Uploads from Trapac, tagged bloggedwithlinknotinformed, with geodata

Crystallised...

nobody@flickr.com (Trapac) — Sat, 23 May 2009 13:24:13 -0700

Trapac posted a photo:

Vivitar Ultra Wide & Slim + Redscaled Expired Kodak Gold 200 + Salt Soak.

Salt Soak. (My thanks to fiona who first inspired me to try this, quite some time ago now.)

Add 3ish parts BOILING water to 1ish part salt.
Dissolve mixture.
Put developed redscale negatives in the mixture.
Stir gently to ensure maximum solution coverage.
Leave for 10 mins or so.
Fish negatives out & hang (or stand) them where they can dry.
Wait.
Carefully wipe off salty debris from glossy side first.
Gently wipe reverse side to free it of excessive salt residue, but take care so not to lift emulsion or scratch it excessively.
Scan.

Redscale
Basically this involves taking a roll of ordinary 'bog standard' print film, reversing it and respooling it into another film cannister (all done in a dark bag) so that the light is exposed on 'the wrong side of the film' when you take a shot. You then lose two 'stops' on the optimal exposure conditions from the original. It gets developed in exactly the same way as print film, but be prepared for the technician to be a little startled (at best) or a little irritated (at worst) when they realise that something very odd has happened to the film. :)

The last line of defence inhales...

nobody@flickr.com (Trapac) — Mon, 12 Jan 2009 01:37:00 -0800

Trapac posted a photo:

Polaroid SX-70 Land Camera Model 1 + Expired 600 Film + ND Filter.

Pola No 64.
Taken during our Kent/East Sussex break at the end of the summer...

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nobody@flickr.com (Trapac) — Wed, 08 Oct 2008 02:00:00 -0700

Trapac posted a photo:

Vivitar Ultra Wide & Slim + Redscaled Konica Minolta VX Super 200 + Double Exposure.

Continuing my ongoing experiments with Redscale - moving from the blunt application of that banging colour, to explore other possibilities beyond that... A few of the early frames from this roll were shot on Clevedon Pier in North Somerset, with most of the rest of the first roll run through, taken in Manchester at the end of July. Then, the roll was reloaded and a couple of further shots were taken at Oxford, with the rest of the second run through shot in or around Bristol during August.

I did not line up the film, nor take notes, nor plan beyond striving for the principle of geographical contrast. The negatives were returned uncut as requested, but I did get lab scans - any overlaps of one frame over another, are a result of this. I have cropped where I feel it is most helpful to do so, so any inclusion of frame overlap is these uploaded images has been an active choice. I will almost certainly return to the negs with a home scanner to search for alternative compositions to complement these.

Redscaling.
Basically it involves taking a roll of ordinary 'bog standard' print film, reversing it and respooling it into another film canister (all done in a dark bag) so that the light is exposed on 'the wrong side of the film' when you take a shot. You then lose two 'stops' on the optimal exposure conditions from the original. It gets developed in exactly the same way as print film, but be prepared for the technician to be a little startled (at best) or a little irritated (at worst) when they realise that something very odd has happened to the film. :)

Febrile imaginings of a blind owl...

nobody@flickr.com (Trapac) — Wed, 09 Jul 2008 05:15:16 -0700

Trapac posted a photo:

Vivitar Ultra Wide & Slim + Redscaled Konica Minolta VX Super 200 + Double Exposure.
No 8. (1:6:6)

Who would have thought that such a beautiful place could be inadvertently stumbled upon - just outside Watford!

UPDATE! March 01st 2012.
This photograph has been bought by the very lovely and talented 'Slakah the Beatchild' an independent record producer and singer/songwriter based in Canada; for his new album released this year (2012) under the name of his altar ego 'Slakahdeliq'. The album is called 'The Other Side of Tomorrow' and is available for digital download here, on a 'free or pay what you can basis' (as of Feb/March 2012 anyway).

