One of the first shots from the Bronica that Philip kindly loaned me. Last night I printed the contact sheet for this roll of film at the color darkroom AND got the CD with the negative scans back from the camera store. This is from a digital negative scan, and it's been really interesting to work with the actual negatives myself and then see the scans. Since they're all adjusted, it's hard to tell from the CD what you actually have on the negatives. Something I would never have known without taking a color darkroom class!
It was easy to forget about the black and white photos, especially the ones that were printed the wrong size. When I looked again, I found this. So much emotion there for me. If I could get this into the story, it would be done.
I can't stop with the Edison photos. New Year's Eve was just such a good night this year. I love Lillian in this photo, and the way this captures John's high-spirited drunkenness, but I blew it by not capturing his giant award-winning NYE hat.
"Ships at a distance have every man's wish on board. For some they come in with the tide. For others they sail forever on the horizon, never out of sight, never landing until the Watcher turns his eyes away in resignation, his dreams mocked to death by Time. That is the life of men."
I was supposed to be taking normal photos, just to see if I could figure out the focus, such as it is, on the new mini-Diana, using appropriate light conditions, testing the different focus distances, film speeds. Instead, there was this old barn, and the day's light was vanishing, and at the end of it, I had a roll of film with lots of dark parts, and bright shocks of grass lit by flash, and the Subaru headlights, and a couple self-portraits, camera held out arms-length, me in my picnic dress. And this.
The idea of taking photos with three different cameras at 12,800 feet was the thing that motivated me to make the hike, but nothing, not digital, not 35 mm, not medium format, captured the colors that day. Sometimes you just have to remember.