Saturday, February 20, 2016

Silver Archive #4 - By One Bolt

The Old Sugar Mill, where this photo was taken, is located in Clarksburg approximately 10 minutes south of Sacramento.  In the 1920s the New Holland Land Company began subdividing the tracts in the area and formally established Clarksburg. The Old Sugar Mill was originally owned by the Amalgamated Sugar Company which was founded in 1897 in Logan Utah. Due to blight and drought, only four of Amalgamated sugar factories operated in 1931. One of those factories, “The Smithfield” Utah factory, closed permanently in 1933 and moved to Clarksburg California. The factory was brought to Clarksburg piece by piece via railroad. The factory in Clarksburg began its operation on July 31, 1935. Amalgamated sold the Clarksburg factory to American Crystal Sugar Company in 1936.  The American Crystal Sugar Company sold the Clarksburg plant in 1982 to the Delta Sugar Company.  The Delta Sugar plant closed in 1993. Today the facility is mostly renovated and houses approximately 10 wineries, and is a popular destination on the Sacramento Delta

In 2003, the owner of The Darkroom, a rental darkroom facility in Sacramento, was able to provide access to the Old Sugar Mill building in Clarksburg, for a Photo Workshop. I was invited to be an assistant in putting on this workshop.  At that time, much of the old equipment, tanks, gauges etc... were still present, and only the warehouse had been renovated.  This scene, of a cover plate hanging on it flange, was found at the top floor of the building. I clambered up rickety metal steps and scaffolding until I reached this spot. The sun was beginning to set in the west and blasted its light on to the tank. The white cover just glowed against the rusty tank,  I had packed my 8x10 Kodak Master View up the steps, I was hell bent to get this photograph. I used my 10 3/4" Golden Dagor and all the elements of the image where perfectly in frame.

At that time I was still able to get Kodak Azo printing paper. Azo is a very slow, Silver Chloride paper that is used for contact printing - the negative is in contact with the paper, and then exposed using a very bright light. It has some very unique properties and is a very popular paper for those that wish to make prints the same size as their negatives. If I recall correctly, this image was made on Grade 3 paper - which is more contrasty than Grade 2 (the only other grade available at that time).

I am pretty happy with this image, and even 13 years later it is still one of my favorites...

Wednesday, January 27, 2016

Silver Archive #3 - Long Entry - Fort Point - San Francisco California


During one of my foray's into the local Border's Bookstore (remember them?), I came across this wonderful photography book by Jay Dusard, titled "Open Country". For me it was a revelation...

All of the images were of course spectacular, rarely of the usual landscape photographic hot spots, and many were in a panoramic format.  I was intrigued and moved by the images.

One of the techniques that Jay used was a simple box camera that shoots 4x10 inch sheet film, and a very wide angle lens, a 90mm. He called it his "adobe brick" and many of the images in the book were shot with this camera.

At that time Keith Canham, the well known camera builder from Arizona, had a catalog item for a 4x10 Point and Shoot Camera - which had been influenced by Jay's Adobe Brick.  I contacted Keith about ordering one, but he stated that he no longer was making that camera. He did however have enough of the various parts so that one could be built, and he would sell it to me. I contacted Alan Brubaker - the well known film holder maker - and asked if he could build this camera for me. He did and in short order I became the proud owner of my own 4x10 Point and Shoot.

Thanksgiving 2001, I went to the bay area to visit with my parents and spend some time with them. I planned to drive back home by going through San Francisco. On that day it was raining pretty solid, and I opted to go to Fort Point. Fort Point is a Civil War era Fort, in San Francsisco and is located south east of the Golden Gate Bridge. In the photo you can see parts of the girders for the South Tower of the bridge.

Shooting with this camera is a challenge. Having such a wide lens even forces you to make sure you have an interest that is in the near third of the image. The wrought iron rail in this image is actually pretty close to me, the right side wall is right next to the camera, and the left side wall with the beautiful light was no more than 10 or 15 feet away. One can get a sense of scale, as the doorways are 6 to 7 feet tall.

I had a great several hours shooting at the Fort. It was very slow as the sky was dark with rain clouds, the inside of the fort itself is very dark. Using this camera, you need to shoot at the smallest of f-Stops (f45) so that the lens will cover the entire film format without vignetting. To top it all off I was shooting with 125ASA film. Exposures that day were often in the multiple minute range (due to reciprocity failure).

I originally (contact) printed this image using Kodak Azo paper, and than later made 23 inch long print using Bergger Graded warm tone paper. In 2015 I printed this image at a 17 inch long print on Adox MCC110.