Check it out if you get a chance, you never know you might discover a musician you never knew you liked! :)

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
I had numerous cameras and film with me - so it's been interesting how each combination of film and camera has responded to what was for me, a joyful and unexpected discovery. (The sensory memory of which, bottled somewhere deep in my limbic system, will live with me more powerfully than any image.) I'll be 'drip-feeding' you all images from this poppy field well into the Winter I suspect! ;)

1 Field of Poppies
+
Vivitar + Fuji Sensia 100
Vivitar + Redscale film for Double Exposure (this one).
Olympus XA2 + Agfa Ultra (film swap with lomokev - thanks Kev!)
Nikon F80 50mm f/1.8 + Kodak Portra 160 VC
Supersampler + Kodak Elite Chrome 100
Vintage Diana + Fuji Superia 400 (120 film)

This one - part of my ongoing experiments with Redscale - moving from the blunt application of that banging colour, to explore other possibilities beyond that...The first roll was shot almost exclusively along the environs of Stokes Croft, Cheltenham Road & Gloucester Road and mostly graffiti. The intention of the second roll was to find mainstream advertising or images from more affluent areas of the city, or more pastoral/non urban environments. I did not line up the film, nor take notes, nor plan beyond striving for the principle of contrasting subjects. The negatives were returned uncut as requested, but I did get lab scans - any overlaps of one frame over another, are a result of this. I have cropped where I feel it is most helpful to do so, so any inclusion of frame overlap is these uploaded images has been an active choice. I will almost certainly return to the negs with a home scanner to search for alternative compositions to complement these.

In some cases I have found the results quite 'dark' and unsettling in mood - quite a refreshing departure for my stream. I plan to explore this some more.

Redscaling.
Basically it involves taking a roll of ordinary 'bog standard' print film, reversing it and respooling it into another film canister (all done in a dark bag) so that the light is exposed on 'the wrong side of the film' when you take a shot. You then lose two 'stops' on the optimal exposure conditions from the original. It gets developed in exactly the same way as print film, but be prepared for the technician to be a little startled (at best) or a little irritated (at worst) when they realise that something very odd has happened to the film. :)

Summer at its best...

nobody@flickr.com (Trapac) — Wed, 02 Jul 2008 03:18:46 -0700

Trapac posted a photo:

Supersampler + Kodak Elite Chrome 100 Cross Processed.
No 3. (1:6:6)

Who would have thought that such a beautiful place could be inadvertently stumbled upon - just outside Watford!

Taken with my lovely, if somewhat idiosyncratic Supersampler - 4 lenses take 4 shots onto 1 negative over 2 seconds. Completely plastic, no control whatsoever and no viewfinder - you just wave it about and hope for the best - these days, I've even learned to point it at things and keep it still! ;)

Dominates...

nobody@flickr.com (Trapac) — Wed, 25 Jun 2008 09:22:23 -0700

Trapac posted a photo:

Vivitar Ultra Wide & Slim + Redscaled Konica Minolta VX Super 200 + Double Exposure.

This piece of graffiti dominates so much so, that whatever I shot over it has barely come through...

Experimenting with Redscale again - moving from the blunt application of that banging colour, to explore other possibilities beyond that...The first roll was shot almost exclusively along the environs of Stokes Croft, Cheltenham Road & Gloucester Road and mostly graffiti. The intention of the second roll was to find mainstream advertising or images from more affluent areas of the city, or more pastoral/non urban environments. I did not line up the film, nor take notes, nor plan beyond striving for the principle of contrasting subjects. The negatives were returned uncut as requested, but I did get lab scans - any overlaps of one frame over another, are a result of this. I have cropped where I feel it is most helpful to do so, so any inclusion of frame overlap is these uploaded images has been an active choice. I will almost certainly return to the negs with a home scanner to search for alternative compositions to complement these.

In some cases I have found the results quite 'dark' and unsettling in mood - quite a refreshing departure for my stream. I plan to explore this some more.

Redscaling.
Basically it involves taking a roll of ordinary 'bog standard' print film, reversing it and respooling it into another film canister (all done in a dark bag) so that the light is exposed on 'the wrong side of the film' when you take a shot. You then lose two 'stops' on the optimal exposure conditions from the original. It gets developed in exactly the same way as print film, but be prepared for the technician to be a little startled (at best) or a little irritated (at worst) when they realise that something very odd has happened to the film. :)

Sleep Safe & Sound (CCTV & Swipe)...

nobody@flickr.com (Trapac) — Tue, 24 Jun 2008 02:20:46 -0700

Trapac posted a photo:

Vivitar Ultra Wide & Slim + Redscaled Konica Minolta VX Super 200 + Double Exposure.

