Showing posts with label Nikon F3. Show all posts
Showing posts with label Nikon F3. Show all posts

Friday, October 19, 2018

Still Here; Still OK.

Far from it for me to wax lyrically about the mundanities of life, but this morning, I had a sort of
Wow! Cosmic!
Moment.



Taken At Dawn
Heavily Cropped Negative, But . .
I Like This - It's WEIRD!


Y'see there I was, at 6.30AM hanging out a line of washing in the preternatural dawn light, that I think is peculiar to Scotland . . not that I've been up before dawn in many places, but certainly comparing it to my experience of English mornings, it's different. Helluva different.
Firstly, there's the smell.
If you've ever read Ray Bradbury, you'll know that a lot of his stories are based in Green Town, Illionois; a sort of distiallation of his childhood, good and bad, all in one place.
It's a place of soda fountains and small town life; parents who love you; friends; adventure; beauty; awareness.  Just plain growing up!
Now that might sound rose-tinted, but it isn't, because there's nearly always danger too:
Weird canyons and strangers, murders, space, ageing, pretty much every single thing of life, good and bad, served up like the supplies in one of those long-vanished Mom and Pop stores you always see in films. 
But above all else in Ray's writing, was his sense of nature.
There's trees and meadows, cliffs and hills, and the one abiding thing above all else, is smell.
That life-infusing smell you get from grass.
All grass, not just freshly mown stuff (though that, of course, gets into your blood).
It's that smell.
A freshness like a world broken free from the shackles mankind is imposing upon it.
There's no fumes, no over-blown artificial scents, no pollution.
Just pure freshness.
And that, to my mind and schnoz, is the Scottish smell.
If you live here, try it.
Get up early and go and have a sniff.
Anyway, there I was with a pair of socks in my hand, sniffing the air, and I glanced up at the pre-dawn sky, and for a couple of minutes or so, the stars were intensified.
Not just bright and clear, but unnaturally so.
It was so noticeably so, that for a moment I was catapulted back in time, to the late 1970's and myself then.


As you might have read elsewhere on FB, I used to live in a semi-remote cottage.
It was a middle of nowhere sort of place, surrounded by trees and hills and a river and space.
There was nowhere quite like it in the Winter and I have only rarely since experienced the deep awesomeness of those Winter skies.
My bedroom had a fairly deep window-ledge - the cottages walls were around 30 inches deep in total (two stone walls, with a rubble infill) - so could accomodate a fairly large arse.
And it was on this I would sit, and (and I know this sounds weird) gaze into my mirror.
Now unusually for me (and my poor Mum and Dad . . . no, they weren't poor as in ill-health, I am talking about church-mouseness) this wasn't a cheap mirror at the time, it was Danish and plastic and made by a company called Termotex.
Here's some images of what I am talking about - mine was PURPLE! to match my purple carpet and lime-green walls . . .




OK,  so it's a mirror - SO WHAT?
Well the whatness was that you could tilt that mirror and fix it so that the mirror was horizontal.
Put this on a window-ledge, angle it slightly towards the darkened sky, position yourself on windowledge, get your headphones on (and a mug of Camp Coffee) and gaze downwards, without neck strain, into a bowl, brim-full of stars.
Ah, y'see, got you there - you thought I'd gone all Narcississsisssi didn't you?
I was quite proud of my improv. skills in this.
It worked wonderfully and I was able, over long hours, to infuse my soul with the movements of planets and stars; cold, hard moonlight and that strangely intense quality of light known as The Twinkle.
I was frequently astonished by meteors.
Of course, the showers are all named these days, but to me they had no names at all.
They needed none, because they cemented a feeling that as a human, you are (no matter siblings, names, parents, possessions) ultimately alone in all this awe-inspiring order and chaos.
It was beautiful, and formed a deep well of peace inside me that I was to draw upon heavily in the Winter of 1979 . . but you've maybe read about that already on FB, so I'll not bore you.
(If you haven't search 1979 at the side . . . it'll bring it up).