Technical Stuff:
4x10 Point and Shoot
90mm Schneider Super Angulon XL




Saturday, January 16, 2016

Silver Archive #2 - Water and Sand Trails - Bandon Oregon


During the Summer of 2015 we (Joy, Sabrina, Hunter and I) travelled to Oregon for a family visit. For the return leg, we decided to drive down the Oregon coast. Joy and I were excited to go back to Bandon to take some photographs, something  we enjoyed the last time we were on the Oregon coast back in 2004.

While Joy shot with our Canon 6D, I had dragged my Hasselblad 500c/m down to the beach. We were fortunate to have a low tide in the morning, and very few people and dogs had walked on the beach (yet). I will share other shots later, but I focused on the Sea stacks, the puddles of water, etc... As I walked around I saw some interesting patterns left by the receding water and burned a frame or two.

After I had gotten home and developed my film, and made a contact sheet, what caught my eye was how these two images appeared on the contact sheet and I saw that if I flipped the order of the images, I might have an interesting diptych were ones imagination carries the trajectory of the patterns to a reflective pool of water meeting in the middle between the two images.

So I set about printing both images at the same time so that the tones etc... would be as consistent as possible.  I also opted to use some old stock of warm tone paper, namely J&C Polywarmtone - which is very similar to the old loved Forte Polywarmtone.  I printed the images 7x7" square, and mounted them in a 14x24 matt.

Technical Information:
Hasselblad 500c/m   80mm Zeiss Planar
Ilford FP4+ Film / PMK Pyro Developer
J&C Polywarmtone paper / Ansco 130 Developer
Selenium Toned

Silver Archive #1 - Working on the Railroad - Virginia City Nevada





Growing up with European Parents I always had a fascination with Railroads. As a native of the western U.S., railroads played a huge role in the movement of folks to our states. Besides watching any number of TV shows in the 60's and early 70's, there were the inevitable westerns with a depot and a steam locomotive. I will not even begin to talk about Petticoat Junction. :-)

Moving forward to 2014 - I was on a short vacation/photography trip to western Nevada and eastern California and one of my stops was to go to Virginia City and check out one of terminus' of the famous Virginia and Truckee Railroad. I found the small yard and approached one of the guys working that day, and asked if I could take some pictures. Since I was not doing 'commercial' work they agreed to allow me to walk around and take a few photographs. Kevin and Dan were working on the steam locomotive and on the tracks near the water tower, but were ready to call it a day. I asked if they would mind posing by the locomotive.

The idea to have them pose with the locomotive came to me as I recalled a book that I received a long time ago by Kinsey Photographer, titled The Locomotive Portraits. The book was filled stunning large format images made in the Pacific Northwest of different Logging work, and always had the crew standing next to a locomotive.


Unfortunately I was working in the harsh Nevada sun, in the summer, at mid-day, and not in the soft light of an overcast day in Washington or Oregon. Never the less I am quite happy with the result. I did send both Kevin and Dan a copy of the images, which I printed on 11x14 paper and mounted on 16x20 board.




Technical Stuff:
Camera:              Canham MQC5x7
Lens:                   180mm or 240mm Sironar ( I do NOT take notes)
Film/Dev:            Ilford FP4+ film developed in PMK Pyro
Paper/Dev:          Adox MC110 developed in Ansco 130 developer
                            Slightly toned with Selenium

Sunday, January 3, 2016

Every Picture Tells A Story - Silver Archive - A Beginning

While Rod Stewart made an extremely popular album with the title "Every Picture Tells A Story" in 1971, this is not a blog about Rod or music, but rather to set the stage  of my return to blogging...

One of the purposes of my blog was to share my photographs and to share my thoughts about photography. At first this worked out pretty good, and I made a few posts, but it became kind of like being on the radio.... you can talk, but you feel you are not talking to anyone, and conversation, seems at best limited.

Over the past year I have been posting on Facebook, mostly iPhone images from my various excursions, and posted about daily adventures, photographic and non photographic. It has been fun... mostly with very little real writing - but some rudimentary conversations were enabled with my friends and within certain groups, which was one of my goals.

Facebook met a lot of needs and allowed me to share some of my results from the darkroom, as I could snap a quick photo with my iPhone as a final print was floating in the fixer tray etc...

While this was satisfying in some ways, I have images in my past, that are ensconced on my web page, that I would like to share. I also want to tell a story about that image - some what similar to Ansel Adams'  Examples: The Making of 40 Photographs. While I do not compare my self what so ever to this great American Master, however, I found  reading the story behind each image to be very interesting and provides a second story to these photographs, both the iconic images as well as newer or less well known images. I am sure that if Ansel were an educator in this day and age, he would be using the '40 Photographs' model and using all of the internet/social media tools to share his images, and to tell the story behind each one.