Experimenting with Redscale again - moving from the blunt application of that banging colour, to explore other possibilities beyond that...The first roll was shot almost exclusively along the environs of Stokes Croft, Cheltenham Road & Gloucester Road and mostly graffiti. The intention of the second roll was to find mainstream advertising or images from more affluent areas of the city, or more pastoral/non urban environments. I did not line up the film, nor take notes, nor plan beyond striving for the principle of contrasting subjects. The negatives were returned uncut as requested, but I did get lab scans - any overlaps of one frame over another, are a result of this. I have cropped where I feel it is most helpful to do so, so any inclusion of frame overlap is these uploaded images has been an active choice. I will almost certainly return to the negs with a home scanner to search for alternative compositions to complement these.

In some cases I have found the results quite 'dark' and unsettling in mood - quite a refreshing departure for my stream. I plan to explore this some more.

Redscaling.
Basically it involves taking a roll of ordinary 'bog standard' print film, reversing it and respooling it into another film canister (all done in a dark bag) so that the light is exposed on 'the wrong side of the film' when you take a shot. You then lose two 'stops' on the optimal exposure conditions from the original. It gets developed in exactly the same way as print film, but be prepared for the technician to be a little startled (at best) or a little irritated (at worst) when they realise that something very odd has happened to the film. :)

...midst long shadows ghosts the halo for the diamond ring...

nobody@flickr.com (Trapac) — Thu, 19 Jun 2008 03:39:39 -0700

Trapac posted a photo:

Vivitar Ultra Wide & Slim + Fuiji Sensia 200 Cross Processed.

Nine rolls of film dropped off for processing on Monday, including some from a weekend in London - in the meantime, these are from the 'archive' which I'm desperately trying to make in-roads into before this next batch arrives. :).

Waterloo Waiting...

nobody@flickr.com (Trapac) — Tue, 10 Jun 2008 01:20:59 -0700

Trapac posted a photo:

Lomo Lc-a + Kodak Elite Chrome 100 Cross Processed.

The second of four shots from a 36 exposure roll of film that the Lomo decided to 'let me have' that weekend. There's nothing like a roll of clear negatives (bar 4) to make you fall out of love with a camera and the renowned 'sticky shutter' malaise. Grrrr.

Cycles By...

nobody@flickr.com (Trapac) — Thu, 05 Jun 2008 05:29:47 -0700

Trapac posted a photo:

Supersampler + Kodak Elite Chrome 400 Cross Processed.

Flickr day out in Oxford with slithy toves, kate mellersh & ...meh... - madness, mayhem, great food and wonderful mellershian hospitality.

Taken with my lovely, if somewhat idiosyncratic Supersampler - 4 lenses take 4 shots onto 1 negative over 2 seconds. Completely plastic, no control whatsoever and no viewfinder - you just wave it about and hope for the best!

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nobody@flickr.com (Trapac) — Thu, 23 Apr 2009 02:04:53 -0700

Trapac posted a photo:

Lomo Lc-a + Vivitar Ultra Wide & Slim + Double Exposure Collaboration with ξαβλ + Kodak Elite Chrome 200 + Cross Processed.

From Roll 1 of a double exposure collaboration with the very lovely ξαβλ (anglicised = xabl or try xav/xavvy, zabble or 'greek letters I can't find on my keyboard' as is your wont! ;)) He ran the film through his Lomo Lc-a around Bristol, and I ran it through my Vivitar Ultra Wide & Slim a second time - mostly around Bristol, but with one or two from London thrown in. Neither of us had any idea about what the other had pointed the camera at, neither did we 'line the film up' before starting, so there is even more randomness of frame edges & overlaps at play during some of the shots.

Taken whilst on a flickr walk with the equally lovely -fiona- on tour from Melbourne, Australia.

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nobody@flickr.com (Trapac) — Mon, 20 Apr 2009 04:17:44 -0700

Trapac posted a photo:

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nobody@flickr.com (Trapac) — Thu, 16 Apr 2009 14:53:25 -0700

Trapac posted a photo:

Vivitar Ultra Wide & Slim + Double Exposure Collaboration with slimmer_jimmer + Centuria Konica Minolta Chrome 100 + Cross Processed.

From Roll 1 of a double exposure collaboration with the very talented, very lovely and very patient slimmer_jimmer! I ran the film through the Vivitar around Glasgow & Westonbirt Arboretum, he ran it through a second time around London & Hertfordshire. Neither of us had any idea about what the other had pointed the camera at, neither did we 'line the film up' before starting, so there is even more randomness of frame edges & overlaps at play during some of the shots.