Watching the skies move every night made me feel infintesimally small.
I guess that feeling that everything is, ultimately, finite, has influenced my (surprisingly to me) lack of ambition.
But is it a lack?
I am rather proud of the tagline of FB "More Detritus For The Skip Of Eternity".
Is there any point in ambition when it all ends in dust?
Well, it is hard to say.
Certainly if you want to move ahead in this loose conglomeration of folk we call 'society' then lacking ambition is seen as a serious fault.
You can't progress anywhere unless you have 'drive' and 'grit' and that old fashioned word 'vim' and even more un-PC, 'spunk'.
Yet to me that looks like folly.
You can see it on The Apprentice - all these young people, driven to the point of madness, to get a payment off an (admittedly interesting and funny) old man to further their ambition to make a mark on that cold hard sky of stars.
For what?
Self-affirmation?
Money?
A hot urine stain on  the lamp-post of life?
I don't know - it's their lookout and each to their own.
As I often say in the face of everything, you can't judge someone by your own set of ideas, because EVERYONE is different.
Live and let live.
But really, is a lack of ambition that bad? I'll leave that to further convos, and anyway, I have wandered and ambled and look, we're lost in deep country and a heavy mist coming in.

Back to Levi 501's, Dunlop Greenflash and home-dyed t-shirts!
I think that 1970's mirror influenced me in ways I could never have realised at the time.
Let me explain myself . .

Yes, go on then you wittering olde git, get on with it . .  

As you'll maybe know I take a LOT of pictures of reflections. I used to think that that was the influence of looking at other photographers' work, like Ernst Haas and Lee Friedlander, but it now seems to me it is more than that.
Deeper, more a part of me.
I am fascinated with reflections.
As my friend Julian (a long time reader and commenter on FB) said to me recently:

"It's the levels of reality and planes of illusion layered on one another. And your presence as a photographer, literally, in the reflections and shadows."

I pondered that for a couple of weeks.
It was a touching and very pointedly observed, and Julian, I have taken it to heart.
You are right.
These photos aren't just me, they're a part of me.
So, as I stood, frozen like a rabbit in dawn's spotlight, socks in hand, with the stars making their shine, and the presence of a young Sheephouse standing there with me, I said to him, aloud in the quietness:
"Still here; still OK"
And gently beat my chest with my fist to prove it.
And we stood, me and him, and watched those stars we knew, till the dawn clouds drew a thin veil over them, and we continued, hanging socks and pants, trousers and tops, and then came in and wrote this.

That mirror was a fascinating thing.
Not just for its ability to capture the heart of the Night Sky with a modicum of comfort, but also in the way it cut off reflections with a curve; took the glow of my fishtanks and reflected all that green and silvern light across my walls and ceiling.
How it bent reality and took the vastness of the land outside my window and reflected it inward against the window glass.
How it mixed "reality and planes of illusion layered on one another".
Weird eh!

Maybe I am speaking bollocks, but I don't think so.
I do have this habit of self-examining things and trying to find an answer.
It isn't always correct, but it often feels correct to me.
And I suppose that is all one can do as a human.
Examine your actions.
Try and be yourself.
And above all, be nice to other people.
It's not long till you're worm food and bone dust and atoms of star stuff.

Anyway, enuff ov the fillosoffikal schtuff, here's some photos . . not many, but reflections for a reflective mood.
Oh and the mirror?
Smashed by accident. . . R.I.P.



The Girls Of Dundee




We're Closed




Abandoned Cottage




A Quieter Time




Big Balls




Still Here; Still OK


And that's it.
Hope this has left you in a ahem, reflective mood.

Take care, and remember, not everyone is as self-assured as everyone else. little helping hands here and there make a big difference.
Oh and I nearly forgot:

Peese Pudding Hot, Peese Pudding Cold, Peese Pudding In The Pot . . No One Eats It Anymore . . .

Tuesday, September 18, 2018

Complex Brexit Negotiations

Morning folks - well, after the doom and gloom of the last post, I've only gone and done it!

Whit? Biled Yer heid at last Y'big lummock?

Er, no, not quite, and forgive the above local parlance.
Y'see, I live (according to the BBC) in one of the newest, most urgent, creative cities in the world - yes, it's Dundee . . .
As a creative icon (sic) of said city, I can write what I want, so get it up ye!

WTF Sheepy? WTF??