Silver Archive.  This is what I would like to start out with. I have been taking and printing Silver Gelatin images for just about 20 years now. I would like to start with these images first... I may begin to include some digital/iPhone images that I have accumulated over the 10 years of digital photography... I will need to come up with a good name for this - so stay tuned. My objective is to do a short piece and share an image a week for the year 2016. This will mean about 52 images. I may publish more than one in a week, and there may be a week where I miss, but by December 31 of 2016, I hope to have shared the story behind 52 images...

Wish me well!!!!

Tuesday, October 8, 2013

The Bus Yard


Lens Flare

Earlier this year I had heard talk about a Bus Yard in Williams, California that was a photographic goldmine. The Coach Maintenance Company (http://www.coachmaintenance.com/) is both a restoration facility and a salvage yard in the farm country of the northern Sacramento Valley. I have long been interested in photographing things that have the "patina" of age or having been weathered. While I had never noticed this Bus Yard during my many journeys between Cameron Park and Redding, I had hopes that this place may provide me with images to fill out some of my portfolios.

During late summer, I received an email indicating that Viewpoint (www.viewpointgallery.org) was planning to have a field trip to the bus yard. Initially I was not free that day due to a conflict with an autocross event that I had signed up to run. However, as the 7th of September neared, the Autocross was cancelled and I was able to join in on the field trip.

 
Over the past two years, I have spent a considerable amount of time building my new Studio and Darkroom, which in turn impacted my skills behind the camera. Seeing an opportunity to re-sharpen my Large Format photography skills - I opted to take one of my large format cameras, as it afforded me the option of being able to adjust the camera with rise/fall, or shift etc… I then debated if I should bring my DSLR (a now ‘ancient’ Canon 20D) or not. Ultimately I opted to leave the Canon DSLR at home, with the thought that I would be able to better focus my work using large format with black and white film, and not be distracted by the possible color opportunities that these old buses promised. I opted to bring my 4x5 kit with 5 lenses (90, 135, 180, 240 and 300mm), all my 4x5 holders and my 6x12cm roll film back. This is a relatively compact kit that served me well when I was in Europe in 2007.

Rusty Buses

The morning of September 7th arrived, I arose early after a hard week at work, and got in my truck, and headed for Williams… a 90 minute drive.  Once I got there, I saw a gaggle of old buses of different vintages that were rusting and being used for salvage. In the main Driveway was a fully restored bus finished with an off-white paint and dark green paint scheme. It was a beautiful restoration and recalled the charms of a by-gone era. The Bus Yard was quite the treat, and there was a sizable contingent of Viewpoint photographers that were there, although only two of us (that I noticed) where shooting film with a view camera. The day started out warm and just got hotter and hotter until it reached the upper 90’s. I had a blast taking pictures with the 4x5 – and shot up all the film that I had brought with me. These old buses had so many unique features and designs, providing great opportunities to shoot abstracts and details. The colors were mostly muted because the paint on the buses had faded, the windows were often coated in dust (if not broken or missing) and the aluminum trim had dulled through exposure to the elements. I think an overcast or foggy day might have actually brightened the colors a bit in my humble opinion – but alas – this is not going to be the case in September in the great central valley of California.

Since the 7th, I have developed the film and made contact prints… and I am sure that I have at least a few keepers that I will share with you in a little while. What I can share are some iPhone images. 

Okay…. Yes… I cheated and snuck in a few digital images using my old iPhone 3G. Initially I took these just so that I could show Joy what the place was all about when I got home that night. But later when I was resting in Williams, drinking a nice cold Chocolate Milk Shake, I applied some apps to a few of the images I took, adjusted, undid, used other filters etc… and arrived upon the images I am sharing with you today. I do not recall the apps that I used, I just dabble with iPhoneography, and I just applied things. I either liked it or didn’t like it… I had no preconceived expectations like I do when I work with my film cameras. In short I was able to enjoy both the structure of shooting with a 4x5, applying the zone system for black and white film, and the snap shooting and wild manipulation opportunities that is iPhoneography… all on the same day. 
I hope you enjoy the images… and I promise that I will post images taken with the 4x5 later on…









Tuesday, March 19, 2013

30 Years of Porsche Club Autocrossing
in Northern California


Norbert Nieslony = My Dad
Porsche and ‘racing’ have been a part of my life since before I can remember.  My father, Norbert Nieslony, came over from Germany in the mid 50’s as a Porsche factory representative. Being in this unique position he worked on various Porsche’s and or Porsche powered specials. After my father decided to open his own Porsche repair shop during my early childhood, I was always excited when Steve Froines’ RSK was in the shop or Ed Bowman’s Elva-Porsche was getting upgraded. Very exciting times for a 5   or 6 year old boy!

