Take this kiss upon the brow! And, in parting from you now, Thus much let me avow- You are not wrong, who deem That my days have been a dream; Yet if hope has flown away In a night, or in a day, In a vision, or in none, Is it therefore the less gone? All that we see or seem Is but a dream within a dream.
I stand amid the roar Of a surf-tormented shore, And I hold within my hand Grains of the golden sand- How few! yet how they creep Through my fingers to the deep, While I weep- while I weep! O God! can I not grasp Them with a tighter clasp? O God! can I not save One from the pitiless wave? Is all that we see or seem But a dream within a dream?
There is something to creating an image with your eye, your mind, and the camera, then taking it home and finishing the creating process by developing the film into a negative with your own two hands. I never feel more connected to photography than when I do it all myself. Bonus, after the initial investment you’ll save a ton of money on black & white film processing and you can do it any time of day or night!
10 easy steps to home developing!
What you’ll need:
Some exposed black & white film with images captured that will change the world…
Developing tanks & reels~ these I’ve had since high school! I’ve processed hundreds of rolls of film so it’s natural for me but something you should practice before tackling if you’ve never done it or it’s been awhile. I like this video on how to roll 120 film and this video for 35mm.
Mix the chemicals to their simple instructions. Always mindful of the temperate listed and making sure it is all dissolved before you stop stirring.
Be very organized. Label everything!
And if your obsessive like me, cut the instructions off of the packaging and tape to the bottle.
How it works (in a nutshell):
1: in your film changing bag load your film onto the reels into the developing tank and make sure the cap is sealed. If any light leaks in… disaster.
2: with your developer at the correct temperature (I have to put mine in the fridge for a bit to cool it down to 68 degrees) fill the developing tank up, agitate for 30 secs, you MUST tap it on the side of the sink or slam it down to release the bubbles off of the film, if you don’t you could have spots! Then for the time specified develop the film agitating for 5 secs every 30 secs. As you can see in the image below I keep the sink filled with the coldest my tap water will go to keep the temperate as stable as possible. Dump out developer when time is done.
3: Rinse with cold water
4: Fill tank with stop bath. Leave for 30 secs
4: Rinse with cold water
5: Fill tank with Fixer. Leave for 5-10mins. I agitate this the same as developer. Do Not pour Fixer down the drain! You can re-use it or put in a separate container to dispose of at a local photo-lab.
*After the film is fixed you can open the canister and peek at your developed negatives! I always do this because I’m impatient.
6: rinse with cold water for 30secs.
7: Full tank with Hypo Clear, leave for 1-2mins.
8: rinse with cold water for 5mins. *I just leave an open tank under the running cold water as in the image above.
9: Fill tank with water, add two drops of Photo Flo, agitate then dump out. This helps your film dry without water spots.
10: In as close to a dust free environment as you have (I use my bathroom) hang your film to dry with a clip on each end (I use cheap office clips). You’re supposed to use a squeegee down the length of your film, I use my fingers.
That is it! There is a variety of brands you can use, you can start pushing or pulling your film, over agitate for effect, process it in hot water to alter the images, all kinds of fun when you do it yourself. There are different ways to process film, this is just how I’ve always done it and what works for me.
Want to really save money?… you can omit Stop Bath, Hypo Clear and Photo Flo for much longer rinses with water but I find a cleaner more archival image by not omitting those steps. (via fromme-toyou)
UNSTUFF YOUR LIFE Like goes with like. Every inanimate object you own should live in a “home.” Neckties live with neckties, jeans with jeans, and so on. You take something out, you return it. A word to the wise: Keep your shoes on a rack or shelf away from the floor. They’ll attract less dust that way which means they’ll all need less shining.
Know when to shed the dead weight. If you don’t wear it, can’t wear it, or haven’t worn it in two years, get rid of it. It’s not worth the space it takes up. And another note: Once you finally tackle your closet, make sure you have good lighting. “This is not a date,” Mellen explains. “And there’s nothing romantic about to happen.” In other words, face the beast head-on.
