Inauguration Day

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Technical information:
Camera: Wanderlust camera with Caltar-W 90mm lens
Film: Ilford FP4+ EI800

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On Their Own

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Technical information:
Camera: Wanderlust camera with Caltar-W 90mm lens
Film: Ilford FP4+ EI400

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On the Way to Morgantown

On the Way to MorgantownTechnical information:
Camera: Wanderlust camera with Caltar-W 90mm lens
Film: Ilford FP4+ EI400

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Henneman Avenue

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Occasionally tours are offered at the old A. Hoen & Co. Lithographers building in Baltimore, which has been abandoned since 1981, and at some point I may offer some of the images taken there a month ago. Before the tour I did some wandering in the area, testing my Travelwide camera (noted in the previous blog entry).

This particular image is of Henneman Avenue, which offered more activity than a number of the other streets I walked along. What struck me was the mixture of nicely kept homes with those that were completely abandoned.

This is the last entry within that misfortune known as the year 2016. I have decided to try something not done in the past decade/500+ posts of this blog, which is to just display the image with little or no comment.

The Braddock Equivalents series gave me a chance to show images that were not about the object photographed, but more about the feelings I had at the time I photographed the object. At least for the subsequent year I will post images that may or may not conform to this idea (I am currently working on some images in both categories). I may post relevant technical information, as there are some who ask for this, but I do not want this to be considered to be a technical blog.

So let’s see what 2017 brings – certainly something a bit better than 2016.

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Stability

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Stability is the search for something reliable, something that will be there when we get back. So we nail it down, square it off, and expect it to be predictable. But everything tends toward entropy, so perhaps it’s best not to get too complacent.

This image was printed on Strathmore Bristol Smooth paper with homemade AZO silver gelatin emulsion, and is part of the Braddock Equivalents project.

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Alfalfa

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I am in the process of getting rid of most of my cameras – selling some, giving away others (anyone want an Argus C-3?). I find it too much of a distraction to have shelves of cameras I no longer use, and feel that someone else might be able to enjoy them instead.

I sold one on eBay a while back for more than expected, and attributed that to having included images from the camera.  When I decided to sell the Travelwide I got on Kickstarter a few years ago (using my 90mm lens) I took it out into the field to photograph.

This is a handheld 4×5″ camera and I was using a reducing back so that I could test it out with some 120 film.  The only 120 I had available at the time was ISO50 speed, so hand holding was tough (full open the lens is f8) but showed the proof of concept. I was in East Baltimore and photographed this guy who was selling alfalfa.  We spoke for a while and I do not really remember much about exactly what he had, but he certainly was interesting and passionate about his product.

The problem came when I used the camera with 4×5″ Tri-X – it was so much fun to use that now I am rethinking selling the camera. I’ll post some of those images soon but for the time being I think I’ll hold onto the thing (and perhaps get more Tri-X).

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The Things That Connect Us

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We just do not think about that which lies between buildings, at least, most people do not. I have photographed an inordinate number of scenes where a building has been removed to display what was. The result is often a shadow, a remnant that remains despite its absence.

In this particular case it appears that a lifeline was sent out, and rejected, resulting in a connection to nothing, dividing itself.

This image was printed on Strathmore Bristol Smooth paper with homemade AZO silver gelatin emulsion, and is part of the Braddock Equivalents project.

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The Path In

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There are numerous paths of entry – window, vent, black hole, shadow. There is symmetry, there is not symmetry. Mystery text attempts to give a hint as to what is going on, but it is indecipherable, letting us know that there is meaning but we are not privy to that meaning. So we stand outside, wondering.

This image was printed on cheap watercolor paper with homemade AZO silver gelatin emulsion, and is part of the Braddock Equivalents project.

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The Guardian

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We rely on so many things in our life and the assumption is that they will protect us without fail for as long as we wish. Of course, we all know that this is far from the truth and that all things, at some point, will not rise to expectations. So these diametrically opposed presumptions dictate our comfort level, which is not at all comforting.

This image was printed on Strathmore Bristol Smooth paper with homemade AZO silver gelatin emulsion, and is part of the Braddock Equivalents project.

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200

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In Braddock, a number spray painted on a building indicates that it is to be taken down.

Last year while in Braddock I watched a WTAE crew of two interviewed a man for a documentary they were working on.  He had lived in Braddock for many years but moved away, so I believe that they were getting some history from him.

As the two walked away to discuss something I approached and spoke with him.  During our conversation I noted the flowered panels placed in some of the windows of the house in back of us and wondered who owned the house.  He told me that that was in house in which he had grown up.

I have visited Fanwood, NJ, where I spent the first dozen years of my life, and the neighborhood incredibly looks very similar to how I remembered it from fifty year ago (of course, everything appeared larger when I was there).  It is not possible for me to imagine living in a house and returning many years later to see it abandoned, ready to be taken down.

This image was printed on Strathmore Bristol Smooth paper with homemade AZO silver gelatin emulsion, and is part of the Braddock Equivalents project.

P.S.  I would like to know what happened to that documentary – I do not live near Pittsburgh so I never had an opportunity to see it.  The crew interviewed me because I have been working on my Braddock Project for years and I would like to know if any of that was used or if it just fell on the cutting room floor.

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