Category Archives: Arts, The

Botching Two Rolls of Film Just for Fun!

Not too horribly long ago, I got two new old cameras. The first was a 1936 Ikoflex, a sophisticated little camera that should take some great shots. The next was a 1940 Kodak Popular Brownie, a simple box camera.

After shooting a roll on each of them, I’m sort of disappointed with myself.

The Ikoflex had all that fancy photography stuff like aperture settings and different shutter speeds. It’s very capable of capturing some fine photos. Most of the roll, however, was washed out, except for the first photo.

See?

So what happened? It’s rather embarrassing. I forgot that the aperture settings are measured “backwards.” Meaning, when you open the iris, the numbers decrease rather than increase. I had it backwards. It’s been awhile since I really thought about f/stops. I had the camera set for f5ish for most of the time in the sunny desert. That’s bound to end badly when shooting on 100 speed film.

The Popular Brownie, however, might have to be my dark winter camera. This one has no aperture settings and has no adjustable shutter speed. It’s a very simple point and shoot. When it was made, seventy or so years ago, I’m sure it worked just fine. But since then, the spring has probably gotten a little weak and the shutter speed has slowed a bit.

This gives you some washed out photos, which is a real shame. The two that you see here were the only things that came out. Everything else was almost completely white.

Thankfully, Seattle is typically cloudy, so from October through May, this camera will work just fine. It’ll take some experimenting, but I bet I can find the right conditions for it.

A New New Old Camera! The 1940 Popular Brownie

A few weeks ago, Kripamoya from the UK spotted a box camera at a rummage sale and, much to my great delight and surprise, thought of me. He picked it up and shipped it to me. I got it yesterday and, when I opened the box, did a little happy dance.

I love old cameras. It’s not that it’s “the older the better,” but anything pre-WW2 is such fun. This one is a Kodak Six-20 Popular Brownie. This model was made in the UK somewhere between 1939 to 1943. Like my other Brownie, it takes larger photos, with a negative measuring 2.25″ X 3.45″. You only get eight shots per roll of 120 film, but they are eight amazingly fun pictures.

Rummage sale finds are always hit or miss, especially when it comes to old technology. But this little camera works perfectly. I cleaned the front and back of the lens and it’s ready for some film.

This model takes 620 film, just like my 1950 Duaflex II. To make 120 film fit into a 620 camera, all you have to do is trim the edges off of the 120 film spools. It’s pretty easy and usually works. It totally works for the Pop Brownie.

When Smartz and I take to the Utah desert (and beyond), this new old camera will be accompanying us. Hopefully, I’ll return with eight amazing shots.

So, thank you, Kripamoya! I’m ridiculously excited to start shooting!

Finding Some Unexpected Old Friends in a Movie about Arkansas Bootleggers

I’ve been watching movies about gangsters and bootleggers for a project that I’m doing (more on that someday) and came across a flick from 1974 called Bootleggers. Having no real idea what it was about, I got the movie, popped it in the DVD player and was greeted with this:

For those not in the know, Charles B. Pierce directed Boggy Creek II, the lovable movie about bigfoot that was riffed on Mystery Science Theater 3000. He also directed the first Boggy Creek movie, but that was a documentary. Turns out Pierce has directed a whole slew of films, mostly taking place in rural Arkansas.

And Arkansas was the setting for Bootleggers. The plot is basically the Duke of Hazzard. Old guy runs a still, his younger kin run the liquor for him. Rival bootleggers and the cops want them to stop. Hilarity ensues.

Oddly, while Boggy Creek II was a fairly horrible movie (wonderfully so), this one wasn’t so bad. It was amazing, but it was enjoyable. I’ll say one thing about Pierce, he knows how to capture rural Arkansas. You can tell there’s a real love there. The folks are crackers, but they’re his crackers.

Bootleggers was made in 1974, and if you’ve only seen Boggy Creek II, there are some things you need to know. While Pierce himself starred in Boggy Creek, he stays behind the camera for the entirety of Bootleggers. That’s not to say that you won’t recognize some Pierce regulars. Remember the skinny shirtless guy in Boggy Creek II? Well that’s Chuck Pierce, Jr, Charles B. Pierce’s son. He’s in this one too. He plays the main character as a kid. Some of the locals and extras are also familiar faces.

