Alex Catalano

June 1: Old Film

I wrote your name on a scoreboard

So faded, like, "Whose runny nose's sore?"

I made it, like, "Found my lady, like, who's running around no more?"

Orlando

Kodak Portra 400 Kodak Portra 400 @f/22 Kodak Portra 800 Kodak Portra 800 Kodak Portra 800 Kodak Portra 800 Kodak Portra 800 Kodak Portra 800 Kodak Portra 800 Kodak Portra 800

Technical Stuff

I use a hybrid system, in that I shoot film, then digitally edit the scanned negatives. I think my current joy comes from finding myself using Photoshop as if it's a glorified dust remover. I don't change the images much other than to remove the few white specs of dust and hair caught in the scanning process that slipped my attention and care.

I scan in at 800 dpi to get a relatively normal sized jpg. Then I just remove the dust in Photoshop. And then I Save for Web and put the images into a simple web page. There's probably something to be said for viewing images as a stack versus being seen individually. And I'll write more on this later, or practice it as it's something that occurs on thought of use and purpose.

I have my film developed by a local shop called Harmon's Photo, here in Gainesville, FL.

I've been thinking about developing black and white at home. But I'm happy with Harmon's. I just want to worry about shooting for now. Developing, printing, philosophizing are all another day.

Matt's Images

I had a free night in Orlando to visit with Matt Benson. He hadn't seen my new Mamiya yet. He suggested I get one before. And I ended up buying one before shooting or even seeing one. I found myself returning to its Flickr group's page and took that infatuation as reason enough to spend the money on something so unknown. As Matt has said, "There's a lot of bad stuff on Flickr." But I just kept going back to that photo page and liking what I saw there.

Matt had a year's-long expired roll of 50 speed, 120, transparancy film. Shooting that seemed like a fun way to let him meet the Mamiya. We walked around, pushing 50 speed to 200 speed to brighten the images. I think we were both curious to see what would turn out.

From Matt's expired roll:

Me in front of a Citgo gas station Happy and Sad My lonesome hand Inside the Shop

Critique

I think subtlety is the thing that sticks out among his images. It reflects his personality a bit. There's strength to the shape and geometry, but there's always a small something that sets his images apart to define his unique style. I find this most obviously done in the image with my hand in the doorway along the alleyway. But even in the seemingly blatent, first image of me standing in white space, there's a person walking through the shadows that adds another layer of information to the image. And like all of Matt's images, they're just interesting to look at -- while they are thought out, they're artsy without trying to be.