Be a purist. If at all possible, keep your closet free of anything but clothing. If you must put other things in there, isolate a specific space and know exactly what’s it’s for—no random wine glasses in the sock drawer. Steer clear of gimmick-y space-stretching devices and mechanical tie racks too. They rarely work and you don’t need them to keep things in order.
Keep your hamper close by. More specifically, keep it near wherever it is that you usually undress. This’ll keep you from acquiring piles of dirty clothes by the shower or bed like a kid in a dorm room.
Not everything you wear is necessarily dirty. If you wore a shirt to a dinner at an air-conditioned restaurant and you’re not the profusely sweating type, you’re fine throwing it on a few days later. Just designate a “purgatory” of sorts for items like this. If you haven’t worn them a week later, then toss them into the bin. (via GQ)
“It’s like photocopying yourself. You photocopy something so many times, it gets blurry, all the edges become frayed. You can’t really tell what it is anymore. Talking about yourself is like that thing when you say a word over and over and over again — eventually it just loses all meaning, it’s just sounds. Getting up on stage helps you make sense of it all again — putting yourself back together. You only get this opportunity once. I’ll get a psychiatrist one day.”—Florence Welch
LOST AND FOUND: YARD SALE ANSEL ADAMS
Cheers, Rick Norsigian, you are the luckiest man alive.
The Associated Press (and others) just reported that after a six-month examination, a team of experts has authenticated a batch of found Ansel Adams negatives. The large glass negatives, purchased for $45 by Norsigian at a yard sale, are valued at $200 million; until now, they were “believed to have been destroyed in a 1937 fire at his Yosemite National Park studio,” says the AP.
According to attorney Arnold Peter, an exhibition of photos is in the works, as well as a documentary about the discovery and authentication of the negatives. Lesson learned: buy lots of used “crap.” You never know what might some day be worth something. (via NPR)
Typically, the appearance of Alan Moore’s name on a comic book has been a harbinger of heady, consequential writing inside: a promise of mighty champions empowered through mystical or superscientific methods and whose conflicts would challenge the reader’s perceptions of heroism and humanity.
So perhaps the first indication that “Unearthing,” a new work by Mr. Moore, is not typical of his pioneering graphic novels, like “Watchmen” and “V for Vendetta,” is that its subject is not a costumed adventurer, but a friend and fellow comics writer named Steve Moore, who inspired him to enter the business.
The second sign is that “Unearthing” is not a comic book at all, but a lengthy spoken-word recording accompanied by an atmospheric musical soundtrack and a book of photographs.
Despite the radical change in format, the “Unearthing” project is no less significant to Alan Moore, a prolific (and prodigiously bearded) 56-year-old resident of Northampton, England. To him it is a tribute to a colleague and mentor, and a demonstration that he has transcended the boundaries of the graphic novels for which he is best known.
“After all those years of working within the comics industry and quietly going mad, this is what erupts,” Mr. Moore said in a telephone interview.
For all of his protests, “Unearthing” is also an affectionate retelling of the history of British comics — a nostalgic look back, through the prism of a friend, at the genre he says he is moving beyond.
The seeds of “Unearthing” were sown in 2006, when Mr. Moore published its text as an essay in an anthology called “London: City of Disappearances,” edited by the writer Iain Sinclair.
Asked to memorialize a part of London that was in danger of vanishing, Alan Moore chose not a place but Steve Moore, whom he had known since their teenage years in the 1960s. (The two men are not related.) After publishing some of Britain’s earliest comics fanzines and helping to organize some of that country’s first comic-book conventions, Steve Moore became a contributor to fantasy- and superhero-theme comics like Warrior and 2000 AD.
When he wrote the essay, Alan Moore was embroiled in a war of words with his American publisher, DC Comics, over the rights to his works and his frustrations with film adaptations produced by DC’s corporate sibling Warner Brothers.