Well, the V&A Dundee has opened to 'worldwide' acclaim, and though I am not from here (just entrenched as it were) I can say that my heart has swollen with civic pride at the thought of all that Scottish-Central-Belt-Bias being coughed out in surprise, that the Wee Hard Toon has such an iconic, beautiful and, I believe, game-changing building. A lot of people in Glasgow and Edinburgh will now be asking:

"Why Haven't We Got One Of Those?"

No pretensions though - this town will bring you down to earth with a bump if you get too Up Yersel'.

Anyway, back to what I only went and done:
I travelled . . . to foreign climes . . . well, the eye of The Storm actually . . . Brussels . . . with film and a film camera!

Actually, this is the second time we've been there, having fallen in love with the mad place a few years back. I know it sounds boring, everyone thinks it is a boring place filled with dull Belgians, wittering on about complex things . . and you know what . . no way is that true. 
Anywhere that can give you a statue of a giant Smurf (and I HATE Smurfs) that makes you laugh, or a museum dedicated to the most wonderful Magritte, or one dedicated to Sewers, or a totally bonkers cafe with over 2500 Belgian beers in stock, should be praised. Anywhere that can cover the link between the mess of the 21st Century and the hard idyll of medieval times with such panache and downright individuality is alright with me.
Brussels is a 24/7/365 sort of place - there's something happening all the time. It is also achingly photogenic from beautiful buildings to parks, to dogs, to rough bars, to traffic, to the pantheon of all races lumped together in one place - a real city of mankind. We felt sad to leave actually - it felt to me like a place I could live and I am not a city person.

Anyway, X-Rays, film and travelling:
Well, y'know there's a lot of conflicting info out there, so take it from me, a confirmed film nut:

Up to a certain point, travelling normally and passing hand luggage through a few scanners, you are more than likely fine.
Mine was Ray-Gunned 3 times in total in my hand luggage and it has lived to tell the tale. In fact the bag inspector looked at my Tri-X and said:

"Och that's only 400, not 3200 . . . it'll be fine!"
 
And sure enough. Even taking it through the scanners in the European Parliament, it was fine, so, please take it from me:

It'll be fine!

So, on that note, why did I take a 35mm camera after making my avowed stance on the last FB? 
Well, convenience actually and also reliability. I nearly freaked out and fell back on the Sony A6300, but was firm with myself, had a good chat behind closed doors, steeled my will and packed the Nikon F3 with the Ai-s 28mm f2.8 Nikkor.
I had wanted to take the Rollei T, but the last film I had through it showed some serious frame spacing issues, and I also felt that should I encounter problems with taking a few rolls of Tri-X through scanning, how would that be exacerbated with 120 film?
So, good ol' reliable Nikon. Not the M2 with Summaron - I often think you can look like a 'target' with a Leica - though to be fair it is very unusual to see ANYONE with a film camera these days. Even the mega giant Nikon and Canon SLR's and holiday compacts seem to have been supplanted entirely by phones - how fecking sad . . . whilst a phone is convenient, I laughed aloud when I saw what an iPhone did to direct sunlight on someone's holiday photos (Is that a lump of ectoplasm or an amorphous blob worthy of Ghostbusters? Nope, it's the sun!). 
It takes a fine photo in the right circumstances, but it is not a camera.

Anyway, gripes aside, I had fun with the F3 - sure it is loud and clacky, but it has a damn good metering system and with an Ai-s lens is convenience in itself.
Here's some pics - mostly phun with rephlections
The first 5 are prints made on some very old Tetenal RC, developed in Kodak Polymax (liquid Dektol).
Can a litre of paper developer last a year in a bottle? . . . in the case of Polymax . . yes. 
It is genius stuff.
The last two are shitty scans from the negative - I much prefer handling a print.



Tickets Please

Nikon F3, Nikon 28mm f2.8 Nikkor, Kodak Tri-X, Pyrocat-HD, Wet Print - Tetenal RC
Who Is That Weirdo, And Why Is He Taking My Picture?

Nikon F3, Nikon 28mm f2.8 Nikkor, Kodak Tri-X, Pyrocat-HD, Wet Print - Tetenal RC



Hmmmmmm, Sheephouse?

