Photography is, above all else, about light, about capturing photons through either photochemical response [film photography] or photoelectronic excitation [digital]. Film photographers worked with a range of film, both positive and negative, black and white, and color. And color films harbored their peculiar ways of displaying the light they had captured, with, for instance, Kodak’s Ektachrome transparency film yielded images with the color balance weighted toward cooler greens and, as Paul Simon rhapsodized, Kodachrome produced “those nice bright colors”:
The song became something of a personal anthem, given that we also shot Nikons and Kodachrome and shared the experience of in-the-moment joy that can come with the single-minded openness to the unexpected a camera can bring.
Kodachrome died in 2009, Ektachrome in 2013. But as film died, digital thrived, first in the form of very expensive low-resolution still cameras, evolving into cheaper, higher resolution still cameras, them to movie cameras, and finally to today’s cell phones capturing both still and moving images.
And forget the limitations of film when it comes to playing with colors; digital lifts all constraints, adding the capability for seamless alternation and distortions, of which cats seem to be the principal subjects.
The camera’s lens plays a critical role in image capture, with macro lenses capturing the very close and telephoto lenses capturing the very distant. The width of a lens opening also changes the nature of the image, with very narrow apertures creating images with great depth of field, in which images both near and far appear in sharp focus; conversely, wide apertures yield images with a sharp center of focus and in which both near and far are blurred.
Another lens polarity is between the extreme telephoto and the fisheye. Extreme telephoto lenses resemble inverted cannon barrels, while the most extreme fisheye would be nearly hemispherical in profile. Telephoto lenses result in sharp but very narrow focus, while fisheye lenses distort [now, thanks to digital, “correctable” by software].
For a good example of fisheye distortion, see the image at the top of our blog, a self portrait as seen in our reflection in a fisheye safety mirror at the entrance to a narrow passageway at the La Note cafe in downtown Berkeley.
So with that by way of preface, a reprise of a 27 November 2012 post containing one [guess] of our favorite images and a link to another [and click on all to enlarge ’em]:
Seen through glass, more or less darkly
A pair of glass-themed images from an August, 2004, road trip with younger daughter Samantha to the woolly wilds of Northern California.
First, an image of the view outside the former home of an old friend in Petrolia, as seen through a glass sphere on the window sill:
1 August 2004, Minolta Dimage A1, ISO 100, 43 mm, 1/125 sec, f3.5
Next, a glimpse of the play of light through the grid of prismatic circular elements of the French-made sodium glass Fresnel lens — made with a long-lost secret formula — of the landmark Point Arena lighthouse, located on a stunning stretch of coastline:
4 August 2004, Minolta Dimage A1, ISO 100, 15 mm, 1/125 sec, f4