Demands on my Dad to keep Porsche daily drivers in service became greater and the time required for race cars inevitably took a back seat.  In the late 80’s my dad acquired a tired 1960 Porsche Coupe with a Normal engine. It had “thrown a connecting rod” and the owner didn’t want to repair the car. My father rummaged through his parts bins and put together an engine so that he had a car to play around with for a bit. PCA-GGR was running a very successful Autocross series, and my father was invited to participate. After attending one event he started trying to convince me to join him. In 1980, I was 19, almost 20, and was unsure of my skills and I didn’t understand what this form of racing was all about. Frankly I was a bit scared of embarrassing myself.

Finally my Dad convinced me to give it a try. On the Friday night before the event we mounted up our 5.5x15 steel wheels with worn down Michelin XWX’s (the hot tire set-up at the time) on the car. We also packed a small tool box, tire gauge and a portable air tank. On Saturday we got up early and drove over to the Pleasanton Fairgrounds for my 1st Autocross. What I most remember is that registration was $5.00 for a single, $7.00 for two drivers (same car). There were so many Porsche’s there… several 356/912’s, a number of 911’s in various levels of updates and a massive swarm of 914’s. Amidst those cars were several cars running race slicks, and 3 or 4 that were heavily modified. This was exciting… I was going to be racing!

My Dad had arranged for Karl Beckle Jr to be my instructor. He had won the 356 class the past few years, so I was in good hands. We walked the course, and there was a lot of hand waiving, and terms like over steer, adhesion threshold, and pointing to where I should be at a certain corner, etc…   After the drivers meeting, and when my turn came I was ready. Helmet on. Safety belt attached. Karl was in the passenger seat. I had already worked on course and saw what was happening. It didn’t look that hard – heck they aren’t even going that fast – you stay in 2nd gear – how fast can you really go in 2nd gear!

The green flag dropped, Karl yelled at me… “Go!!!” and away I went! He was yelling at me to give more gas, then to brake, yelling at me to turn earlier, brake now, go left, go right, a blur of commands. I was working my tail off, the car was moving. I was Mario Andretti… I was hustling that car around the course, practice lap… 1st timed lap…. 2nd time lap… then the checkered flag. I could hear the crowds roaring in my head… this was fun and I did great! I reached out the window to get my 1st timing slip… my hand was shaking with adrenaline… and then I read my time… boy was I slow! Karl looked over at me and said, that I drove nicely for the 1st time and that we had several things to work on before the day was done. Luckily I didn’t finish last that day – but I still had to learn a lot of things – but I was hooked, and was already planning the next event as my father and I drove home!  


The 1962 Porsche Coupe at Pescadero, Ca
The Pea Green 356 was replaced shortly thereafter by a no-rust 1962 coupe. Tire technology had moved on a bit and we know had the 1st R-compound tires – Yokohama A001R - which improved our grip quite a bit. We installed Carrera brand shock absorbers and a Weltmeister front sway bar and built a nice Super 90 / 912 engine so that we had a chance at competing with the faster 912’s. My Dad and I drove this car to 3 Porsche Parades (Costa Mesa ‘85, Monterey ’90 and San Diego ’92). I had lots of fun driving this car and took 1st in Class at the San Diego Parade.
In 1984 I had restored a 1973 Porsche 914 2.0, and made some suspension tweaks with the thought that I would I begin to autocross with it instead of the 356. In 1985, I was transferred from Santa Clara to Folsom and my adventures with the silver 914 began. In the 80’s, the vast majority of the Porsche’s Autocrossing in Zone 7 where 914’s. They ranged from bone stock, to wildly modified, and some of the area’s best drivers, including many quick drivers from Sacramento where pushing 914’s between the cones. The competition level was very high, and if you did well in Zone 7, you could do well anywhere in PCA.