Nikon F3, Nikon 28mm f2.8 Nikkor, Kodak Tri-X, Pyrocat-HD, Wet Print - Tetenal RC



Not Him Again . . .

Nikon F3, Nikon 28mm f2.8 Nikkor, Kodak Tri-X, Pyrocat-HD, Wet Print - Tetenal RC



WTF?

Nikon F3, Nikon 28mm f2.8 Nikkor, Kodak Tri-X, Pyrocat-HD, Wet Print - Tetenal RC



The Correct Use Of A Smurf

Nikon F3, Nikon 28mm f2.8 Nikkor, Kodak Tri-X, Pyrocat-HD, Wet Print - Tetenal RC.




Atoms Dream Of Atoms
Nikon F3, Nikon 28mm f2.8 Nikkor, Kodak Tri-X, Pyrocat-HD, Scan.




Crumhorn Mania
Nikon F3, Nikon 28mm f2.8 Nikkor, Kodak Tri-X, Pyrocat-HD, Scan.


And that is it really - more 'serious' photography will commence shortly, though I have lost a whole Summer of morning light again - never mind, Mushn't Grumble . . .

TTFN and remember:

How can I take care of yours if you've not taken care of it yourself?

PS:

Le Grand Schtroumpf is your man!





Sunday, December 18, 2016

Working From One End To The Other (And All Points In Between)

Well folks, the festives are upon us again - so he's blocked up the chimley, nailed don't-land-here-bird-pokey-spike-things to every available landing surface and yer Sheephouse has been finally relaxing and imbibing plenty of Woods Old Navy rum and typing - and rather like an avalanche waiting to happen and thinking what the hell will he round things off with, he thought:
'Yes, dammit, heck . . . well, why not? A summary of the year . . . yesh, thash a good idea' (hic).

In much the same way, Basil Rathbone exclaims "My dear Watson, you astound me . . ." in The Adventures Of Sherlock Holmes (1939) . . . (none of this modern BBC stuff here, oh no, I like my Sherlock in tweed and pipe) so I wonder why I haven't done it before.

Ed's note: Look, I've had to read and re-read this a number of times . . . there's a lot of pictures, and it does come across like one of those yearly round-robbin (as in Look-at-all-the-wonderful-things-we-special-people-got-up-to-this-year) Christmas cards you used to get from folk at your Mum and Dad's church . . . but I don't think he means it like that. It's more of a kick up the pants to himself . . .
The Light waits for no man, and soon, very soon, the last glimpse you get of the world is that coffin lid closing and the flare of gas jets, so let it be more of a salutory, Dickensian-style, "Get Thy Finger Oot Whilst You Still Have Time."

Sub-Ed's note: Look this is supposed to be the Festive Season . . . it's not that bad, so grab a bagel and a cup of Java and let's get on with it!

I suppose the supposition is that the life of a blogger and especially one that writes about oooooo, photography, is an exciting round of gear, gottle-of-gear, adoring followers, Tweets from the WHITE HEAT of Photogblogging, Farcebook posts, more gear and people thinking you are the second coming of Ansel.
Well, I'm sure Bruce at the Online Darkroom would agree with me that it is nothing like that!
Us poor bunch ("poor bunch" being distinct from the whatsisnames and whatsisnames, you know who I mean . . whatsisname) tend to write about The Process rather than Yer Actual Gear.
Who gives a shit about how people actually use tools these days -  it's ALL ABOUT THE TOOL isn't it . . isn't it? Certainly seems that way from where I am standing.
But gear does come into it (to a greater or lesser extent) and I can completely confirm that acquiring new (old) stuff is an addictive and expensive buzz but also enormous fun and an integral part of what we do.
I think I've come to realise that I rather like having a ton of daft old cameras around - it aids the creative process, by giving things a new edge, and with the exception of my almost total neglect of 5x4 this year (and with around 250-300 sheets to use) I think I have explored the fringes of my wee collection quite well.

However, at the end of the day if you've nothing to show for it . . .

