Tuesday, August 25, 2020

Veg

I prefer the British slang veg over the American veggie. But then, I’m not one to shorten words much anyway. You’ll often hear me refer to telephones, automobiles, gasoline, and brassieres. I don’t think I’ve ever spoken the word fridge.  

Last year we constructed two small raised beds to grow vegetables.  They make an appearance in this summer’s first episode of manic expression.

One is dedicated to tomatoes. We got a variety of heirloom cherry tomatoes.

As well as a more conventional cherry tomato variety.

For something different we got some Polish Linguisa. They vary in shape from something like a Roma...


To their more common sausage shape. They’re an indeterminate variety and only produce a few tomatoes at a time.  We ate these just sliced with salt. Very tasty.

As backup we got a couple Early Girls and a Big Boy, but oddly they’ve been the least productive.


There still are a lot of green tomatoes.

Some pesky mammal opened up this Big Boy for dining.


It became a popular spot to get a snack.

We had to keep a sharp eye to stay ahead of the furry population. Someone just cut this green Early Girl off the vine. I found it before they started into it.


It ripened nicely on the counter.

With all these fresh tomatoes, we thought we’d need a good bit of basil.


And rosemary.

For the first time this year we tried Sorrano peppers.


They’ve done fairly well.  We read somewhere that they’d eventually turned red so we decided to try to wait for that.

I thought the habaneros were quite behind, just beginning to produce flowers.


Then, tangled with the Sorranos, I noticed a familiar atomic glow.


A habanero in the final stages of getting all lit up.


We put in a bag of onion sets but they didn’t do well at all. Now we have lots of little onions if we can find them under all the other growth.


I know this isn’t a vegetable. It is a close cousin of an onion.


Nice to be able throw fistfuls of parsley into everything.


We planted a row of Arugula and a row of Mesclun mix.  Turns out the mix was about 80% Arugula.  We now have a lot of spicy greens.


Politely spilling out of the raised bed are two volunteers - a cherry tomato and a squash.


The squash puts out a few flowers but we haven’t seen any fruit.


And a tip of the hat to the pollinators...


And the fertilizer.


I’m too much of a nerd to not want to share some technical details.
  • There are lots of things to do with a tripod rather than standing on it’s legs.  It can be leaned against the side of the raised bed at variable angles and partially supported by a tomato cage. You can also just lay the camera on the ground. Right, Justin?
  • I wrote a bit ago about “discovering my negatives.”  That goes double when the camera is in a place you could never get your head to see what it looks like. Very pinholey though.
  • I try to avoid it, but about a quarter of these are pretty severely cropped. Can you tell which ones?
All with the Manic Expression Cube. .17mm hand-drilled pinhole 24mm from 24x24mm frame. Fujicolor 200.




Wednesday, August 19, 2020

Truck et cetera

 After I finished my piece about Oshkosh Corporation (née Oshkosh Truck aka “Truck” to an Oshkoshian), I kept seeing things I had missed.

I just discovered that they did final assembly of cement mixers in a shop on the north side. It’s on a road I often traverse on my bicycle but had never noticed it before. Wouldn't you expect this kind of thing to be done in a giant plant?

The lot is full of trucks in various stages of completion.

There were two sitting near the front gate with their rear bodies tilted open. It seems a lot of mechanical work is done on them out in the lot during nice weather. 

This big diesel is just for mixing cement. There’s another in the front which provides propulsion.


Driving through Oshkosh on Highway 41, you’ll see a shopping district for four miles on either side of the highway. Next to a large auto dealership is this storefront with an Oshkosh Corporation logo. I'd never seen it but I rarely go that way. There’s nothing else identifying it. The sign next to the door reminds visitors that they must be accompanied by a staff member at all times during their visit and several more of the same statement inside the vestibule. 


Behind it is a dumpster full of what look like parts of military vehicles.


There’s a van which identifies it as the Defense division’s product support.

There are several other well known companies that are associated with the city of Oshkosh. 

Riding along the shore of the Fox on the Wiowash trail, I often pass Meritor. You probably don’t recognize that name. It’s the last manufacturing plant still in operation in the middle of the city, a block away from the ritziest historic neighborhood in town.