But none of this enmity is reflected in the poetic and densely allusive text of “Unearthing.” In part, the piece pays homage to Shooters Hill, the South London neighborhood where Steve Moore lives and that has been referred to by writers from Dickens to Wordsworth and whose geological history helped create the Thames Valley. “It’s almost as if the entire city of London and its history is a dream of Shooters Hill,” Alan Moore said.
In “Unearthing,” Mr. Moore recalls the “crowd-pleasing formula of omnipotent losers” pioneered by Stan Lee, the Marvel Comics writer and editor (“Yeah, you may be Nordic god of thunder, but you’ve got a gammy leg”), and the “Cadillac-smooth sweep” of the DC artist Carmine Infantino.
Alan Moore also praised Steve Moore for embodying the “radical and progressive” mindset of the ideal British comics fan. “We were all proto-hippies,” Alan Moore said, “and we all thought comics would be greatly improved if everything was a bit psychedelic, like Jim Steranko.”
Acknowledging that he is not exactly a household name, Steve Moore said in a telephone interview that he has reacted to his immortalization in “Unearthing” with “a mixture of amazement and amusement.”
“Obviously, it’s a bit strange to have all the intimate details of my life exposed to the public,” he said, adding, “I’m just sitting back, watching the process and wondering where it goes next.”
Since its initial publication, “Unearthing” has continued to evolve in unexpected ways. Alan Moore gave permission to the photographer Mitch Jenkins, another longtime friend, to shoot a series of pictures based on its narrative. Mr. Jenkins then brought the project to the independent British label Lex Records, which produced Mr. Moore’s ominous reading of the essay with a score performed by musicians like Adam Drucker and Andrew Broder, a pair known by the stage name Crook and Flail; Mike Patton of the band Faith No More; and Stuart Braithwaite of Mogwai. (A boxed set containing the recordings and photographs is being sold at the label’s Web site, lexrecords.com, and will be released in stores on Aug. 9.)
Mr. Jenkins said this process was typical of how Mr. Moore’s creative explorations come together.
“He just refuses, steadfastly, to do anything unless he truly believes in it, whereas I have sold myself to the Devil so many times,” Mr. Jenkins said. “For me it’s a new experience to sneak into a world where you do things just because you want to do them.”
If “Unearthing” reflected a yearning for a simpler era of comic-book publishing, its author said that was inevitable. “That is perhaps a nostalgia that I was trying to summon on behalf of Steve,” he said. “Some things in there are things that I am not personally nostalgic for. Some of them are things that I’ve never read or never seen.”
But Mr. Moore said he was leaving that world behind, preferring to savor his newfound role as impresario and, he said, “all the new projects that seem to be springing up like mushrooms, ever since I removed myself from the arena of the comic book.”
He said he was still committed to his adventure series “The League of Extraordinary Gentlemen,” which is illustrated by Kevin O’Neill and whose latest issue was released in May 2009. But he is also working on Dodgem Logic, an underground magazine that he began publishing last fall; a “grimoire” — or magic spell book — with Steve Moore; and a film project for which he will write the screenplay and that Mr. Jenkins will direct.
Alan Moore said he was also about 26 chapters into a long-long-in-the-works novel called “Jerusalem,” in which, he said, “I can conclusively prove that death is a perspective illusion of the third dimension and that none of us have anything to worry about.”
Mr. Moore admitted that the pressure to outdo himself, largely self-imposed, was one he has been facing ever since he and the illustrator Dave Gibbons finished work on “Watchmen,” their enormously influential and best-selling superhero series, back in 1987.
“It’s just constantly raising expectations for myself,” he said, “to the point where, inevitably, I must surely collapse under my own mass and become some sort of creative black hole.”