But the most welcome face is that of Jimmy Clem, Boggy Creek II‘s very own Crenshaw. In Bootleggers, he plays a good ol’ boy named Big-un Woodall. Seriously, his name is Big-un. Apparently, he’s Pierce’s go-to local, as he’s appeared in eight of the twelve movies that Pierce directed.

Filling out the cast is Slim Pickens and Jaclyn Smith (who went on to be one of Charlie’s Angels – the only one who stuck around for all five seasons).

The movie isn’t a masterpiece, but it sure does look pretty. It’s beautifully shot and makes great use of the Arkansas landscape. This is probably due 100% to the cinematographer, Tak Fujimoto. He went on to bigger and better things, getting his first big break as the cinematographer for Pretty in Pink and Ferris Bueller’s Day Off. After that, he worked his magic on Silence of the Lambs and became M. Night Shyamalan’s regular director of photography.

Abraham Lincoln: Vampire Hunter vs. Abraham Lincoln vs. Zombies

I was so excited to finally see Abraham Lincoln: Vampire Hunter. Maybe too excited. I had read the book a year or so ago and found it nothing short of brilliant. The author, Seth Grahame-Smith, seamlessly blended actual history and his vampire tale simply by adding vampires. He changed very little and, from my memory, didn’t really add any details (aside from the bit about Lincoln’s father, which history has never really recorded).

While Seth Grahame-Smith, the author, was genius, Seth Grahame-Smith, the screenwriter, was not.

First, let me make it clear that anyone who reads the book or watches the movie Abraham Lincoln: Vampire Hunter expecting a factual history lesson should be ashamed of themselves. These are works of fiction. But what enamored me so much with the book was how the author used huge chunks of Lincoln’s actual life to spin the vampire yarn. Just by reading the book, you can get a feel for the true story of Lincoln’s life.

And yet, most of my problems with the movie were historical. Yes, I’m a little ashamed to admit that, but in my line of work (meaning a Civil War history blogger), that’s just how I approach things.

A few historical things that bugged me:
-Lincoln didn’t say to Mary, his wife, “It’s the first day of Gettysburg, Mary, and our army will soon be defeated if we don’t do something.” (I’m paraphrasing the last bit.) He didn’t have some telegraph line directly to the army at Gettysburg. He wouldn’t have known they had their asses handed to them on July 1st.
-Speaking of telegraph lines running to Gettysburg, there wasn’t a railroad line running to Gettysburg from Washington. Getting to Gettysburg by train in 1863 was a arduous task.
-DC is roughly eighty miles from Gettysburg. You cannot cart loads of things (plot points) from one place to the other over night.
-The Battle of Gettysburg didn’t end the war. The movie doesn’t specifically come out and say that, but it’s heavily implied that there was one battle and the whole thing was over. I realize in a movie you can’t always convey such things, but that’s kind of a big deal.

What makes this all the worse is the book had none of this in it (from what I can remember). For the story, it didn’t need to be there. But for some reason Seth Graham-Smith, the screenwriter, dropped a lot of acid and decided he needed it.

I completely understand that even movies that are supposed to be 100% historically accurate have to change things a bit to move the story along. I’m completely fine with it. But those changes need to be necessary. The same goes (to an obvious lesser degree) for Abraham Lincoln: Vampire Hunter. Some changes (aside from the Vampire bits) needed to be made. But many, like in the book, did not.

Historical things weren’t my only problems. Any vampire story will add or detract things from traditional vampire mythology. This did it in droves. And while the vampires didn’t sparkle, it wasn’t too far removed from such blasphemy.

In Abraham Lincoln: Vampire Hunter, vampires:
-Don’t need permission to enter someone’s house.
-Have no problem with signlight. Sure, they have to wear shades and put on skin cream, but otherwise, no problem.
-Can vanish – not turn into mist or shape shift, but actually vanish.
-Can only be killed by decapitation (which is fine) or silver bullets (seriously). Silver freaking bullets. This led to the ridiculous silver melting scene, followed swiftly by the train scene (which was actually rather fun).

Technically, the movie was good looking. Like any modern action film, there was too much CGI and way too many slow motion scenes. Every single fight scene was slowed down. It was distracting and annoying, but is the trademark of the director Timur Bekmambetov, whose resume includes the Night Watch Vampire series, which I’ve heard is pretty amazing.