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nobody@flickr.com (Trapac) — Mon, 16 Mar 2009 15:11:54 -0700

Trapac posted a photo:

Blue...

nobody@flickr.com (Trapac) — Fri, 19 Sep 2008 02:12:16 -0700

Trapac posted a photo:

Nikon F80 + Nikkor 50mm f/1.8 + Kodak Max 400.

For information on the 'headland' area of Dungeness look here, but if you want to know about Dungeness B, the nuclear power station sited on the headland, then look here.

GB 22.

nobody@flickr.com (Trapac) — Sun, 27 Jul 2008 03:50:03 -0700

Trapac posted a photo:

Vivitar Ultra Wide & Slim + slithy-toves, Supersampler + Trapac + Generic Print Film 200.

A double exposure collaboration with slithy-toves. She shot the roll of film through a Vivitar Ultra Wide & Slim and then gave the completed roll to me, to shoot through a second time, through a Supersampler.

The lab don't cut the negatives when they have been double exposed (if you ask them nicely), however, they have to make some kind of decision about where one image begins and the other ends if you wish the images to be scanned. As these are lab scans, I've cropped where I've felt it appropriate and will revisit some images with the home scanner to select different frame boundaries. As it is, on more than one occasion at least one frame of the Supersampler, overlaps into the next frame of the Vivitar and so forth. it makes for some interesting outcomes.

I've intervened as minimally as possible in post-processing, but I have adjusted contrast and brightness where I've felt it appropriate. I have tried to stay true to the colours of the film throughout.

Watching & Waiting...

nobody@flickr.com (Trapac) — Thu, 17 Jul 2008 02:33:31 -0700

Trapac posted a photo:

Olympus XA2 + Agfa CT Precisa 100 Cross Processed.

kate mellersh came to Bristol from (nearly) rural Oxfordshire for an 'urban adventure'....

Midst the birds....

nobody@flickr.com (Trapac) — Thu, 17 Jul 2008 02:33:13 -0700

Trapac posted a photo:

Olympus XA2 + Agfa CT Precisa 100 Cross Processed.

kate mellersh came to Bristol from (nearly) rural Oxfordshire for an 'urban adventure'....

Souless Windows...

nobody@flickr.com (Trapac) — Tue, 08 Jul 2008 03:38:38 -0700

Trapac posted a photo:

Olympus XA2 + Agfa CT Precisa 100 Cross Processed.

We were going to see Massive Attack at the Royal Festival Hall on the same day (it transpired) as the London flickr meet up, organised by squirrelmonkey and George on behalf of flickr. There had already been talk of a Bristol:London meet-up by sjnewton and it seemed practical to 'kill two birds with one stone' as it were.

We followed the trail of pink and blue balloons and met up for the Tate Modern Street Art Walking Tour around Southwark, along with a vast number of other flickr'rs. There was time for pictures along the Embankment at the end of the walk, before the inevitable pub meet up. It was so well organised that we even had a free drink (mine's a large Pinot Grigio please!) and a vast array of sandwiches for lunch. We met loads of people - swapped film and photography stories and generally had a good time.

Thanks flickr and thanks Fiona! :)

follow the flickr'rs...

nobody@flickr.com (Trapac) — Fri, 20 Jun 2008 04:03:43 -0700

Trapac posted a photo:

Supersampler + Fuji Superia 400.

We were going to see Massive Attack at the Royal Festival Hall on the same day (it transpired) as the London flickr meet up, organised by squirrelmonkey and George on behalf of flickr. There had already been talk of a Bristol:London meet-up by sjnewton and it seemed practical to 'kill two birds with one stone' as it were.

We followed the trail of pink and blue balloons and met up for the Tate Modern Street Art Walking Tour around Southwark, along with a vast number of other flickr'rs. There was time for pictures along the Embankment at the end of the walk, before the inevitable pub meet up. It was so well organised that we even had a free drink (mine's a large Pinot Grigio please!) and a vast array of sandwiches for lunch. We met loads of people - swapped film and photography stories and generally had a good time.

Thanks flickr and thanks Fiona! :)

Taken with my lovely, if somewhat idiosyncratic Supersampler - 4 lenses take 4 shots onto 1 negative over 2 seconds. Completely plastic, no control whatsoever and no viewfinder - you just wave it about and hope for the best - these days, I've even learned to point it at things and keep it still! ;)