Anyway, maybe my idea of a summary isn't so good - yes I've bought a number of photographic aids this year, but if the truth be told I have done precious little photography and almost no printing - a lot of the stuff here is scanned from contacts (gasp!!) - to be honest I have not had the time to have a good darkroom session since around May.
That's appalling, but it has been my reality this year.
Never mind - what you'll get in what follows is periods of stasis and general other stuff, interspersed with intensive bits of creativity.
In fact so polarised is it, that I think my end of year report could read

" . . . Sheephouse . . . shows willing, could do better."

Anyway, here goes, hold onto your hats and watch a semi-creative year unfurl before your very eyes!


JANUARY

I started with optimism. Spent all my Christmas money, and more on an Arca B-1 ballhead, which was a total revelation to use along with the Hasselblad. Yes it was a few years old, and yes it came from the same family of the infamous Arca lockup (google it - plenty of info) however mine is a later model in which the problem has been sorted out (the PMF B-1) - it was boxed and in 'as new' condition from those lovely chaps at Ffordes and it grips heavy loads like a bulldog on your nadgers making using the Hasselblad a total cinch on top of ye anciente Gitzo Reporter.

Having just about survived Storm Gertrude (a neighbour's roof had a whole 3.5 foot by 1.5 foot Victorian chimney pot embed itself into it from about 60 feet up) I marshalled myself at the end of the month with an expired 2010 roll of Neopan 400, and went out on a dreich and overcast afternoon to produce this.

Film 66/18 - Expired 2010 Neopan 400 (EI 200) in 1+50 Rodinal. Hasselblad Panoramic Adapter


FEBRUARY

Took the M2 and Canon 28mm f3.5 to Edinburgh and took some snaps, but didn't develop the film for quite a while.


MARCH

(Almost) not a sausage done.


APRIL

Developed photos from February and a handful from March - to quote my diaries:

 "Total shite - worst photos I have ever taken"

See what you think (these are probably the best!):


Film 35/40 - TMX400 (EI 320) in 1+50 Rodinal



Film 35/40 - TMX400 (EI 320) in 1+50 Rodinal



Seriously thought about binning 35mm altogether.

Took the Hasselblad out and in a brief moment of Dad free-time I had a total blast with the Hasselblad handheld!


Film 66/19 - More Expired 2010 Neopan 400 (EI 200) in Rodinal 1+50


Film 66/19 - More Expired 2010 Neopan 400 (EI 200) in Rodinal 1+50



Had a rethink about 35mm and bought a super-cheap (sub £55) 28mm f3.5 Nikkor and an ancient CCS Gladstone bag (it was really cheap [30-odd quid] and in brilliant condition. It holds all my MF stuff comfortably and was a bargain compared to a new bag (CCS no longer exist, but their bags are stil laround - not made in the Far East, but here in the UK).
So it was that fully loaded and me and the missus off for a short long-weekend to my favourite place. It held the Hasselblad, Leitz Table Top Tripod, Rollei T AND the Nikon F3 with the 28mm Nikkor and a 50mm Nikkor as backup + notebooks, books, film, reading material etc etc - it's like the tardis of bags.


Action Man - of course, I could reveal my location, but then I'd have to kill you.




Film 66/21 -TXP 320 (EI 320) in Pyrocat-HD - eventually developed in May



Film 66/21 -TXP 320 (EI 320) in Pyrocat-HD - eventually developed in May


You can't get an idea of the sheer sharpness (and atmosphere) from these scans, even at 3200 dpi off of the contact sheet - take it from me they're SHARP AND ATMOSPHERIC!



Film 35/41 - Tri-X 400 (EI 320) developed in 1+50 Rodinal
It never struck me at the time, but these are like two Ents.




Film 35/41 - Tri-X 400 (EI 320) developed in 1+50 Rodinal




Film 35/41 - Tri-X 400 (EI 320) developed in 1+50 Rodinal

You know, for all the pixel-peepers say "Oh you've got to get the 28mm f2.8 Nikkor as it is soooo much sharper . . oooh, look at those pixels" the f3.5 is what the likes of Don McCullin and his 60's/70's compadres used and you know what - it is no slouch, especially on film.
A very cheap, solid, but decent performing lens!

There was a very good Scottish Photographers meeting at Alan and Sheila's in Perth at the end of the month - as usual, it was great to be able to talk and talk nothing but photography for an afternoon.


MAY

Bought a Pyrocat-HD kit off of eBay.

