Fall 2022

 
Bell tower of a central college campus building appears between trees with bright orange and red leaves.

Old Main
October 18, 2022
Penn State, University Park
Canon 60D, Sigma 30mm f/1.4 EX DC HSM

Sackett Building
October 18, 2022
Penn State, University Park
Canon 60D, Sigma 30mm f/1.4 EX DC HSM

October 24, 2022
Penn State, University Park
Ricoh GR II

Birch tree with golden and green leaves. Background: partly cloudy sky. To the right: Maple tree branches with green leaves.

October 16, 2022
Canon 60D, Sigma 30mm f/1.4 EX DC HSM

A campus mall, tree-lined. Fallen leaves on green grass, and golden and green leaves in the trees above.

October 18, 2022
Penn State, University Park
iPhone 12 Mini

Tree with golden and yellow leaves, framed by the window opening of a parking deck.

Framing Fall
October 26, 2022
Nittany Parking Deck
Penn State, University Park
Canon 60D, Sigma 30mm f/1.4 EX DC HSM

Blue and Yellow
October 26, 2022
Penn State, University Park
iPhone 12 Mini

Back to School

 
Photo of birch tree from behind the windshield of a car. Dew accumulated on the windshield.

That school morning feeling | Back to School series | August 18, 2022 | iPhone 12 Mini 

Persons waiting in line to get onto a bus. Person just to the right of center is wearing a black facemask.

August 24, 2022 | Back to School series | Ricoh GR II 

Black and white high contrast photo of light coming through the windows of a parking garage elevator lobby.

Parking Deck Light | September 2, 2022 | Back to School series | Ricoh GR II 

Phot of a red birch tree. Backlit by the sun, so that the frayed paper-like bark appears orange red.

Backlight | September 15, 2022 | Back to School series | Ricoh GR II

Black and white photo of sidewalk paths intersecting on a college campus. One person walks through the middle of the intersection; the other is 20’ to their right, walking in the same direction.

Intersection | September 2, 2022 | Back to School series | Ricoh GR II

Black and white photo of a small tree, leaves backlit by morning sunlight.

Backlight | September 2, 2022 | Back to School series | Ricoh GR II

Black and white photo. Exterior of a brick dorm building where two wings intersect. The shadow of the one on the left cuts diagonally across the one on the right.

September 15, 2022 | Back to School series | Ricoh GR II

COVID-19 Signage Project: Wear and Tear

 

To view all COVID-19 Signage Project posts, click here.

Worn down red social distancing floor marker. Rectangular shape. Legible words in white text: Stay here to be …. Feet apart

June 27, 2022 | CVS on South Atherton Street, State College, PA | iPhone 12 Mini

Worn down blue social distancing floor marker. Circle shape. White text at center: PLEASE STAY 6FT APART. Above: PHYSICAL DISTANCING IN EFFECT. Yellow arrows pointing forwards, backwards, left, and right.

May 30, 2021 | Penn State Berkey Creamery | iPhone 12 Mini

1.	Worn down social distancing floor marker, a red square, on a tiled floor. At center, white icon of a pair of shoes. Above, white text: PLEASE KEEP AT LEAST 6FT. APART. To the left and right of shoes: STAY SAFE. Towards bottom of photo, legs and fe

February 10, 2022 | Cove Pizza, State College PA | iPhone 12 Mini

Worn down social distancing floor marker, a red square, on a tiled floor. The marker is heavily scuffed and scratched. At center, white icon of a pair of shoes. Above, white text: PLEASE KEEP AT LEAST 6FT. APART. To the left and right of shoes: STAY

August 26, 2022 | Cove Pizza, State College PA | iPhone 12 Mini

Concrete floor with worn black social distancing floor marker with white she icons and text. A doormat covers the right half. Photographer’s sneakers and jeans visible in lower left.

August 5, 2021 | The Cheese Shop of Portland (ME) | iPhone 12 Mini

Scuffed hardwood floor. Blue circle social distancing floor marker, heavily scratched. Black shoe icons at center. Above in white: SOCIAL DISTANCING. Along the circle’s edge: STAND HERE, with 6 FEET repeated all along the edge.

December 7, 2021 | Tait Farm Foods, Boalsburg, PA | iPhone 12 Mini

Dark grey painted concrete floor. Bare concrete revealed towards the bottom of the frame due to foot traffic. A circle of bare concrete is visible at center, where a floor marker’s removal peeled off paint. Photographer’s shoe at bottom center.

August 5, 2021 | The Cheese Shop of Portland (ME) | iPhone 12 Mini

August 2022, Centre County Grange Fair

 

I took these photos during a brief recent visit to the Centre County Grange Fair in Centre Hall, PA. For more photos of this event (albeit from a few years ago), check out my post from my August 2018 visit.

Festively decorated top of a large food trailer. Brightly colored signage reads FRENCH FRIES, CHEESE FRIES, CORN DOGS, LEMONADE, FRENCH FRIES. A row of flags above. Partly cloudy sky in background.

French Fries | August 20, 2022 | Centre County Grange Fair | Ricoh GR II 

Two-story yellow slide on a fairground. Partly cloudy blue sky in the background. Green-brown grass and red wagon in the foreground.

Slide | August 20, 2022 | Centre County Grange Fair | Ricoh GR II 

Fairgrounds. A main pedestrian thoroughfare, with persons walking towards and away from the camera. Sunlit American flag in the upper left.

August 20, 2022 | Centre County Grange Fair | Ricoh GR II 

Large red tractor with a logo reading “Turbo” towards its front. Row of trees behind. Green grass in foreground, partly cloudy sky in background.