You can see how close it is to the University’s Nursing-Ed building across the street.


Before the current destruction of the state government by the Republicans, the University had been waiting for years for them to move somewhere else so they could expand the campus.


Begun as the Wisconsin Parts Company, they began making heavy duty axles and became North American Rockwell, now more famous in the aerospace industry. Meritor was later spun off as a separate company. They make the axles for some of Truck’s heavier products.

Continuing downtown along the river trail, I noticed an Oshkosh military truck parked behind the former shopping mall.

You see them all over but usually not in a regular parking lot. I wonder if the designers thought about what kind of face that looks like. For some reason I think that if it could talk it would sound like Cheech Marin.


Nice to get a chance to get close enough to fill the frame with a wide angle camera.


They are engineered quite differently than civilian transport. In a city leadership training program I was part of, one of Truck’s participants described his company to the group. What I remember is that you can shoot out the tires with a machine gun and the truck will keep them inflated enough to continue at normal speeds.

What’s this thing doing by itself down here? What’s the closest business?


It’s Silver Star Brands, the company that Miles Kimball became when they started acquiring other companies. They were a nearly ubiquitous mail order brand of quirky and personalized merchandise. If you had a very specialized kitchen gadget or pencils with your name on them in the 50s and 60s, it probably came from Miles Kimball. Alberta Kimball was a major mover and shaker in Oshkosh. When she needed a new headquarters in 1969, she included it as part of downtown shopping mall she was developing. When it was an active mall, I never knew they were in there.


Their original location was across the river in a building I’ve featured several times, in color and black and white, now standing alone in the historic “Sawdust” manufacturing district.


They also have a larger Operations Center in the southwest industrial park.


Another long low flat building without windows surrounded by a giant lawn.


If you look to the right, there’s a familiar khaki line.


The north end of the employee parking lot is fenced off and full of Light Tactical Vehicles. The exit to the road was being guarded by the same firm I had an encounter with on Osborn Avenue. The guard was sitting in an SUV reading a book, so I didn’t have the heart to get closer and disturb her.

The main factory complex is on the other side of the road from the airport. Truck also makes airport maintenance vehicles, but not in town. This is a broom. Just visible behind the front of the truck are more Oshkosh Defense trucks. Oshkosh Corporation’s Global Technology Center is nearby. I wonder if the broom is here because of that, or if it belongs to the airport and they’re letting Truck use their lot to store trucks.


The southern end of the factory is on Waukau Avenue.


Across the road of course is a large lot full of vehicles. This was on Sunday and the place was really deserted.  There was an occupied guard station a bit to my left but a cluster of trees was between us. I held my tripod against the fence to get a close up of a Light Tactical Vehicle. It’s basically a four passenger sedan. They cost $422,000 each, but you can survive if a bomb goes off underneath it.


In the earlier post, we saw the former site of Nolte’s Garage on the north side occupied by Oshkosh Defense. Odd to find a Nolte’s tow truck parked in Truck’s south side lot.


All with the Manic Expression Cube. .17mm hand-drilled pinhole 24mm from 24x24mm frame. Fujicolor 200.



Wednesday, August 12, 2020

From f295: This kind of discussion doesn’t happen on Facebook.

f295 was an international discussion forum begun and administered by Tom Persinger. Originally just about pinhole photography, it expanded into all kinds of alternative methods.  It was active from 2004 until 2015 but it remains on-line. Recently it disappeared from the web for a few days, and that prompted me to decide to reprise some of my favorites here at Pinholica, for backup if no other reason.

f295 would occasionally have long discussions about technical and aesthetic aspects of pinhole photography. They were often responses to photographs with questions that didn’t just relate to some technical aspect such as you see so often on Facebook.

Here’s one which is one of my favorite spontaneous writing experiences. 

I can’t reproduce the whole discussion because I’d have to get permission from everyone. I can link to it but unregistered users can’t see the pictures and you can’t register. I can describe it and I think I’m OK with reproducing the parts of the comment that unleashed my keyboard. It started with the post of a photograph without comment by long term member Igor Bryakilev. The picture is reproduced here with Igor’s permission. It was posted on June 12, 2012 with the cryptic title of 'l’hommage.'