So, I’ve griped long enough. Let me tell you about a few things I liked.

Benjamin Walker plays a good (but too serious) Lincoln. Before growing the beard, he nails it. And after the beard, with a bit of aging, he nails it again. His acting is more or less good, though some clumsy dialog detracts a bit. Mary Todd Lincoln, played by Mary Elizabeth Winstead, is good, but rather subdued in her historical wackiness.

The use of William Johnson was interesting, though a bit forced. In real life, Johnson, a black man who took a liking to Lincoln in Springfield, followed the President to Washington and did various odd jobs (valet, messenger, etc.). He was not, as the movie portrays, his personal secretary. Still, the character was fun and almost necessary to the movie as a whole.

Alan Tudyk, who played Wash in Firefly played Stephen Douglas. The role was next to nonexistent, but it was nice to see him.

The train scene, bombastic and ridiculous as it was, seemed to my only-slightly-trained eyes, to be fairly historically accurate (as far as the train itself went – what the train was doing was, of course, silly and impossible). They used a proper engine and cars for the time period. Also, the braking was period-correct, as were the couplers. And that irked me even more. They got the couplers right, but threw away the important things.

The whole premise, of course, is great. Slave owners, as depicted in the book and movie, were vampires, literally sucking the blood out of their slaves. In real life, slave owners were no better than vampires, figuratively sucking the blood out of their slaves. It’s a very easy and accurate parallel to draw.

All in all, however, the movie was frustrating for me. If I didn’t know much about the war, I think the pacing would still have bothered me a great deal. It was just too strange, jumping ahead by years without letting the audience know how much time had elapsed or why. That led to more clunky dialog in the form of exposition.

While I plan on reading the novel again, I really don’t think I’d ever watch the movie again. Sorry, Abe.

So how does this compare to Abraham Lincoln vs. Zombies? Honestly, I had a lot more fun watching Zombies, reviewed here, than Vampire Hunter. Zombies knew that it was a schlocky movie and ran with it. It didn’t take itself even a little seriously. Sure, there were some huge and glaring unnecessary historical inaccuracies, but it was all in good fun, like fan fiction needs to be.

Vampire Hunter seemed not to understand that it was a joke, and I’m not really sure how or why it couldn’t remember that. Zombie was all the campy fun that Vampire Hunter could have been but wasn’t. I don’t think Vampire Hunter could have worked as a comedy, but it certainly didn’t work as an overly dramatic action movie.

And that’s it, really. Abraham Lincoln: Vampire Hunter didn’t work. It could have, but simply refused to. Sure, go see it, but read the book too (or instead).

Forgotten Roll of Film

Oh my! I thought I had posted all of the photos from film that I had. But no, there was another roll just sitting there collecting virtual dust.

And lucky me (and you), this is my favorite film so far – FujiChrome Provia 100.

I took this shots before leaving on the Memorial Day trip to Oregon. The first four were taken at Larabee Beach near Bellingham, Washington.

We saw over 100 purple star fish there. Some people call them “sea stars,” but those people need lives.

I guess I like this film because it can give some really realistic colors when it wants to.

But dips into weird darkness when it feels like it.

I’m sure it had more to do with the sun and the plastic toy camera that I was using than the film itself.

Oh, take a look at this picture. It’s the wonderful neon Portland sign defaced by the asshat trying to lease out space in the building. This is worse than pointless graffiti.

Sometimes it would be nice for these shots to work out. But the sun is full of glare.

Little known fact: You can focus a Holga. In this photo, I forgot to. Some people say that it doesn’t make a difference where the focus is, but these people aren’t quite right. For far away shots, it really doesn’t matter. But when you get closer, it certainly does.

I’ve been thinking about which one of my cameras I like best. It’s really hard to figure out. The Holga is fun and simple. I like that. It produces some interesting shots with happy accidents. But sometimes I just want a nice shot.

New Old Camera from Pre-War Germany!

A couple of weeks ago, I found myself in possession of a new old camera. It’s a 1936, German-made Zeiss-Ikon Ikoflex II.