Turbo | August 20, 2022 | Centre County Grange Fair | Ricoh GR II 

Large number of cars parked in a field. Bright blue sky above.

August 20, 2022 | Centre County Grange Fair | Ricoh GR II 

Long, two-door, black classic car parked in front of a one-story building. Faded awning above. Hanging on the front of the building is an American flag in black and white, with a stripe of blue added over one of the white stripes.

Seen on the way to the fair. | August 20, 2022 | Centre Hall, PA | Ricoh GR II

Getting to Know the Fuji instax SQUARE SQ1: Sample Photos and Comments

 
A terra-cotta colored instax Square camera on a wooden end table.

Fuji instax SQ1 | April 27, 2021 | iPhone 7

This is a Fuji instax SQ1 camera. It takes square-format instant film photos (like a Polaroid, albeit a bit smaller), and has zero settings to adjust. You point, you click, the flash fires (it's set to always fire, no matter what), and a photograph will emerge from the top slot.

I figured to start this series off with a photo of the camera itself, because I do think it looks fantastic. In the shots that follow, I'll show a bit of what it can and can't do. As a TL;DR for my take on it—I think it's a beautiful camera, I'm very happy to have it, but its constraints can get a little frustrating if you are, like me, a fiddly photographer by nature or simply want to be able to exercise some control over your image at the point of capture.

But the lesson to be had here is to think carefully and work around the camera's limitations, and as time has gone on, I'd like to think that I've done a better job of that.

A traffic island between the driveways of a business on a busy road. Island has overgrown grass over pebbles. EXIT sign is a lightbox with words in red; ENTRANCE sign is a newer metal roadsign.

Exit/Entrance | May 5, 2021 | instax SQUARE SQ1

Same subject as above, but zoomed further in and much sharper.

Exit/Entrance | May 5, 2021 | Canon 60D, Canon EF 28–90mm

As an experiment, I took some comparison photos last year and added a sort of twist to them. I'd take one shot with the instax SQ1, and then shoot the same subject with my Canon 60D, a digital SLR camera. Then, in Photoshop, I'd lay a square crop of the digital image on top of the scanned border of the instax one.

I was playing with the idea of how the border affects how we perceive photographs. And maybe also with blurring the distinctions between what's film and what's digital.

It was kind of fun, but I ultimately gave up on it because it got pretty time consuming, and I could never get it 100% right from a technical perspective (see, for instance, how image 2 is much more zoomed in than image 1).

I also lost interest because I started to assume that in any head-to-head comparison, a viewer's eye and maybe even their preference would gravitate towards the sharper digital image no matter what. This is perhaps less about analog vs. digital and more about how image quality affects attention and interest—I imagine that if I'd shot image two with my Canon AE-1 Program film camera, I'd feel the same way.

The instax format has its own aesthetic qualities that I think are quite nice, and would probably be best appreciated on their own.

Still, I thought it fun enough to share one of these, and I do think this is a decent example of what the SQ1 can do under partly sunny/partly cloudy conditions. Those conditions, and maybe even slightly overcast, are probably ideal, otherwise I found that lighter tones on subjects risk getting blown out between the 800-speed film, the hard sunlight, and the always-on camera flash.

Dark/underexposed photo. Rainbow arcing from lower left to upper right, over two white houses. Overcast sky in background.

Double Rainbow | May 7, 2021 | instax SQUARE SQ1

I was surprised this one actually came out, but I'm happy that it did. There isn't enough light here, so the shadow areas do come out pretty muddy. I think that if it were completely overcast, this would probably be even worse, but I think there was probably a warm light coming through from the setting sun behind me here. Maybe a gap in the clouds, or they were thin enough that enough came through to help out the upper portions of these houses.

The flash would have fired here, too, but of course it's not powerful enough to illuminate the houses on their own. I'd say it's a good thing there isn't anything close enough for it to hit—it would be way too bright and distracting, and I think the background would have gotten more underexposed too (though I am no expert on flash and how cameras manage flash exposure).

Vase of sunflowers on a metal table on a deck. Three balloons (purple, yellow, blue) in the background. Trunk of large tree to the right.

Sunflowers and Balloons | August 14, 2021 | instax SQUARE SQ1

Usually you want to shoot with the sun behind you, with that light illuminating your subject (not always the case, but most of the time). With the SQ1, however, sometimes this approach can work against you.

The camera uses a fairly sensitive, 800-speed film, the flash always fires, and its shutter speed is limited. So, on a sunny day, there's a high chance that shooting with the sun behind you will leave your subject blown out. In the words of Carlos Carreter Oróñez in the Facebook Worldwide Instax Shooters & Printers group, it's "impossible" to get correct exposures on a sunny day under these constraints.

Over time with this camera, I've found myself often looking for situations where my subject is lit from behind or from the side. This way, the area surrounding the subject is pretty brightly lit, and the always-on flash will fill in. So instead of a silhouette, the photograph will show a pretty even exposure throughout much of the frame.

So in this shot, at this time of day, most of the light is coming from behind the sunflowers, and that's what's primarily reflected on the back half of the table. While it is daylight, a good bit of front light on the flowers here is coming from the flash. If I were to have shot with the sun behind me, aside from not having those balloons in the background, there's a good chance the flowers would have come out far too bright.

Two martini glasses and a lemon slice garnish, on an outdoor wicker table set against a brick wall.

Cocktails | May 6, 2021 | instax SQUARE SQ1

Black and white. Two martini glasses on a butcher block. Small bottle of hand sanitizer in the background.

