Category Archives: a23

Liz 303

by Boris Starosta

Fuji RAP 100F, f22, 1/2sec exposure, studio flash and some ambient light, using twin Hasselblads with 80mm lenses, 4.5″ stereo separation.  Original slide.

Liz was a wonderful model that I worked with in 2005.  Aside being a beauty, she was really smart, funny, and very creative.  She had visited the studio several times for the purpose of artmaking, and had each time remarked how much she loved this transparent vinyl chair that I had.  Well, one day I took her up on this, and asked her to show me how much she loved the chair.  I told her the chair had worked up the nerve to get naked with her.  Thus we produced some interesting images.  After making love to the chair via some traditional positions, I suggested the chair might enjoy receiving oral satisfaction from her.  She seemed game for anything.  Liz was a big flirt, and I had to control myself carefully…

HAPPY NEW YEAR!

Williamsburg Bridge

by Boris Starosta

Fuji RAP, f11 (?), 1 sec. exposure in available light, using Sputnik on loan from Chuck Holzner. Camera stabilized on walkway/surface of bridge.   Slide in folio is original film.

Cycling over the Williamsburg bridge to visit someplace in Brooklyn, I took interest in the elaborate riveted steel trusswork along the way.  It was very cold, and I had no tripod.  I placed the camera on ground and tried to stabilize it with a pocket knife acting as a shim to get the angle.  Aim and thus composition was guesswork.  I would have wanted a longer exposure/smaller aperture, but the rig was shaky, so I dared not.  Luckily, it was wintertime, so the traffic was light, and I was not reported to the TSA or other anti-terrorist authorities as a person of suspicion – it’s sad what one has to be afraid of these days.

Coiner’s scrap yard

by Boris Starosta

Tech: Available light exposure of 1/50sec. on FUJI RVP Velvia 100F film with Sam Smith’s (I think) siamesed Ricohflex on loan from Paul Talbot. This is the original slide.

This is some of the first MF3d photography I have done.  Seeking abstract and textured subject matter, I went to the local scrap metals yard.  Not only was it very cold out, but the picture I found was of some scrap (in foreground of this view) very close to where a crane was working, making loud clanking and thudding noises.  I needed to face away from the crane, could not monitor it, and so made my exposures with some apprehension for my safety.

Zero Gravity & Rockets #2

by Bob Venezia

Zero Gravity & Rockets #2I’d been to the Puyallup (pyoo AL ip) Spring Fair on Friday night and saw a poster advertising fireworks on Saturday “at around 9pm.” I made the trek the next night, got there early, scouted where the fireworks would be and what I could get in my foreground, etc. My plan was to shoot with the TL-120, and I started capturing other images while I waited. At 8pm I had just finished a roll in the TL-120 when I started hearing boom-boom-boom behind me. Not knowing how long the fireworks would last, I zipped up my backpack, grabbed both tripods with cameras already set, and hurried over to my spot. I would have done much better with the TL-120, since I would only have to wind one camera, and there’s more to check on the 2 Hasselblads. And sync is not an issue on the TL-120.

Faded Red Ford

by Bob Venezia

Faded Red ford

I took a photo trip to the Palouse last year. It’s an area of Eastern Washington/Western Idaho that’s filled with rolling hills and old farms. the combination makes for some striking scenery, with lots of opportunities for photo-graphics. That said, a lot of those opportunities are seized using different lenses. Not an option on my TL-120. But I wanted to include a shot from my trip. It’s a well-worn route for photographers, and this truck was clearly left out front for the photo op. TL-120, Velvia 50, f22, shutter speed unrecorded.