Had a fabulous time with the Hasselblad at St Andrews Botanical gardens, photographing their incredible collection of condensation, dried-on plant food marks (seriously!) and weird reflections in the hot-houses. If you're ever in St Andrews just go - one of the nicest Botanical gardens in Britain.
Vic the Hasselblad was handheld again - seriously - a total revelation about how to use a large, non-TLR, MF camera - I can imagine with the standard 80mm it would be even more of a joy to use.


Film 66/22 - TMX 400 (EI 320) in 1+50 Rodinal




Film 66/22 - TMX 400 (EI 320) in 1+50 Rodinal



Tested the newly arrived Pyrocat-HD kit on some sheet film . . hopeless results - operator error:



"What the feck is going on? . . Oh yeah, that's ANOTHER couple of quid down the drain . . . "
TXP 320 (EI 320) in Pyrocat-HD 1+1+100 - way too thin at that speed . . people used to say that about me!

Yeah I know I look like a Granny in the above - the lens was the 90mm Super-Angulon


Processed my MF films from April.


JUNE

Had been thinking about a Leicaflex as I so wanted to get a Summicron and it was the cheapest way, but after a few salutory emails from Ffordes about de-silvering prisms and an email from Bruce about perceived lens quality, I went mad, looked at as many old Leica photographs as I could find and finally bought myself a 35mm Summaron for the M2.
What a lovely lens - detailed in "Stepping Up To The Mark".
I tested the lens with a film I'd started using in the Nikon F back in mid-May, so I counted the exposed frames, rewound it and got back to the same point on the film in the M2.
Film was developed in P-HD. First two pics from Nikon end of roll, third a weird double 28mm Nikkor/35mm Summaron double exposure and fourth all M2/Summaron baby.



Tri-X 400 (EI 320) developed in Pyrocat-HD - 1+1+100




Tri-X 400 (EI 320) developed in Pyrocat-HD - 1+1+100




Tri-X 400 (EI 320) developed in Pyrocat-HD - 1+1+100




Tri-X 400 (EI 320) developed in Pyrocat-HD - 1+1+100




Holidays - hurrah!
I love UK-based holidays, because I can settle in to using where we are staying (usually caravans) as a base to explore the surrounding countryside and use my cameras to the point of exhaustion!
I took the Hasselblad and the M2 with the 35mm Summaron and loads of film. I've taken the 5x4 before, but (as detailed last year) using a changing bag is a total PITA, so this time thought, well why not use the Hasselblad for my 'serious' shots, and it worked a dream.

The Summaron shots were detailed in the post "Stepping Up To The Mark" from July and some of the Hasselblad ones are in "4K Burning Moggie" from September.

Here's some I didn't post:

FP4 (EI 50) - developed in Pyrocat-HD - 1+1+100




FP4 (EI 50) - developed in Pyrocat-HD - 1+1+100


You really do have to lose some speed with P-HD - EI 50 seems to suit FP4 well - my times and agitation were:
Constant and Gentle for 30secs
2 inversions per minute
Keep that going till 17mins, then let it stand to 20 mins.
Temperature was 20 degrees


FP4 (EI 50) - developed in Pyrocat-HD - 1+1+100
This was taken at twilight, wide open.




FP4 (EI 50) - developed in Pyrocat-HD - 1+1+100




FP4 (EI 50) - developed in Pyrocat-HD - 1+1+100




FP4 (EI 50) - developed in Pyrocat-HD - 1+1+100



FP4 (EI 50) - developed in Pyrocat-HD - 1+1+100




FP4 (EI 50) - developed in Pyrocat-HD - 1+1+100



FP4 (EI 50) - developed in Pyrocat-HD - 1+1+100




FP4 (EI 50) - developed in Pyrocat-HD - 1+1+100




FP4 (EI 50) - developed in Pyrocat-HD - 1+1+100




FP4 (EI 50) - developed in Pyrocat-HD - 1+1+100



FP4 (EI 50) - developed in Pyrocat-HD - 1+1+100



FP4 (EI 50) - developed in Pyrocat-HD - 1+1+100


I'll nail my trousers to the mast here and say that the 35mm f3.5 Summaron has that vintage look in spades - it's sharp, it's creamy, it's got GREAT (but subtle) contrast and above all it's damn pictorial - there's a pleasing quality that I haven't found with any other lens.
Just wonderful.