Cocktails | May 29, 2021 | instax SQUARE SQ1

The SQ1 has a "closeup" mode that's made to change the camera's focus so that it will focus at a range of 30cm–50cm (in the normal mode, anything from 50cm onwards ought to be in focus). This is good for closeups, of course, as well as for selfies.

It's elegantly executed—to go into this mode, all you have to do is twist that same ring around the barrel that you'd use to turn the camera on.

I probably used that mode for one or both of these, though truthfully I didn't take note of it at the time.

One thing to note about photo 2, it's on the instax square format's black and white film. It is more expensive, though, and while I was pretty happy with the results from that pack, I didn't love it enough to want to pay the price premium for them over color film.

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I have a small binder full of instax photos, and most of them are of this dear little guy.

Aside from my desire to share his absolute cuteness, I thought I'd post these because they're a half-decent example of what the SQ1's indoor shots of humans look like under different lighting conditions.

In image one, he's holding up a cookie scooper atop his stool in the kitchen. There's a giant smile on his face, and broad rays of light come through the window behind him. We can see the background clearly, but we can also see his face and smile, courtesy of the always-on flash.

If I'm understanding this right, the camera is exposing for the light in the scene, and given that the flash and sunlight are both pretty bright, so the lighting looks pretty even between foreground and background.

In image two, he's holding a small pumpkin by its stem and smiling at the camera. We can see his face, but the rest of the background is pretty dark. The room this was taken in isn't naturally very bright, but it certainly isn't as dark as this. Here, that darkness is caused by the camera exposing for the subject brightly lit by the flash, but unlike in photo one, that background is starting out a bit darker (darker at least than morning light streaming in through a window). So as the camera tries to expose the subject properly, that background gets darkened.

The look of image two does shout analog/film very loudly, and I can see how this aesthetic might be appealing. In my case, though, I'm mostly keeping an eye out for those backlit and sidelight moments, as I think I'm just going to like those results much better.

April 19 to June 9, 2022: Spring, Self-Portraits, and a Chair in the Stairwell

While social media platforms have their uses, I don't love the notion of them being the only repository for those odds and ends photos that I take and feel the impulse to share. So, here's a compilation of my Facebook/Instagram/Twitter photo posts from April through June, on my own little corner of the open web.

Close-up of blooming magenta azaleas. Snow falling in the background.

Hello, Spring.
April 19, 2022
iPhone 12 mini

Black and white, college campus. A blossoming tree on the left, brightly lit by the sun. A sidewalk on the right.

Springtime
April 29, 2022
Penn State University Park

Photo of double doors. Left door: reflection of left half of photographer facing glass. Right door: large window decal of a lion’s face.

Self portrait (50% actual, 50% aspirational)
May 4, 2022
State College, PA
iPhone 12 mini

Busy casual restaurant dining room in black and white. Back of a patron to the left, full tables and family at center.

Tarrytown, NY
May 7, 2022
iPhone 12 mini

Headshot photo of 38-year-old Asian male. Brown eyes and black hair with gray streaks. Blue blazer and blue shirt.

Took a portrait for this particularly fussy and meddlesome client.
May 10, 2022
Burrowes Building, Penn State University Park
Canon 60D | Canon 85 mm F/1.8 USM

Headshot photo I took of myself for work. If in early May you spotted someone outside the Burrowes Building setting up a camera, hitting the timer, jumping in front of it, then frowning at the results and doing it over and over again for about forty minutes, that was me.

Interior of a train dining car. Green countertop, bright orange seat. Light from platform passing through the car's venetian blinds. Platform and another train outside.

Throwback Thursday: May 10, 2013
Parade of Trains, Grand Central Terminal
New York City
Canon 60D | Sigma 30 mm F/1.4

black and white photo taken through a window. Row of city homes, framed by windowpane frame lines.

Windowpane Frame
March 19, 2022
From the Franklin Institute, Philadelphia, PA
Canon 60D | Sigma 30mm F/1.4

Back of a film camera. A slot in the back contains a cut out side of a film carton for Ilford Delta 400 film.

May 29, 2022
iPhone 12 Mini

Looking forward to seeing how this roll comes out. I’ve shot with HP5 before, and it came out a little grainier than I’d like, so I thought I’d try this. Also mis-cut this box end.

Black and white. Small park building (restrooms) on a sunny day. Three surrounding trees cast harsh shadows on the pavement.

May 30, 2022
Tudek Memorial Park
State College, PA | iPhone 12 Mini

Stairwell, trimmed with metal, glass, and wood. Bank of windows to the left. Wooden commemorative chair at center on the stair landing.

June 9, 2022
The Chair
Burrowes Building, Penn State University Park
iPhone 12 Mini

I do have more blog posts and social media series in the pipeline. These include, among others, various sets of COVID-19 signage, a collection of photos of control panels and buttons that I'm pretty excited about, and photos from our France 2018 trip that I'm still slowly editing.

What keeps this held up is that I've made a concerted effort to keep up with editing the photos that I take. This includes iPhone photos, so that means that every night or two I'm churning through a batch of new pics, and there's precious little time to put together other content into a form that's worth sharing.

Still, I want to eventually get to sharing these other projects, it may just be a few weeks or months until I get there.

COVID-19 Signage Project: Masks Required

This is the first post of a long-term photo project on the signs of the COVID–19 pandemic, filtered through the narrow constraints of my own firsthand experience. You can read more about the project here

For a first post, I feel obliged to feature instances of those signs in businesses that say, unequivocably, that you must wear a mask. Usually this comes in the form of the words “Masks Required.” 