He posted it at mid-morning in Russia. I was the first to comment at 7:44am Central Time

This is a really terrific composition. I can think of about ten different painters and photographers this could be l'hommage to. Forced to make a guess, I'd say Man Ray.

There were three more complimentary comments which involved how this elevated a randomly encountered ordinary moment into a beautiful, dramatic photograph.

Late in the evening another longer term member I only knew by his screen name “Kier” apologized for what might be a critical question but he sincerely wanted to learn what others saw in the picture. I read it early in the morning. It flipped some kind of switch in my head. I remember writing this sitting at work and posted it at 9:45am.

"What is great about these images? I don't understand this thread of modern photography to produce images of this sort (non-descript subject matter, flat lighting). And there's a lot of it these days. I just don't understand it"

I think you might have unleashed a hopefully not too pedantic monster. I haven't had this much fun thinking about art in a while. Sarah and I talked about it for about a half hour this morning.

I'm not sure I can justify "these images" but I have a lot of response to this image.

My comment yesterday had to do with composition. One of the popular memes reacting to the invention of photography was that if photography repeated reality so accurately, what was the value of painting. One defense was that the idea wasn't to make paintings of beautiful things, it was to make beautiful paintings. An extension of that idea recognized the fact that a painting wasn't reality, it was a 2D surface. The basic thing you have to work with is composition, so just stick the paint on there in a great arrangement and maybe provide a little surface detail and that's all you need to get an emotional reaction from the viewer. I think this is abstract expressionism. I always think of Mark Rothko as the ultimate of this concept. Alfred Stieglitz did a long series of pictures of clouds which I always interpreted as a desire to remove subjective response to the object of the photography using clouds not as symbolic representations of stormy weather or peaceful sunsets, but simply as close to abstract patterns as you could get and not abandon "photographic" quality. (You didn't want anyone to think you were trying to imitate a painting.)

One response Sarah had was "This is not a broom"

In my comment yesterday I said I thought it might be a Man Ray Tribute, but now I'm leaning more toward a child of Mondrian and Miro. Very few elements, straight line geometric elements with that crazy twist of what looks like painted quarter inch copper pipe or maybe some kind of coaxial cable.(Is the right hand wall really curved?)

But realistic portrayals of the real world are interesting as well. One of the values we all get hammered into us in photography class is the power of the illusion of depth. If you have to sum this up in one quip, as I did in a recent handout, it is to use directional lighting.

"flat lighting"

Whaddya mean flat lighting. This isn't flat - it's directional as hell. It's coming from, if he were standing there through what was probably a long exposure, over the photographer's right shoulder. It's diffuse as hell, probably an open door or a really big window, just what you'd expect to find occasionally in a stairwell between landings. I think there's also an electric light in about the same direction, putting a little reddish glow at the right. It provides depth in a lot of ways. The shade of the walls provides a gradient as you change the angle from the source. It casts the shadow of the broom handle. As the twisted pipe moves in and out of the shadow you can perceive it's three dimensionality. There's kind of a Minor White conversations with light quality about it.

And who says directional light is the only light you can have a conversation with. It always use to piss me off when students would whine "but it was a grey day" when I would criticize them for turning in a flat photograph.

Flat is negative print (and screen) value too and full range it's opposite, Igor's got that nailed. There's a pretty white highlight on the left wall's edge, and the floor and the broom bristles anchor the low end.

And there are other cues to depth independent of lighting. Theres a good bit of one point perspective, and a bit of the broom bristles go behind the wall so you know there's a passage to the left there. (It could be just a few inch indentation though)

And you don't need that much depth for your illusion. Aaron Siskind did it with a relief of about an eighth of an inch.

"non-descript subject matter"

Celebration of the ordinary has been as big a theme in art as the nude or heroic battle. I've quoted Fox Talbot on it here before. I've always thought you didn't have to go to Monument Valley to find something to photograph. As a matter of fact, the art in it is often pulling off stopping and doing what's necessary to capture something you just run into.