JULY

Despite showing the pics from June last month, the holiday ones were processed in July . . carefully!


Went for a 12 mile hillwalk, carrying no camera gear but the Leica M2 and Summaron and Leitz table top tripod - it was a revelation and I rather like the cut of the jib of a Summaron as a landscape lens - a joyous tool to carry and use and as I've said before, want a reliable companion tripod but can't be bothered with a big 'un? get a Leitz table top - brilliant wee things.


Loch Esk
Film 35/46 - TMX 100 (EI 50) - Pyrocat-HD 1+1+100


The Sedge At Loch Esk
Film 35/46 - TMX 100 (EI 50) - Pyrocat-HD 1+1+100



 
Leica M2, Leitz 35mm f3.5 Summaron, Leitz Table Top Tripod




The Mythical Wild Man Of The North (caught in reflective mood)
Film 35/46 - TMX 100(EI 50) - Pyrocat - HD 1+1+100


Film 35/46 - TMX 100 -PHD 1+1+100, EI 50

And this is what Storm Gertrude did to a bridge in a glen back in January - the bridge was solid as a rock, but nature had other ideas!

The flat concrete bit is bolted to a boulder that must weigh a couple of tons, the bridge was bolted to the concrete with concrete piers too. All gone - I kind of wish I'd been there to see it.


Ed and Sub-Ed's note: Non-photographic, essential stuff coming up.


Discovered my chimney was in a state of disrepair . . . basically the flue for the old boiler that was present when we moved into the house, was a steel pipe, dropped down an (unknown to me) chimney. The flaunching (a word I'd never heard till this year) had perished and basically the top of the chimney was wide open to the elements! OK, so it's an old (1888) chimney and has been dealt with in an awful way by intervening generations . . so, me being me, and bouyed-up by last years use of hairy lime putty to bed in my front windows, I started investigating and reading and eventually got some NHL (Non-hydraulic Lime) 5.
This is lime, the stuff they used to use before cement ruled everything - it's a time-consuming but benevolent mortar mix. It is also hydroscopic, so unlike cement (which is utterly waterproof from both sides) lime mortar allows moisture to pass from its interior to its exterior! This was just what I needed considering the fabric of the chimney stack had become damp.

Eek! Slate covers old chimney and flue is below.

So, work was required, and that meant me!

AUGUST

After a quiet statement to myself of "Holy Bungos" I got started and rebuilt the exposed part of the stack with the NHL - I used a premixed version from Conservation lime - it was very nice stuff and really does improve your muscle tone trying to mix it!
The hardest part was stopping it drying out too quickly in the really hot weather we were getting so I was hopping up the ladder three times a day with my plant sprayer and spraying it down and then covering it over.
With lime they recommend you use hessian sacking to cover it with because it stays moist, however I didn't have any so had to make do with painters exterior masking tape (the orange stuff) and those giant blue Ikea bags which are really rather good.
Anyway after 8 days of this regime, I was ready to expose my work. And it seemed to have dried fine, it is however no wonder modern builders rarely use it - it's so time-consuming, and these days no one has the time do they?
Anyway, at the same time of doing this I thought I'd use a roof coating to go over the felt. We have about 18sq metres of flat stuff - and economy was the name of the game; so after HOURS of debate and study I settled on a product by Scotch/3M called Scotchkote. It is a range of coatings, all designed for industrial purposes - they're breathable and come in a range of systems ranking from 5 year before first maintenance right up to 25 year! I was impressed by this and also by some feedback from industrial roofers, so I put my money where my brain was.
I went with the 5 year (Polytech LS 657), because it was the most economical.
But this ties into next month . . so . . and still no photography done . . .


Flue still there, but now upper section is rebuilt with lime.


Oh and I liberated some pensioners of their pocket money, went mad and bought myself a guitar.


SEPTEMBER

Well, what a beautiful month! The weather was something else at the start.
I chickened out at the thought of taking film through an airport, sold the Canon EOS and used the funds to buy a Sony A6000 and a Metabones Nikkor adapter, seeing as I have tons of Nikkors lying around like leaves off a tree . . . 
And guess what . . another holiday!
This time we scraped together all our spare change, robbed a few more pensioners and flew to Amsterdam and then by train to Brussels.