When I started the project, I thought I’d be able to lump all signs with direction on masking into a single post, but as the pandemic and the project have grown longer and bigger (perhaps in both cases more than anyone would truly desire), I’ve found that I can subdivide these into fairly narrow categories. As an English PhD candidate, I can’t help but read sings like this very closely. “Masks Required” is different from “Masks Encouraged” is different from (one of my personal favorites thus far) “Governor Tom Wolf has ordered that all customers must wear a mask when entering our business.” 

At this time of writing, these signs have actually become something of the past—our local municipalities have rescinded their mask mandates due to a drop in cases. That in itself is an example of how this project has shifted over time—when I first started drafting this post in January, masks were still required and the Omicron variant was tearing through the country.

Anyway, here’s Masks Required.

Laminated sign styled like a Magic: The Gathering card. It reads“ EQUIP MASK. Mask Required. [Magic tap symbol] when tapped, mask is optional.”

Mask Required | December 28, 2021 | Master Goblin Games, State College, PA

Master Goblin Games is a new gaming store in downtown State College, and their graphics game is on point. Here, they’ve riffed on the format and language of a Magic: The Gathering equipment type card.

“Equip” is an ability on a card that’s meant to represent (you guessed it) a piece of equipment. It means that you put the equipment on a creature, and it usually improves its bearer’s characteristics in some way. Equip Mask is an action that will enhance you, its bearer. 

The circle with an arrow is it is the “tap symbol.” In Magic, you “tap” a card by turning it sideways, and this usually indicates that either the card has attacked this turn, or that whatever action comes after the symbol cannot be taken again until the card is no longer tapped. 

Unlike “Equip Mask,” the tap symbol and doesn’t have quite as much meaning in spoken English, so the uninitiated reader has to intuit what the arrow-in-circle symbol and the term “tapped” means.

Here’s what an actual Magic: The Gathering equipment card looks like.

Magic: The Gathering card featuring a silver half-mask. Cardname is "Mask of Avacyn." Body text reads: Equipped creature gets +1/+1 and hex proof. Equip {3}. "It hides the face and protects the soul."

Note, the Mask of Avacyn might hide the face and protect the soul, but there’s no way that that thing is stopping 95 percent of airborne particles.

Laminated yellow sign, worn and aged, reading "Following CDC guidance, customers *must* mask inside, regardless of vaccination status. Thank you for your cooperation."

Must Mask | December 7, 2021 | Tait Farm Foods, Centre Hall, PA

I have a separate album full of shots of signs that show their wear and tear, and this one may need to pull double-duty. I like here the images at top and bottom that feel to me on-brand for Tait Farm Foods. The language of direction includes both the appeal to authority (“Following CDC guidance”) as well as some very assertive ownership over the direction that they’re posting. They’re not just saying this because they have to—the underlined must makes clear to me that they’re serious. Outside of the sign’s text content, I do like the story that the weathering on this sign tells. It’s laminated, so its makers intended to protect it from the elements, but perhaps on account of the fold or some other gap in the top edge, and time, elements have made it in anyway. It’s been a long pandemic. The only other thing I’d love to see in this sign is, instead of a white plastic thumb tack, a rusty nail to match the two above.

Attention | June 18, 2021 | Kondu, State College, PA

This one doubles in the “sign that’s been around longer than anticipated” bucket, but then, most COVID–19 signs do nowadays. 

I noticed the name “displays2go” in the lower-right corner, and it turns out that a version of this poster is available for download online as well. Displays2go, a sign company, has made available a whole page of free COVID–19 poster images that you can download and print, from vaccinations and masks required to now hiring signs.

Here’s the current version of the sign I had photographed:

Sign reading "Please Wear Face Coverings Inside If Not Fully Vaccinated Against Covid-19 You are considered fully vaccinated two weeks after the final vaccine dose

Assuming that the version I photographed is a predecessor to this one, it’s interesting to see how the language has changed. “Attention: Face Mask or Covering is Required Upon Entry” is absolute, whereas the current version adds the vaccination qualifier (irrelevant in my own municipality) and the information bit about what is considered “fully vaccinated.”

Black and white sign posted on a door. Includes a mask icon and the text: “NOTICE FACE MASK REQUIRED.”

NOTICE: FACE MASK REQUIRED | December 3, 2021 | Comic Swap, State College, PA

This sign doesn’t just say that face masks are required, but the bold typeface and the white-on-black NOTICE headliner let you know that they mean it. 

Like the above sign, this one also has a URL that points to its origins. This one was provided by the Brevard County government in Florida. Perhaps befitting Florida local politics, that site also provides a FACE MASK NOT REQUIRED sign.

Large printed sign reading: “Visitors are required to wear face coverings or masks at all times. Disposable masks are available at the front desk. Maintain a 6-foot distance between yourself and other visitors at all times.” Blue background. Icons re

Visitors are required to wear face coverings or masks at all times. | September 19, 2021 | Palmer Museum of Art, State College, PA

Throwback Thursday: Rome, 2005

Today's Throwback Thursday goes back 16 years, to the 2005 Fordham Honors Program trip to Italy, which was led by Joseph Perricone and the late and wonderful Father Joseph Koterski, S.J.

21-year-old man in a red sweatshirt and peacoat. Background: interior of the ruins of the Colosseum

Me at the Colosseum.

Photo credit likely goes to Pat Farmer, Kevin McKenna, or Tiffany Smith.

Tourists looking over the rail in the Colosseum. Low, warm sun visible through a window above.

Getting some sun into the building.

Spruced this up last night in Lightroom. If you zoom in, there's a good amount of pixellation (this is a 1.3 MB file), but it took the edits better than I expected.

Tourists looking over the rail in the Coliseum. Low, warm sun visible through a window above. A bit dark, with a lavender cast to the image.