By a long stretch, this is the most sophisticated film camera that I own, having a working aperture and ability to focus. The Holga, and even the 1914 Kodak Brownie, have that, but this is more precise. Also, being a twin lens reflex camera, you can see the changes you make in focus through the viewfinder. Whatever you do to the exposure lens is also done to the viewing lens. This seems cumbersome, but it works. It’s even got shutterspeed settings!

Unlike every other 120 camera that I have, the Ikoflex doesn’t have a little red window in the back to let you know which photo you’re on. See, 120 film has a paper backing. Printed on the backing are numbers corresponding to the exposure you’re on.

bark bark bark

This one, however, has a more modern exposure counter. While nifty, this presents a problem.

See, film of the 1930s was actually a bit thicker than film made today. This matters because the exposures are counted by by the pressure of the film against one of the rollers. As it was originally thicker, the roll on the take up reel was thicker.

This really doesn’t make a lot of sense to me, but it seems to be true. The thinner film of today winds tighter and makes the exposures overlap. So while the exposure counter technically works, it’s a bit off and all your photos run together.

Tape it up!

This can be handled in one of two ways, both of which achieve the same result. Some folks cut out a piece of paper about three inches long, the same thickness as the film, and taping one end to the take up reel and the other to the film. Others just wrap some tape around the take up reel. Both make the take up reel thicker and thus makes you have to turn the advancer knob less (and thus it brings the counter to a more accurate state, so your photos won’t overlap).

Film is here now!

Most folks seem to use two layers of masking tape. But then other folks don’t notice a problem at all. This is because, even today, all films are of a different thickness. It’s rather random and I have no idea what to do about it aside from trial and error. But trial and error is why I got into film in the first place.

Ready to go!

I’m hoping to get some great shots with it. We shall see.

My Love / Hate Relationship with Instagram

While trekking across the country in 2004, taking pictures along the way, I discovered my love for photography. When I got back, I decided that I wanted to do something with some of the photos that I took. I loved the way old medium format, square holiday photos looked and wanted to replicate that by using Photoshop.

Early attempt in Photoshop.

I would spend hours, even days on each picture, painstakingly adjusting contrast, color, shadow, etc., just so they might look like old vacation shots captured on medium format film. It was no easy task. You had to get the colors just so, had to have the contrasts just right.

From 2004 through 2010, I performed this bit of hocus pocus on hundreds of pics. But when Instagram got huge in late 2010, it threw me for a loop. What took me hours and hours could now be done in mere seconds.

Instagram users can take a photo on their smart phones, push a button and through the use of digital filters, make their image appear like something taken with a medium format camera. It even puts a black frame around it that one would get if they scanned in negatives from real film. Yeah, I know, Instagram doesn’t force you to use filters. But everyone does. Pretty much always.

Another Photoshopped image.

This app took off. Literally tens of millions of people use this. Suddenly, what I had been doing for years wasn’t unique, it was common.

For a long time, I just stopped manipulating photos. I was immediately turned off by Instagram and to this day have never signed up or downloaded it. Not as a form of protest, but out of simple curiosity, I decided to start using film. I bought a $25 Holga and have experimented quite a bit with it and other medium format cameras. I’m hooked.

Instagram Cracker

And yet, Instagram is a part of my daily life. I’ve developed a love/hate relationship with it. For all the reasons above, I hate it. I don’t care for how easy it is to get the results that took me hours. I don’t like how they put a black frame around the photos to make it look like a certain kind of film (a kind of film that I actually use).

On the other hand, a lot of good has come from it. First, it was because of Instagram that I eventually wound up using real film. It’s also good that so many folks use it as I think it makes people take a lot more photos than they usually would. Now I get to see pictures of friends and their kids that I wouldn’t otherwise see. That really is a wonderful thing. If it took something like Instagram to make that happen, so be it. Oh, and I really really like Postagram. It’s a great idea and I hope it catches on in a very big way.

Photo taken with FujiChrome Provia 100 film.

So, I’m not some “real film only” snob that looks down upon digital photographers and Instagram users. I realize that film isn’t for everyone. Digital is a whole lot easier and cheaper and the perfect medium for pretty much everybody. But there’s just something that irks me about Instagram. It’s the same thing that bugs me about Tumblr. Maybe it’s how easy both platforms make it to be lazy and “artistic” at the same time. Maybe it’s the ironic hipster appeal. Maybe it’s just me being grumpy (get off my lawn!). Yeah, it’s probably that.