Long Train Runnin’

I no longer have my first SLR. It was a Nikon F, with the photomic head and a 50mm lens, that I bought used in 1974 while I was in high school. I carried it every day. I was one of those yearbook nerds 🙂

In the fall of 1975 I started college at Rochester Institute of Technology as a photographic arts and sciences major. That Christmas, the I found the Leica M3 you see here under the tree. I used it almost exclusively for the next year and half at RIT. And I used it as a news photographer on many occasions. In my final year in news photography (six years total before becoming a magazine freelance writer/photographer), I used the Leica exclusively.

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Using that camera was what led to my love of rangefinders. Its why I look for digital rangefinders when I buy cameras today. There is just something about the feel of a rangefinder. Maybe someday I’ll try to put that into words.

My latest purchase, that I have mentioned before, is the SONY a6400.

It’s been decades since I last ran a roll of film through the Leica. And if I were at all interested in being retro, I’d use it exclusively. But I’m not interested. It sits on a shelf near my desk where I can keep an eye on it. Every couple of months, I “exercise” it to keep the shutter limber. Is that a thing? I don’t know. It’s just something I do.

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Concept Video for Os Marnotos

Here is the concept video for Os Marnotos. I am in post-production now. The finished film will be ready sometime this spring. I am working with two Portuguese filmmakers, who each have new documentary short films ready, to schedule screenings our work. Plus, I’ll try to make a couple of film festivals. I’ll post all news here. Part of what this means is that it may be a year or more before I post it to YouTube.

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Documentary Photography 101: Example of Good

So what is a good documentary photograph? Take a look at this one. It’s good.

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The evaluation of a photograph as good, or something less than good, must take its context into account. The photograph above is not so good if I’m trying to produce art photography. If it’s news about what is happening in this space, I’d say a better adjective is functional. But as a documentary photograph it is good.

Why? Because it is a record of a moment in the re-development of a residential and commercial space in a particular neighborhood in a particular city at a particular time: The intersection of Rua Manuel Firmino and Rua Concelheiro Luís de Magalhães at 13:10 on 14 December 2024 in the Vera Cruz neighborhood of Aveiro, Portugal.

Someday someone will want to see what this space looked like after the old building was torn down and before the new building was built.

So here you go. You’re welcome 😉

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The Whole B&W Thing

I’ve made many little “mini docs” in black & white that you can find on my YouTube channel. Much of this is about my desire to begin doing my larger documentary projects in black & white. Eventually, I want to produce/direct a feature in widescreen black & white.

Os Marnotos is first up. I am now in pre-production. I have published a black & white test video. I didn’t have to publish it 🙂 But it’s a good idea to keep up a “steady” stream of new videos for YouTube. Self-promotion and all, you know.

Gigantes Verdes. however, will be the usual 16:9 in color.

I’ll be discussing this further in my visual style series.

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Rejecting Digital Perfection

My Fujifilm X-E1 rangefinder is beat to shit. I’ve dropped it numerous times. I even broke a fall with it during a hike while using the monopod it was on as a walking stick. Back in my photojournalism days I was a known abuser of cameras. During the digital era, I’ve tried to go a little easier on them (especially my cinema cameras). My X-E1 is apparently a bridge between those two eras.

Something interesting happened. My X-E1 became not as crisp and perfect as it once was. Go figure. And I love it.

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Come to find out, rejecting digital perfection is now a trend in photography.

I mentioned earlier that I bought a new camera for street photography. But I have since decided that was a mistake. I’m putting my SONY A6400 to work for other jobs. My X-E1 remains my primary street camera precisely because of its trauma-induced imperfections.

I’ve already mentioned the role of “ratty” video in documentary film in my post about where I differ from the Malick dogma (see also my series on visual style):

4. Seek maximum resolution and fine grain: Yeah, maybe. Where I differ on some of these is in the necessity, in my opinion, to produce some ratty video as a rhetorical response to a particular situation. It’s an authenticity move. Trauma and mayhem in nonfiction shouldn’t look too polished. For example, here’s a still from the Oscar-winning White Helmets. The full movie is available on YouTube. Also see number 13 below.

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and…

13. Shoot with steady handheld or Steadicam “in the eye of the hurricane”: Depends. Watch the first several minutes of White Helmets and tell me how those scenes would change the film if shot with a Steadicam. That’s an exercise, by the way, that I gave to my documentary film students to teach them that, sometimes, ratty chaotic video is the best. Then again, the eyes of hurricanes are calm. Hmmmmm…

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Judging images by technical perfection is, in my opinion, judging images on the wrong thing. Relax and makes picture. But do hold onto your camera 😉

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