Harry Callahan's pictures from Chicago, Detroit and Providence exemplify this and it was taken to kind of extremes by Irving Penn's platinum prints of cigarettes. Again, the idea is to make a beautiful photograph, not a photograph of beautiful things.

And think of the symbolism! OK, that's a little dramatic. When thinking yesterday of what this could be a tribute to, instead of an artist, it may have been a tribute to a favorite relative or friend who was a custodian. Sarah thought of it as a metaphor for the constant need for cleaning, a variation on the theme of decay you so often see around here at f295.

Or it could be about all workers. If I started going on about that I'd probably go over the line into class warfare pretty quickly so I won't' even start.

This is all very interpretive, and I'm a little worried about how pedantic it is (I just saw Woody Allen's Midnight in Paris), but maybe that's what we want from a work of art, something to make us think while we're decorating our local environment.

Thanks a lot, Igor, this was fun.

The discussion went on for two pages. Most of the comments consisting of multiple paragraphs complimenting the quality of the photograph and the theme of ordinariness. It included Kier's thoughtful response to my essay and a defense of his disinterest by someone else. 

It was very civil with no flaming.




 

Friday, August 7, 2020

6x9cm Variable Cuboid full system upgrade


Curiously, in the midst of all this business with the small, square format Manic Expression Cube, I was working on expanding the 6x9cm Variable Cuboid System.

One thing that led up to this was that I had made three fronts for it. Two were stereo, which were kind of disappointing. The format was 6x4.5cm in vertical only, which is weird for me when using any rectangular format. The image sizes for the pairs were different enough to be distracting and needed to be fixed. After all the work in stereo this winter, it was plain that a separation of only 45mm between pinholes didn’t seem worth it.

So I had two ready made fronts and already had the pinholes. All I had to do was tear out the septum, pry off the stereo shutter and make a new one. One of them was at very-wide 30mm and one at middling 55mm. (The third front was a 70mm). I went with the rotating over-and-under shutters as on the 70mm. If I did do a vertical composition and didn’t have access to the rising pinhole it would drive me crazy. It’s actually not that hard to make.

For templates, I’ve always used regular copier paper on any printer I could get acccess to. During the pandemic, I didn’t have access to my normal sources. At the digital print shop that does our Christmas Cards, they've always told me their minimum order was one. So I had beautiful black templates printed on stiff 110 lb. card stock. Four tabloids and six letter sized sheets came to less than five bucks. They’re really nice to work with and make extra strong parts.

To round out the system on the heretical long end, I chose to make 135mm and 200mm fronts. 

I’ve made 6x6cm cameras at 100mm and 120mm. I picked 135mm just to be a little different in this range, partly because of the wider format and because this is such an iconic distance. Everybody’s first telephoto lens is a 135. 

I’ve been a little infatuated with the 200mm on the Variable Cuboid so I did one that size for this system as well. I also have to shout out to Camera Casino who supplied me with a sheet of chip board that they use for backing large format prints so I could make this huge box. It’s very nice not to have make seams and deal with pre-existing folds.

Another thing that led to this was fear of becoming too set in my ways. I’ve been really enjoying the square format for a few years and haven’t loaded a regular 35mm Populist since January. Can’t I deal with a rectangle? I’ve also been going a little nuts with the small format Manic Expression Cube lately. I’ve been doing some undisciplined things like taking more than one exposure of a subject. Is it just because small pictures are cheap? Am I falling into the digital photographers trap of not pre-visualizing and just blasting away? Am I not worthy of a sizable piece of film? I don’t have to use the vertical option if I don’t want to.

I took it over to Merrill School for a demo.

The 30mm front. .2mm Gilder electron microscope apertures. f150. Rising front pinhole.


The rest have hand-drilled pinholes.

The 55mm front. .3mm pinholes. f183. Rising front.



55mm front. Axial pinhole.



70mm front. .34mm pinholes. f205. Rising front.


135mm front. .43mm pinholes. f313. Rising front.


135mm front. Axial pinhole.


200mm front. .54mm pinholes. f370. Rising front.


200mm front. Axial pinhole.


The film is Lomography 100.