He added, “Hopefully, that’s a way off yet.” (via NY Times)
A NEW LEAF
Photographer EMILY SHUR captures the curious arboreal legerdemain of disguised cell-phone towers
Everyone wants flawless cell service, but in the great NIMBY tradition, no one wants the damn towers within eyeshot. There are roughly 250,000 cell-phone towers in the U.S. today, and as our insatiable appetite for more and faster data transmission grows, that number is sure to multiply—along with the assault on both the landscape and our fragile aesthetic sensibilities.
But for photographer Emily Shur, beauty can be found in the oddest of places. In her photo series Nature Calls, she documents the eerie assimilation of technology in nature. You’ve no doubt seen them dotting the byways—trees that are a bit askew from their companions, slightly greener, a little less organic…just a tad too, well, perfect.
Look closely, though, and you’ll see the telltale mechanical bits—antennae, junction boxes, wires—peeking through the artificial foliage. Shur chose to approach her subject through the lens of classic landscape photography, because to her, it’s now life as we know it. “These cell phone towers,” she says, “have become the new classic landscape.” (via LA Times)
ICE BREAKERS: TWO AMAZING POPSICLE RECIPES
Make these frozen pops for a back-yard bash and you’ll see why North Carolina’s ace of ice, Locopops, has spawned so many imitators.
MANGO CHILE POPS
1 lb very ripe mangoes
1/2 cup water
1/3 cup sugar
1/8 tsp cayenne pepper or more to taste
Peel the mangoes, cut the flesh from the pits, and purée with the remaining ingredients. Pour the liquid into ice-pop molds and freeze for 8 hours. To serve, put the molds in hot water for a few seconds and remove the pops. (Makes eight 4-oz pops.)
RASPBERRY COCONUT POPS
2 cups raspberries
2 cups plain unsweetened fat-free yogurt
1/2 cup unsweetened coconut milk
1/2 cup sugar
1/3 cup shredded sweetened coconut
Purée the first four ingredients in a blender, then stir in the coconut. Pour the liquid into ice-pop molds and freeze for 8 hours. To serve, put the molds in hot water for a few seconds and remove the pops. (Makes eight 4-oz pops.) (via Details)
'INCEPTION' STARS JOSEPH GORDON-LEVITT AND ELLEN PAGE DREAM BIG
These days, the term “young Hollywood” conjures up images of pouty, plastic starlets being chased down Robertson Boulevard by paparazzi and probation officers, but recently the soulful side of young Hollywood made an appearance at a corner deli on Franklin Avenue. “Hi Joe,” Ellen Page said with a faraway smile as Joseph Gordon-Levitt gave her a hug.
Page and Gordon-Levitt are costars in Christopher Nolan’s “Inception,” the perception-bending heist movie that opens July 16 amid high expectations and strong early reviews. Leonardo DiCaprio leads an extremely deep cast — there are seven Oscar nominees in the film — but Nolan says that Page and Gordon-Levitt more than held their own. “They were simply outstanding,” the director said last year on the London set, “their performances are key to the film and some of the best work I’ve seen.”
But more than their work in any single film, Gordon-Levitt and Page are interesting because, in an era when vacuous celebrity and recycled concepts are ascendant, they are talented actors of serious ambition. Of course, both of them roll their eyes at the expectations and even pretensions that come bundled with that sort of statement — but they also talk freely and articulately about their frustrations with media of the moment and the paradoxes of stardom. (via LA Times)
“My painting is visible images which conceal nothing; they evoke mystery and, indeed, when one sees one of my pictures, one asks oneself this simple question ‘What does that mean’? It does not mean anything, because mystery means nothing either, it is unknowable.”—René Magritte
“When I was in high school, I loved smoking weed. I loved it. But I cut myself to once a month. That was my rule. And so as the first of the month came closer, my friends would be like, ‘All right, what’s the plan this weekend?’ And actually it’s really cool when you do it that infrequently, you can really trip. In hindsight, could I have smoked weed on the weekends? Yeah. But it was cool to do it once a month. I still do that sometimes, I go on little weedfests. I’m a pothead. That’s my drug of choice.”—Joseph Gordon-Levitt