Here’s the same shot as above, albeit straight-out-of-camera, no edits. I guess my intent for this shot was to, in addition to catching the sun through the window, have the railing intersect with the lower-right corner of the frame. It’s a reasonable choice, but as time has gone on I’ve grown less happy with canted shots.

I didn’t do extensive post-work on this, but (as may be evident in the previous photo) I did want to increase the contrast, and reduce what I saw as a lavender cast to the image. Lighroom’s auto toning button did most of the work, as it brought up some of the shadows, and the rest was fussing with the contrast slider and some selective color work. I tried to amplify the saturation of the spots on the top of brick wall, and amp up a bit of warm color saturation in the bricks.

Snowy Morning

Keep that A Charlie Brown Christmas album in the rotation.

Black and white. House across a street. Snow on the ground and house, and brushing giant evergreen trees to the L and R. Overcast.

January 7, 2022. Ricoh GR II ISO 100 f/4 1/320s

I’d wanted to shoot this at a narrower aperture, so as to get a deeper depth of field, but my GR II has accumulated some sensor dust over the years that gets more obvious (and requires more fixing in post) the more that I stop down. It’s a bit annoying to deal with, and expensive to get fixed, so I’m trying to get accustomed to sticking at f/5.6 or below and making do.

Some Light Geometry

I was on campus mid-afternoon today to run some errands and get a look at the classroom that I’ll be teaching in starting next week. I was struck by the long shadows cast by the buildings and the trees. After a week of mostly dreary weather, it was refreshing to see such sharply defined areas of sunlight and shadow.

The following were all taken on an iPhone 12 Mini and edited in Apple Photos.

Black & white. An archway over a sidewalk. Light passing through casts a semicircle shadow.

January 3, 2022, 2:49 p.m.
Penn State, University Park

January 3, 2022, 2:53 p.m.
Penn State, University Park

Black & white. Side of a building, w/ short evergreen tree in foreground. Light casts a diagonal shadow on the ground and wall from lower left to upper right.

January 3, 2022, 2:55 p.m.
Penn State, University Park

Black & white. Along the side of a building. A sharp diagonal shadow on the wall, along with shadows of sparsely leaved tree branches.

January 3, 2022, 2:57 p.m.
Penn State, University Park.

Black & white. Front of brick academic building with many steps, two large white columns, and sign above in stone that says "Forestry Building."

January 3, 2022, 2:18 p.m.
Penn State, University Park

Black & white. Parking garage. Rectangular window openings across the center; shadows and light cast through them onto garage floor in foreground.

January 3, 2022, 2:59 p.m.
Penn State, University Park

Christmas Miscellany

Since the photo sale shipping deadlines for a "by Christmas" arrival have all passed, I thought I might switch gears for a few days to share some seasonally appropriate photos (I'll get back to the photo sale posts towards the end of the month, since that code will expire on 12/31).

Sculpture of coiled snake in outdoor arboretum, pink ribbon wrapped around its neck.

December 19, 2021. Canon EOS 60D, ISO 640, Sigma 30mm 1.4, ƒ/2, 1/125s

Penn State's arboretum has some beautiful lights up right now, and it's certainly worth a look. Having gone two weekends in a row with family, it does feel like dusk (around 4 p.m.) is probably ideal—it's light enough that you can still see the rest of the garden, but dark enough that the lights have some pop. We were delighted to see that all the animal sculptures in the Children's Garden had been given some sort of festive flair.

Christmas lights tightly wound around a tree trunk.

December 5, 2015. Canon EOS 60D, ISO 100, Sigma 30mm 1.4, f/1.4, 1/500s

This shot’s from December of 2015, in New York City. This looks well-suited for one of those "can you believe it?" comparison statistics, like, if you took the light strands from all the trees in front of this building, and laid them end by end, they'd reach from the AC units to the sub-basement or something like that.

Santa Claus driving a pedicab through Times Square on a rainy night.

December 17, 2016. Ricoh GR II, ISO 140, f/2.8, 1/60s.

I think I've posted this at least twice in the past few years, but I do not care, because Santa Claus driving a pedicab through Times Square on a rainy night never gets old.

A crowded, ornate hallway filled with persons in formalwear. Tall fronds to L and R wrapped in Christmas lights.

December 1, 2018, Ricoh GR II, ISO 1600, f/5, 1/160s.

From New Orleans on December 1, 2018. As I scroll through my photo library, I realize that I don't have a ton of Christmas decor photos that aren't from NYC. Which is fine, but for a series of posts, I thought I may as well try and diversify a bit!

Black and white. Wire sculpture of an angel holding a trumpet.

December 20, 2010, Canon PowerShot S90, ISO 400, f/2, 1/60s.

Merry Christmas!

From December 20, 2010, Rockefeller Center.

Canon AE-1 Program (1981) + Ilford HP5 (2021)

These are the rest of the keepers from a roll of Ilford HP5+ 400 that I shot last year (the others are in this Bellefonte in Black and White post). This is the only roll of HP5 that I’ve shot, so my thoughts are based on a very limited experience, but I’d say that I would be happy to shoot with this film again. Relative to other black and white films, it’s pretty affordable, and I was happy with most of the photos I got out of this roll.

Black and white. Six sheep behind a fence, looking through at a dog in the lower right.

These sheepies came over to investigate Ginny Mcflooferson, whose nose is in the lower right.
November 4, 2020 | Canon AE-1 Program, 50mm f/1.8, Ilford HP5+ 400 | f/11 1/500s

One funny thing I found, though, is that this film really puts to the test one’s willingness to accept the imperfections of film media, specifically in terms of film grain. Some film photographers love grain, for others, grain is something to avoid. For my part, I’m happy to embrace the particulars of the medium, but I will say that when I got these shots back I was surprised by the amount of grain I saw (and maybe I should'n’t have been). There is a rough look to these shots that’s a bit different from what you’d see in higher-end black and white films, like Kodak TMax.

