and lighting was provided by an integral electronic flash.

The camera was designed for ease of use by the astronaut in his bulky pressure suit. The camera was rested on the soil and the astronaut would simply press down on a trigger on a long handle to expose the frames. Each exposure resulted in two side-by-side photographs of the same area of the surface. The surface photographed measured three inches by three inches. The size of the exposed film was one inch square.

After Apollo 11

Five more flights landed on the Moon after Apollo 11. On all, the photographic equipment and films were similar to that taken on the first landing. On Apollo 15, the 250mm telescopic lens was added to the Hasselblad lunar surface complement. By the time of Apollo 17, a total of 18 rolls of film were taken to the lunar surface.

Astronaut Training for Lunar Photography

The Apollo astronauts underwent intensive training in preparation for their Moon explorations. Over the several years prior to the Moon missions, scientific and photographic training was provided. Astronauts were encouraged to take training cameras on trips to become more familiar with the camera operation and to enhance their photographic technique. Tutorials were provided to the crews on the equipment, its operation, as well as on the scientific purposes. The crews visited geologic sites in Nevada, Arizona, and Hawaii, frequently simulating their lunar traverse, completely outfitted with sample bags, checklists, simulated backpacks, lunar rock hammer, core-sampling equipment, and typically using Hasselblad EL cameras similar to those they would use on the Moon. As the use of the camera was mostly automated, the most crucial training was in pointing the camera which was attached to their chest control packs for the suit’s environmental control system. The astronaut would point his body in order to aim the cameras. Films taken during the practice exercises were processed and returned to the crewmen who would study the results.

The Meaning

From December 1968 to December 1972, twenty-seven astronauts traveled to the Moon and twelve walked upon its surface. There were nine voyages across the quarter million miles. The treasures of Apollo included the samples of the lunar surface and the photographs the astronauts took. The photographs of Apollo, today, three decades later, help us to relive the experience.

 

2kqM1

 

https://history.nasa.gov/printFriendly/apollo_photo.html

[Paper negative]: An hybrid test

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Paper negative inverted and toned in digital

This is a proof of inverting a paper negative, after a scansion, with digital software.

Even the weakest image should arise some kind of interest when transformed in something of unusual. In particular, for this paper negative the developing process has been interrupted (with a stop bath) at view.

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another negative (in tritone)

[Progetto negativi su carta]: Un primo tentativo

Un’idea si è insinuata subdolamente tra le altre idee ed è riuscita a farsi valere: la stampa su carta del negativo. In inglese se si cerca a riguardo della tecnica “paper negative” si viene sommersi di articoli, video e quant’altro.  Ovviamente ( ^_^) io ci sono arrivato 140 anni dopo, ma a modo mio e con la mia distorsione sull’utilizzo del metodo.

Mi spiego meglio. Spesso sono affascinato dalle immagini in negativo, ovvero quando guardo i miei negativi, spesso vorrei stamparli così come sono, senza invertirli. Dipende ovviamente dalla scena specifica ripresa.

Ovviamente tutto questo si può fare in digitale, la maggior parte fa così. Ma l’ho citato solo per escludere a priori quel che non mi interessa.

Il mio intento è però quello di stampare su carta fotografica, in camera oscura, questo negativo e di tenermelo nella sua dimensione originale (nel mio caso 10 x 12,5cm / 4×5″).

L’utilizzo della carta fotografica stessa come negativo è la soluzione. Ci sono dei vincoli non banali, quali il fatto che a differenza del film la carta ha un range di riproducibilità molto inferiore. I soggetti vengono facilmente contrastati e addio alla dinamica dei toni.

Tra i vantaggi (forse l’unico!) quello che si lavora in luce di sicurezza e non completamente al buio come con la pellicola.

Bisogna darsi da fare apprendendo i particolari del processo e le caratteristiche dei materiali (tipi di carta, filtri, rivelatori e diluizione) e soprattutto individuare i soggetti che si prestano a questo trattamento. Se si vuole arrivare all’immagine positiva (invertita) allora il soggetto è meno critico, in quanto l’approccio è quello di una normale fotografia.

Prossimamente tratterò in profondità l’argomento (in base all’ esperienza che mi sto facendo), per intanto basti sapere che l’immagine sotto riportata (scansione del negativo su carta) è stata realizzata come prova col materiale che avevo a disposizione: carta a gradazione fissa #4 (work by Tetenal tipo RC – la “plasticona”, non la baritata), sviluppo per carta MC DEV 1+6 ( consigliato lo sviluppo per film ad alta rapporti di diluizione). Sapevo che avrei ottenuto un lavoro grafico più che fotografico, ma tant’è, volevo concentrarmi un pò sulla tecnica di esposizione dell’immagine. Tanto parlare e scrivere, ma ognuno dice alla fine “prova e scopri da te il tempo giusto di esposizione”. Giusto, così non si sbaglia mai (a consigliare) ma si corre il rischio di brancolare nel buio.

Ho proceduto quindi a stimare la sensibilità della carta (iso 6) – dalla letteratura – e ad esporre per le ombre (ovvero dove volevo il dettaglio di interesse) del soggetto. Poi (essendo la prima volta in assoluto) ho caricato 3 chassis – 6 negativi – è ho usato un bracketing partendo dall’esposizione indicata. Ovviamente la difficoltà sta nel fatto che la carta a gradazione fissa è sensibile al solo blu/uv, mentre l’esposimetro misura sullo spettro di gamma completo (no uv comunque). La faccio breve: col cielo a luce diffusa (tipicamente invernale) l’esposimetro ci azzecca abbastanza bene: va dato un 1/2 stop di tempo in più: ad es. 1″ invece di 1/2″. Poi non ci sono effetti di difetto di reciprocità del supporto da gestire – quest’affermazione è cmq da verificare per tempi maggiori al secondo di esposizione.

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Negativo su carta (10x12cm – 4×5″) – primo soggetto

Il prossimo passo è usare carta grado #2, sviluppo ID11 – da capire quanto diluito – in modalità stand, si ha così il tempo di vedere il pieno raggiungimento dello sviluppo e di intervenire (anche se in luce di sicurezza i toni sono sempre molto più scuri del vero).

Vista l’esigua dimensione del negativo, vien voglia di passare, per questo tipo di tecnica, a formati più “interessanti”. Ma questa è un’altra storia.

 

[Photographers]: Steve Kahn (1943-2018)

Ho scoperto da poco Steve Kahn ed è stata una grande sorpresa. Ho trovato i suoi lavori veramente interessanti e in qualche modo mi viene in affinità un’altro dei miei preferiti di cui ho già postato tempo fa un intro: Dirk Braeckman (www.dirkbraeckman.be)

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1975

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1974-1975
The Hollywood Suites (nudes)
Black and white images of nudes from photo sessions in The Hollywood Suites.
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1979-1980
Corridors
6 pieces, each consisting of a horizontal array of four vertical color photographs of corridors in old, Hollywood apartment buildings – plus 7 individual corridor images
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2006 – 2008
Shadows
These images explore the harsh urban canvas, across which Nature overlays her random marks and organic designs.

Vi consiglio di approfondire nel suo sito https://www.stevekahn.com/ ove troverete anche alcune note relative alla sua visione nel lavoro “The Hollywood Suites”

e questa recensione di alcuni suoi lavori:

SHOWN AFTER 35 YEARS, STEVE KAHN’S MYSTERIOUS PHOTO-CONSTRUCTS ARE A REVELATION IN ABSTRACTION

BY PETER COCHRANE
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2016 (?)