The Eastern Columbia Gorge.  

Windmills, Maryhill Loop Road


I’ve been falling in love with the eastern Columbia Gorge for about a decade, so one would think that the falling would be done by now.  I grew up in the deciduous forests of central Pennsylvania, where summers were lush, and the thunderstorms rolled in at the end of the hottest days, and the grass there stayed green until the cold of December made the landscape white.  The great, arid expanses of the American west, specifically Oregon for me, are like an alien planet.  I’m fascinated by the undulating hills, devoid of trees, and teeming with grasses that turn golden in mid June.  There’s a stark beauty that dryness creates.  It’s alien to me because I’m an an east coast boy, but it’s familiar and evocative as a “Roadrunner and Coyote” cartoon (yes, it’s in my blood because of Looney Toons).  The old west beckons from the 19th century in the American Psyche via western movies, but the windmills are ushering in the 21st century.  I’ll take both centuries.  I’ll take the landscape.  I’ll take the dry grasses and White Oak trees.  Throw in Google, wind power, and a camera from 1946, and I’m in heaven.   

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The Mad Achemist Speaks: Fall 2012 in 510 Pyro

Chanticleer Point, November 2012

Chanticleer Point, November 2012

I took this picture on Tuesday, November 14, 2012 from Chanticleer Point in the Columbia Gorge. For once, the clouds were cooperating. So many times here in NW oregon, we have either total overcast, or blank, cloudless skies. Finding the cusp between these two opposites can be a challenge fo people like me who work 6 or 7 days a week at our day jobs so that we can afford to shoot large format film.

I have been experimenting with the developer 510 Pyro. Formulated by Jay DeFehr, it uses Pyrogallolic Acid, Phenidone and TEA (not the Earl Grey kind) as its main ingredients. it seems to be more stable than PMK, and has less of the maddening streaking and mottling. I mixed the developer two weeks ago, and melted my 100 ml graduate (beaker) in the process. It didn’t occur to me that a viscus 150 degree liquid would turn my measuring device into the leaning tower of plastic. Go figure. So far, I like this developer. It doesn’t have as much general pyro stain as PMK, but it has more proportional stain.

A few notes on pyro for the uninitiated. Pyro , which is short for pyrogallolic acid, was formulated, I think, in the 1860’s and enjoyed wide use until more stable developers arrived on the scene around the turn of the century. It’s demise was slow, however, as demand for it from a small, but determined number of photographers persisted. By the 1970’s it was all but forgotten. Then along came Gordon Hutchins. He formulated PMK Pyro in the late 1970’s to work better with modern films, and to reduce pyro’s tendency for uneven development. His success repopularized pyro, and led to a succession of new formulae.

Pyro is what is known as a “staining developer.” It tans, or hardens, the emulsion during development. This has a number of effects. I will mention two. First, the hardening of the emulsion tends to restrain highlights, and compresses the tonal scale of the negative. This can be an advantage in night photography, or for high contrast images when a softer negative is desired, especially when printing on variable contrast papers. Second, the image stain masks film grain, and creates sharper images.

The lens I used for this image was my 8″ Cooke Series IV Anastigmat. Made somewhere in the late 1800’s, it is exquisitely sharp, and the optics are uncoated. I wanted to see how uncoated optics would render the scene. Modern, coated optics are much more contrasty, and have a different feel to the images they create. Now, here’s the kicker: I used a red filter. If I’m trying to see how a lower contrast lens will render a scene, why would a use a red filter? I think that even with a red filter, the gradations of tone are smoother with an uncoated lens. Or, at least, that’s what I wanted to prove to myself. I like the results.

Camera: Camera City View 5×7.
Lens: Cooke Series IV Anastigmat.
Film: Arista.edu 100 developed in 510 Pyro

http://www.foolscape.net

Bonneville Dam at Sunset, October 2012

20121022-001349.jpg

This is from my new (very old) 5×7 Camera City View (by the Seneca Camera Co. of Rochester NY). The camera was made around 1906, but is on remarkably good shape. I will post a picture of the camera soon.

The film is Arista.edu 100.
The lens was a 180mm Caltar II.

The negative was stand developed in Agfa Rodinal 1:100 for 1 hour.

I took this picture on a Columbia Gorge trip with Gaia.  We had stopped at a few of the waterfalls, and ended our trip as the sun was setting at exit 41, just beyond the Bonneville Dam.  I had made an adapter lens board for the camera, and I wanted to see how light tight it was, so shooting directly into the sunset seemed like a good test.  One negative had a little flare on it, but I can’t yet attribute it to the lens board.  This negative turned out just fine.

The wind was blowing so hard that I had to pile equipment up around the tripod to keep it stable. I was left with the choice of whether to keep my shutter speed up, and accept some unwanted bokeh, or to attempt to get the entire image sharp, and add the risk of an entirely blurred negative. I split the difference. I opted for a little motion blur, and a little less Bokeh.

http://www.flickr.com/photos/foolscape_imagery/

October 2012 Exhibit at Anna Bananna’s in North Portland

Greetings,

My photography will be on display at Anna Bananna’s at 8716 N Lombard St in Portland, Oregon.  This will be a themed show consisting of waterfall images.  I can’t think of a better way to usher in the rainy season.  The show will run throughout October.

Showing at Anna Banann’s in October