So now that I have it in front of me, I have to confess that I’m less enthusiastic about film grain than I would have expected, however, on the plus side, I think this makes me a bit more accepting of noise in my digital photos. Now digital noise and film grain are not the same thing, but, I do think that this gives me a bit of perspective on my practices of zooming in to a digital image and adjusting noise reduction to make it as “clean” as possible. Some folks will notice it, but I figure, if I’m happy enough with how these came out, I should be able to let myself be ok with not obsessing over smoothing out those digital rough patches all the time.

Black and white, looking down a row of Christmas trees growing on a farm. Bbare trees, mountains, and some haze in the distance.

Tannenbaum Farms
November 7, 2020 | Canon AE-1 Program, 50mm f/1.8, Ilford HP5+ 400 | f/8 1/125s

Black and white. Pedestrian tunnel, w/ path on left separated by a wall from stream on right. Path and stream divide ahead, with brush and trees in between.

Slab Cabin Run, underpass below College Avenue
State College, PA | Canon AE-1 Program, 50mm f/1.8, Ilford HP5+ 400 | f/4, 1/125s

House and Rocks
Canon AE-1 Program | 50mm f/1.8 | Ilford HP5+ 400 | f/8, 1/125s

I haven’t done many film versus digital comparisons, but when I was taking photos of my sink late on election night 2020 (yeah, these are a lot of glasses, but hey, that was a long night, right?), I figured that was as good a time as any to do a side by side.

Can you guess which shot was taken on film and which shot was taken on a digital camera?

Looking at these now, this is a kind of easy one—the top one has that grain I mentioned above, and it has that rough, documentary feel that as of now I associate with this film stock.

I do think I prefer the former, as that higher contrast, grainy look feels well-suited to this composition. It’s a messy sink, from a long and fraught evening, and I feel that’s better captured in the first image.

Canon Sure Shot Owl (1994) + Fuji C200 (2021)

 

Since this camera was a gift from my father-in-law, I thought it would be fun to bring it with us on our vacation to Maine this summer, putting the old Owl back into service capturing family memories, one generation later.

Short lighthouse at sunset surrounded by a 1-story home.

Around sunset, August 2, 2021.

While my test shots with expired Kodak film mostly came out alright, for actually documenting our vacation, I opted to use known-good film, specifically, Fuji C200. It is a cheap consumer film, so nuanced color and fine grain are not to be expected. But my goal here wasn't to create perfect images, but to capture some of our vacation memories in a style befitting the design and purpose of this camera. I'm also interested in trying out some of the lower-end film stocks to see if there was one I particularly like.

Shore with waves coming in from the right. Large, cumulous clouds in the sky.

Midday on the beach.

As is perhaps fitting of shooting with fresh film, I found more keepers here than in my roll of expired Kodak HD. This is not because of the particular qualities of Fuji C200, as much as it's because I didn't have to do as much post-processing to wind up with usable images.

Sure, there were some misses.

Wiggly Bridge Distillery. Peak of roof cut off by top of frame.

Wiggly Bridge Distillery is worth a visit and a tasting if you have the time. We had a very pleasant visit, and I particularly enjoyed the Bottled in Bond Bourbon. Re: this shot, this is the result of operator error. I’m spoiled by SLRs, and I thought that I’d framed this so the peak of the distillery would appear in the shot. I did not. The framelines on this camera’s viewfinder are a bit worn down and/or difficult to discern, so going forward, I’m just going to try and be extra-careful to make sure that any key elements stay well within what looks to be the frame.

But for the most part, I got the shot and, to my eye, they mostly looked pretty good, and I don't have to think about it all that much after the fact. Whereas with the expired stuff, I found myself doing a bit of mental gymnastics, like, "eh..this one's ok...if you want a particularly vintage look."

White building. Sign across width reads Ogunquit Playhouse. Row of hedges and flowers in foreground.

#accidentallyWesAnderson

Yes, some shots from this roll still work because of their low-fi or somewhat dated look, but some just looked good, and it's nice to not have to qualify that.

Concrete shuffleboard surface w/ empty rocking chair to the left. Dappled sunlight through trees.

The location for nearly all of these was Ogunquit, Maine, a place I've visited with family before, though always with more modern digital cameras. With a 200 speed film and a camera like this, most indoor photos will wind up using the flash, and the results of that are just about how (if you're my age or older) you remember it—frequently not great.

Shore from the Marginal Way path in Ogunquit. Rocky shore on the left, followed by a narrow sandy beach and incoming waves.

From Ogunquit’s Marginal Way.

Outside, though, and on the beach, the camera performed quite well, and I'd say I did a reasonable job here managing my expectations for what it could handle. Getting that "portrait mode" or shallow-depth-of-field look, in which your subject is sharp and the background is blurred, wasn't likely, nor was getting shots with corner-to-corner sharpness (I'm not much of a nit for that sort of thing, but I did notice sharpness tending to fall off towards the edges).

As fitting for a vacation/family camera, it did do a good job capturing memories and a decent bit of the environments in which they transpired.


Overcast. Crowded traffic approaching the George Washington Bridge.

Approach to the George Washington Bridge, from the trip up.

Overcast. Geese in creek, with stone walls to the left and right.

Spring Creek, in downtown Bellefonte, PA. The shadows are crunched down towards black in the left and right of this shot, but to their credit, the camera and film are capturing a pretty wide range of light here, between those shadows and the sky above.

