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Animum rege, qui, nisi paret, imperat

Gallery

Animum rege, qui, nisi paret, imperat

Fine Art Photography

Delicata Squash No. 1

Fujifilm X100S, FUJINON 23mm F2 ASPH lens, 16.3 million pixels APS-C X-Trans CMOS II sensor

ISO 200 f16 1/4 sec.

Inspired by the photography of Edward Weston, I tried to capture the essence of the Delicata Squash. Instead of interpreting the squash or using the squash as an opportunity to create an image, I let the squash express itself and divulge it's true nature. The squash is alive and self-contained. It is flush with possibility and fecundity. It's a promise. It's an attempt to propel itself into the future of existence.

Still Life No. 2

Fujifilm X100S, FUJINON 23mm F2 ASPH lens, 16.3 million pixels APS-C X-Trans CMOS II sensor

ISO 200 f11 1/20 sec.

Still life is a tradition going back to the discipline of painting. Emphasizing composition above all else, still life photography is both an exercise in camera control and a genre in its own right. This particular image concerns a time honored subjec—Fruit. Specifically, this is a study of tropical fruit. In the middle of a Pacific Northwest winter these beings arrive like benevolant aliens. Grouped together naturally as long time associates, this image is also an exploration of focus and depth of field. One of the advantages of the still life is, with its use of the tripod and immobile subjects, the ability to use smaller apertures and long shutter speeds to bring the entire subject into sharp focus. The still life is an attempt, with all factors completely under the photographer's control, to make the best photograph possible.

Gears

Nikon D7000, AF-S DX NIKKOR 35mm f/1.8G Lens, 16 MP DX

ISO 450 f1.8 1/60 sec.

Industial photography can be considered a genre of its own. Geometric shapes lend themselves to a variety of creative compositions in a monochromatic style.The difficulties of this kind of photography lie in the low light conditions of dark indoor spaces. This results in wide open apertures and shallow depths of field that have to be factored in while creating the image. Where to place the focus when only a small slice of the image can be in focus is a critical consideration. This modern image of machinery from the 1800s has a timeless quality to it. Added grain helps the image feel vintage.

Fire Truck—Antelope, Oregon

Nikon D7000, Nikon 18-300mm VR,

ISO 100, f4.5 1/500 sec.

This photograph could be placed under the category "Travel Photography"; going interesting places and taking pictures of interesting things that you usually don't see in your normal daily life. In this case it's and old fire truck rotting away behind a run down fire station in a tiny Central Oregon town that time has forgotten.

Ice On The Margins Of The North Santiam


Caffenol Project

Nikon FM, Nikkor 50mm 2.8, Ilford HP5 Plus 400, f/11 1/1000th

Mr. B was one of my teachers in high school. He taught English and writing. It wouldn't be wrong to say he was my favorite teacher. Perhaps there's a bit of a kindred nature there. He lives in Stayton in a very interesting house which he has designed and built most of the details of. He's got an artistic side. Suzie and I used to always run into him and his wife Susan walking around Stayton. They were (and he still is) great walkers. He has always been involved in community life. His wife died suddenly of cancer a few years ago and John was naturally distraught. He still walks around town; but alone now.

Nikon FM, Nikkor 50mm 2.8, Ilford HP5 Plus 400, f/16 1/125th

Zorki-4, Jupiter-8 50mm f/2, Tiffen Yellow 2 #8, Ilford HP5 Plus 400, f/14 1/125th

Zorki-4, Jupiter-8 50mm f/2, Tiffen Yellow 2 #8, Ilford HP5 Plus 400, f/2 1/125th

Zorki-4, Jupiter-8 50mm f/2, Tiffen Yellow 2 #8, Ilford HP5 Plus 400, f/9 1/125th

Zorki-4, Jupiter-8 50mm f/2, Tiffen Yellow 2 #8, Ilford HP5 Plus 400, f/14 1/125th

Zorki-4, Jupiter-8 50mm f/2, Tiffen Yellow 2 #8, Ilford HP5 Plus 400, f/14 1/125th

Zorki-4, Jupiter-8 50mm f/2, Tiffen Yellow 2 #8, Ilford HP5 Plus 400, f/5.6 1/125th

Zorki-4, Jupiter-8 50mm f/2, Tiffen Red 25, Ilford HP5 Plus 400, f/4.5 1/125th

Zorki-4, Jupiter-8 50mm f/2, Tiffen Red 25, Ilford HP5 Plus 400, f/5.6 1/125th

Samoca 35 III, Ezumar Anastigmat 50mm f/3.5, Ilford HP5 Plus 400, f/4.5 1/100th

Samoca 35 III, Ezumar Anastigmat 50mm f/3.5, Ilford HP5 Plus 400, f/4 1/100th


Texture

Zorki-4, Jupiter-8 50mm f/2, Tiffen Yellow 2 #8

Ilford HP5 Plus 400 , f4 1/8th second

Zorki-4, Jupiter-8 50mm f/2, Tiffen Yellow 2 #8

Ilford HP5 Plus 400 , f2.2 1/60th second

Ansco Memar Test Roll

Ansco Memar, Agfa Apotar 1:3.5/45mm; Ilford HP5 Plus 400


Kodak Tourist II, Kodak Anaston 105mm f/6.3, 620 Ilford FP4+ 125


Some collage-style double exposure and overlap photos.

Kodak Duaflex II, Kodar 73mm f/8; Ilford HP5 Plus 400


Voigtlander Vito B, Color-Skopar 50mm, Ilford HP5 Plus 400


Kodak Brownie Hawkeye Flash, 81mm Single Element Meniscus Lens, Ilford 120 HP5 Plus 400

f15, 1/30th-1/50th seconds

Kodak Duaflex II, Kodar 73mm f/8; Ilford HP5 Plus 400


An image of Suzie and Sully in front of the water tower and an image of Sully and Jericho running through the water.

Argus 3C,

Ilford HP5 Plus 400


Rollei 35 S, Rollei HFT Sonnar 40/2, 8, Ilford HP5 Plus 400


Nikon FM, Nikkor 35mm f2.8, Ilford HP5 Plus 400


Kodak Brownie No. 2, Ilford HP5 Plus 400

Voigtlander Vito B, Color-Skopar 50mm, Ilford HP5 Plus 400

Mamiya C330, Sekor Blue Dot DS 105mm f/3.5, Ilford 120 HP5+ ISO 400


Mamiya C330, Sekor Blue Dot DS 105mm f/3.5 Lens f2.8, Ilford HP5 Plus 400

Nikon FM, Nikkor 35mm f2.8, Ilford HP5 Plus 400

The Beutler Recipe