The shots were detailed in "Ogden's Not Gone Flake" published in September, but here's a few more.


Film 00100111001 - Sony A6000 + 35mm f2 Nikkor-O

Film 00100111001 - Sony A6000 + 35mm f2 Nikkor-O

Film 00100111001 - Sony A6000 + 35mm f2 Nikkor-O

Film 00100111001 - Sony A6000 + 35mm f2 Nikkor-O

Film 00100111001 - Sony A6000 + 35mm f2 Nikkor-O

Film 00100111001 - Sony A6000 + 35mm f2 Nikkor-O

Film 00100111001 - Sony A6000 + 35mm f2 Nikkor-O

They're two outstanding European cities with different (yet similar) cultures but they are friendly and beautiful places and so very different from the a-typical views people have of them:

Drugs and sex - Amsterdam
Boring - Brussels.

I took a lot of photographs with the non-PC Sony A6000 and a 35mm Nikkor-O.
OK - it's not film-based, but you know what, I was happy to use it and think the results are really excellent, though I've not printed a single one.
The Sony and ancient (1971) Nikkor give a colour quality that pleases the hell out of me - very 1970's but very crisp too.

During our holiday I replaced my blood with Belgian beer and felt better for it. I've been a beer enthusiast since well before the word "craft" came into the language and it pleases me to see so many guys brewing their own and starting micro-breweries. I did my own proper, non-kit home brewing back in the 1990's, but discovered I couldn't even touch the likes of Westmalle and Samuel Smiths, so gave up . . 

Came home and cleaned out the loft - an epic job.

OCTOBER

We got back, and the weather changed to 'orrible and rainy, so I steeled myself, waited for some decent weather (not so easy when all you have is weekends) and then started in earnest on coating the roof.
If you can imagine painting an unwilling, very hairy cat onto a flat surface, then that is what it was like, but it's all about technique and I got there.
It's pretty damn marvellous stuff too - you can apply it in falling rain and down to 0 degrees, though this isn't to be recommended from the applicator point of view -  we did have our first frost in October and kneeling in ice and applying stuff like this is not to be recommended - doesn't half make your joints ache!
It was a heck of a job, two coats and an embedment mesh in places too - got there though - phew!



The bit on the left in grey and white is my work - this was taken from the window of a flat for sale next door.

Near the end of the month an excellent package from Omar Ozenir arrived containing both copies of his self-published photo-journal Gözaltı.
It's great stuff and highly recommended - you can find it here - tell him Sheephouse sent you.

Re-discovered that I really love playing the guitar - it has been a 20 year break, as in nothing done, for 20 years, which, if you know me is highly unusual.
Basically looking at it with the benefit of hindsight, I think I stopped because there was nowhere else to go.


NOVEMBER

No real photography done, just a wee tickle out at dusk around the graveyard with the Sony

Film 00100111001 - Sony A6000 + 50mm f1.8 "K" Series Nikkor


DECEMBER

And the same again.
There's a roll of FP4 in the M2, there's film in the fridge and I just need time.
I am on holiday for Christmas so hopefully there should be some full-on camera usage going on!


And tha-tha-tha-that's all ffolks - I hope you found that interesting and not too dull -despite the lack of vast amounts of stuff, at least I have been trying to do stuff, with only commitments and lack of time getting in my way. Next year I am planning on doing more.

So can I, on behalf of yer Missus Sheephouse and Alex Turnips too, take this opportunity to wish you and yours all a fantastic Christmas and an even better 2017 and for the world, a little peace perhaps, that can't be too hard can it, not if you really want it to happen.

I'll leave my final thought to Bruce Cockburn from 1971's "Sunwheel Dance" and the track "Going Down Slow":

God, damn the hands of glory
That hold the bloody firebrand high
Close the book and end the story
Of how so many men have died
Let the world retain in memory
That mighty tongues tell mighty lies
And if mankind must have an enemy
Let it be his warlike pride

Let it be his warlike pride


Take care, be good and remember to keep eating your peas.