2021 Print Sale

The holidays are here, and if you want to give a friend or loved one a unique gift, or if you want something for that blank wall you've been meaning to fill for ages, this sale may be for you. I've made available in my shop a selection of photo prints that share a few things in common: they're shots I'm proud of; they're from places that are meaningful to me; and, perhaps most importantly, they're well suited to hang in just about any room in your home.

Prints start at $30 for an 8"x10" printed on Kodak Endura professional photo paper. Larger sizes are available, as well as a number of finishing options that will make your gift ready to go, or your new favorite piece of wall art ready to hang.

This year's print sale orders are fulfilled by the fine folks at Darkroom, and they've provided the following handy cut-off date info. Order your gifts by the dates listed here to ensure that your print arrives at its destination before December 25.

To ship via US Standard, order within 12/7–12/13 | US Expedited, 12/13–12/16 | US Overnight, 12/16–12/18. Int’l orders not guaranteed for delivery before 12/25.

You can make your selections here, and until December 31, you can use the code "iheartphotos" at checkout to receive 25% off your order.

Canon Sure Shot Owl (1994) + Kodak High Definition 400 (2006)

 
Plastic black film camera; dog with rainbow bandanna; Church in front of cloudy sky.

These shots are the product of a combination of two gifts, for which many thanks are due: the camera, a Canon Sure Shot Owl, was from my father in law and it was produced in 1994. The film is from my wife—it’s from a batch of Kodak High Definition 400 that she had bought around 2006. So they’ve got a total of 42 years between the two of them, clearly a good sign to any Hitchhiker's Guide to the Galaxy fan. I figured these were a perfect match: a decades-old point-and-shoot camera paired with expired consumer film.

Black plastic camera, blue painter's tape wrapped around the left side.

Canon Owl. The blue painter’s tape is holding the battery door closed. The battery door’s terminals were either corroded or lost, so I wound up using a loose terminal from a Canon T-70, and then holding the thing shut with tape. It worked well enough, though occasionally I had to squeeze hard to make sure the batter was making contact and powering the camera.

I’d never shot the Owl before, and it may have made more sense to use known-good film to do a test, but I was impatient and didn’t have new film on me, and I figured that if I ran into any issues, I ought to be able to discern whether the problem was the in the camera or in the film.

Knowing I was shooting with expired film and an old camera led me to look for things that seemed of another time, like this house.

One challenge, though, is that to get the best possible results out of expired film, it’s usually best to overexpose it by some amount (the best web resources I’ve found on just how much are this piece by Ludwig Hagelstein and this piece by Daniel J. Schneider). As film degrades over time, it will often need more light in order to produce a properly exposed image. In many film cameras, an easy way to do this is to adjust the ASA rating on your camera. If you tell your camera that you’re shooting with a less-light sensitive film than you actually are, then the camera will try to compensate and get more light onto the film. Unfortunately, with the Owl, this was not a possibility.

Consumer film cameras frequently used DX coding to set that ASA rating. The DX code is a pattern of conducting and non-conducting rectangles on the side of the film canister. The camera reads these and then automatically sets the ASA rating to match the speed of the film indicated by the DX code . This is a great way to insulate against user-error, but the Owl also lacks a way to manually adjust the film’s ASA rating in a circumstance where you want to over or underexpose the film.

Fortunately, there’s a way to actually change the DX coding on the side of the canister so that the camera thinks the film is of a slower speed and requires more light.

The DX code is essentially a strip of metal and plastic along the long edge of the film canister. That strip matches up against a row of electrical contacts in the camera, and the pattern of that strip tells the camera what it needs to do to expose the film properly. To change the DX code, you can use a combination of scraping away plastic squares on the film canister’s surface, and using electrical tape to cover specific contacts (see this handy tutorial by Amy Berge).

Film canister, with DX coding areas partly scraped and partly taped.

Don’t know if it worked, but I felt cool doing it.

In truth, I can't tell whether or not my attempt at doing this hack was successful. The film is old enough that some amount of underexposure and fogging is almost inevitable, so without doing a side by side comparison and shooting a roll that I haven’t hacked, it’s though to tell whether this was worthwhile or not.

The camera itself functioned reliably and pretty consistently. I do appreciate how straightforward it is—there’s a simple, big optical viewfinder, a fixed focal length, and that’s it (there’s a flash, though I only used that a few times). The camera’s aesthetics are a product of its early-90s era: it is a rounded, plastic box, with rubber buttons that, by original design or by age are a bit mushy. Compared to my other point-and-shoot camera, it’s a bit large, and most of the time that I carried it around, I used the strap that came with it.

Overgrown potted plants under a mall skylight.

At the Nittany Mall. Another scene in which the vintage look of the film seems well-suited for the subjects, here, overgrown potted mall plants. Upon this dias, they look as if, one fateful day in 1999, a three-piece band of unknown origins rolled into town, and played a surprise gig at the mall late into the evening, rocking inspired, righteous tunes better than anyone had ever heard. But then, when the first ray of sunlight came streaming through the sunroof, the crowd grew silent, astonished. The band was now plants.

Concrete path and railing next to stream. 4' tree/weed growing off the embankment, center of frame.

As I recall, this took some lightroom edits, but all in all, not bad. The film and camera did a decent job capturing a pretty wide dynamic range, from the bright light reflected off the rocks to the shadows in the rafters.

I’d say about 90% of my shots came out in focus and reasonably well-exposed. While the times focus was not accurate to what I wanted were frustrating, I realize in retrospect that the truth of the matter is that I have probably had a lower hit-rate when I’ve been manually focusing with my AE-1 Program. As I’ve branched out from the AE-1 Program to cameras that actually have autofocus, my appreciation for autofocus has only grown.