Phil Cloud Drving the Race 914 at Mather Field
before I rebuilt the car
That Silver 914 with the vanity plate D WUCHT, served me very well as I competed with it at many northern California Autocrosses for 16 years. By the late 90’s and early 2000’s, the nature of the events began to change - there were less 914’s and those that did show were increasingly being towed to events as opposed to being driven there. It was at this time that I began to look into the purchase of a more modified 914 that would be faster than my street 914 and that could challenge the really fast drivers and their cars. In 2000 I found just such a model, the price was right and I purchased the car. It had been stored for a long time, and had been built to be an autocross car. I drove it at the last two events of the year to see if the car and I were a good match – we were. That winter and the following year I rebuilt the car, changed some body panels, added a nice paint job with homage to John Surtees’ Team cars, and began to drive the car in earnest in 2002.


The "Pylon Assasin" at McClelland Field
The transition from a street car, to a purpose built autocross car was significant. I needed to learn how to strap the car onto the trailer, how to tow, and then I had to learn how Race Slicks work vs. Street Rubber. Being in a race car was so different than a street car, the vibration of the engine, and surface the tires ride on are felt much more clearly and viscerally. The learning curve was steep, but as the year progressed, I became increasingly comfortable with the car and was able to push it faster and faster.


During the 2003 season I met the love of my life and future wife, Joy. Ours was a long distance relationship (Redding and Cameron Park), and in early 2004 I was able to share and autocross with Joy for the 1st time. It was March, in Candlestick, it was cold, it was damp it was a long drive that morning. This was Joy’s 1st experience at an Autocross, she was going to drive for the 1st time, and it was all going to happen in a full fledge Autocross race car! Against my strong objections she wanted to get a ride with me before she would drive the car. Did I mention that Candlestick in March is a cold, damp place? Did I also mention that I am on slick race tires that need lots of warmth to get the traction they need? The Green flag came out I gave gas, made the 1st turn, and we started to slide sideways as the car scrambled to get grip, we were heading down the course and I was looking through the passenger window. I got it straightened out, didn’t hit a cone and had a very nice run. Joy can do a better job of telling you her emotions after that run and the one after that - but she looked a bit ‘green’. I was certain I had ‘blown it’ – that she would never be back and would not understand my passion for Autocrossing. However, Joy pushed through the early shock, and she competed the entire season and was named the Rookie of the Year in 2004. She is repeatedly complimented on how smooth she is, and her excellent car placement.

Sabrina, Joy, Me and Hunter @ the Porsche Parade
in Portland 2006
In 2006 and 2007 we were lucky to have back to back Porsche Parades in Portland (’06) And San Diego (’07).  We decided to make these Parades our summer vacation, and since Joy had relatives in both areas it was not just a Parade but a family get-together as well. This was also the 1st exposure that Joy and her kids had to all that is a Porsche Parade.  Now parade autocrosses are normally bigger and are higher speed than our local events. My 914 is not a high horsepower vehicle (2.0 liter 4 cylinder), it relies much more on quickness than top speed. The Portland Parade was a lot of fun, and we both took class victories, but at the 2007 Parade in San Diego, the proverbial stars aligned for me. The course was big (at Jack Murphy stadium) and fast, but it also had a lot corners that slowed cars down quite a bit, allowing a lighter quicker 4 cylinder 914 to make up for raw horsepower. By the smallest of margins I was able to take the Top Time of Day Overall Trophy home to Sacramento for the 1st Time.
Over the past 32 years, Zone 7 has had events at many different sites and I have competed at: Pleasanton Fairgrounds, Splinter City at McClellan, Oakland Coliseum, the old GM plant in Fremont, Crows Landing, Stockton Fairgrounds (our current home), Candlestick Park, Delta College, Alameda NAS, Mather Fields (3 different locations), Santa Rosa Airport, Laguna Seca (in the Pits), Marina Airport, Negro Bar, Cal Expo, McClellan (2 other parts), Sears Point/Infineon, Golden Gate Fields… to name just the ones I can recall. Very few of these sites are available to us today (for a variety of reasons), but each one was unique, had their challenges, which really speaks to the uniqueness of Autocrossing vs. the other forms of Porsche motorsports. Each event will be different then the last one you attended… the course layout will be different even if it is the same site. In Autocrossing, the driver is challenged to determine the quick way around the course beginning with the morning course walk, trying to improve with each ‘run’. When you are behind the wheel you are simultaneously addressing and correcting the behavior of the car at that moment while also looking ahead 1,2 or even more corners to determine where you and the car should be.



Ready to drive between the Pylons!
While, the physical and cerebral challenge of the sport is unique, what creates the strongest pull for Joy and I is the people we have met and socialized with at the various autocrosses we have attended. It is a little acknowledged fact that Autocrossing is as much about the people as it is about the driving and I am sure that if you come out to one of our events you will experience this as well. We look forward to meeting you soon!