Flight of empty small beer glasses. Table number sign behind them, in focus.

Axemann Brewery. I was about to write that I was too close for the autofocus to work, but that’s not true—the “Table T6” sign is reasonably in focus. So I was perhaps 6” too close to get the empty flight in focus (my goal) but at a perfect distance to get that sign in focus. In retrospect, even if I knew the minimum focus distance to a T, I still likely wouldn’t’ve hit this shot.

As for the film, it looks like it held up pretty well over the years, and if you’re in the market for a vintage look, a combination like this camera and this film are going to do the job. Still, I’ve found that the aesthetics of expired film aren’t so compelling for me as to accept the frustrations of the occasional unusable shot, or having to do more tweaks in Lightroom.

A public community pool on a summer day.

Summertime.

Bellefonte in Black and White. November 5, 2020. Canon AE-1P, Ilford HP5+

For most of the black and white photos that I post, I shoot them in color and then convert them into black and white while editing. The shots below, though, are from the first black and white roll of film that I’ve shot, and I enjoyed the challenge of having to try and “think” in black and white—to try and previsualize what the composition would look like without color, and use that to determine whether or not I should take the shot.

This experience is a bit akin to shooting digitally with a filter on, knowing that you can’t un-filter it later, which I’ve effectively done now and then, like for these of downtown State College.

Still, everything about film, cliché or not, does feel like it demands a more deliberate amount of attention than shooting on digital (limited number of shots, cost of film, cost of developing, etc.) and I feel that played into my pace of shooting this time as well.

With this particular film, I found myself happiest with shots with a large amount of contrast in them (at least, relative to the others on the roll), like this one of the historic Brockerhoff House:

Top floors of a 19th century building with elaborate Victorian details and roof tiles.

There’s a large amount of contrast between the white walls of the building and the roof tiles, and the tiles themselves have some variation of tones in them.

By contrast (pun intended), here’s a photo of another building further down the street.

Top floors of a Victorian building. Brick walls, and ornament around windows.

I was drawn to the alternating bands of bright and dark above the windows, which I imagined would look good in black and white and which were why I took the shot. I figured that in color, those details could have gotten a bit lost, or one’s eyes would be less inclined to be drawn to them. However, I’m guessing that this shot earlier in the day (I took this at 4:30 p.m. in November) would have come out better. The lighter toned part of the building towards the roof would have popped a bit more, and perhaps the details around the windows as well. As is, these just sort of muddle together more than I’d like.

I know folks do like to push HP5 in processing, which itself results in more contrast, but for my own sake of practicing and getting used to the film, I may try to use my desire for higher contrast images as a constraint to force me to think more about lighting and composition when I shoot with this film in the future.

Here are a few others from that same afternoon:

Traffic intersection. 2 story brick building on the left. Lit from setting sun off right.
Bare tree on an intersection's island. Mountains in the background.
Back of a 3 story apartment building. Parked cars and clotheslines.

Grant Swift, Live at 3 Dots Downtown, State College PA. October 19, 2021.

 
Black & white. Musician playing guitar on stage. Intersection w/ receding streetlights in background.

Shots of Grant Swift's show last Tuesday night at 3 Dots Downtown in State College, PA. Grant is an old friend who’s touring right now to promote his new album First Elephant (available for purchase or streaming here). It was a treat to be able to catch up and see him play again, and I encourage you to check his schedule of upcoming shows in case he’ll be in a town or city near you. Upcoming stops include Baltimore, Austin, Nashville, and more.

Night. Wide angle photo of a terrace. Guitarist is playing and singing. Bistro lights and apartments in the background.
Close shot, from musician's left, of musician playing guitar and singing.
Black and white. Close shot of musician playing guitar and singing into the mic.
Black and white. The back of a station wagon, filled with amps and PA equipment.

Touring life.

Throwback Thursday: September 23, 2011 at Vanderbilt Avenue and 43rd Street

 
Black and white. A person in glasses holds a takeout order under their plastic poncho in the rain.

These two photos are from four years into my ten-year stint as a an office manager. At that time, I frequently ate lunch while standing in the old taxi stand outside of Grand Central Terminal at Vanderbilt Avenue and 43rd street. This was largely a matter of efficiency: in addition to my full-time job, I was usually working on some sort of theater, film, or writing project, so my typical lunch break included running to the deli across the street, grabbing a premade sandwich, and then eating it in the taxi stand as quickly as possible before jetting over to the FedEx née Kinkos to get some work done.

A Manhattan street in the rain. A person holding an umbrella walks across the crosswalk, from left to right in the frame.

It feels kind of surreal to now have a photo archive deep enough that, for a Throwback Thursday post, I can throw back to a decade ago. (Though I’m sure to more seasoned photographers this sounds like the realization of a total newbie.)

More surreal, perhaps, is looking at a photo that feels to me like it was taken yesterday, but simultaneously knowing that this particular bit of urban landscape has since gone through a good bit of change. In the above scene, for instance, we’re looking across a street into a crosswalk, and on the left, there’s an office building with a T.G.I.Friday’s on the ground floor. But both street and office building no longer exist. The street (the one perpendicular to what appears in this photo) has been converted into a pedestrian plaza. The office building was torn down and replaced with the massive One Vanderbilt office tower.

Sometimes all the years spent post-college feel like they’re one large temporal mass that makes up “the present,” but I too easily forget how much has changed within that span of time, in terms of various historic events and cataclysms, as well as the more gradual changes that creep their way in over the passing of time.