Plum Island Cinemagraph (gif)

Posted on Feb 8, 2014 in Projects

These are a ton of fun to do




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Number two scratch filter

Posted on Feb 1, 2014 in Blog

A number two scratch filter takes place after painstakingly developing and tossing them on concrete. What follows is a two scratch motions with my foot and there you have it, hauntingly creepy negatives that look amazing. Here is an example of that….recently developed a roll of film of oceans capes in California. Enjoy


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Fashion Models Alee & Priscella

Posted on Jan 31, 2014 in Blog, Projects

I had an opportunity to collaborate with two amazing models that are up and coming in San Diego, you can find them on instagram @aleerose and @priscellastef

The work is a mix of digital and film….there are still two more rolls from the rolleiflex that I need to get done but my scanner is on the fritz. Until then enjoy these!

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Venice Beach Cinemagraph Gif

Posted on Jan 23, 2014 in Blog

Venice Beach Cinemagraph Gif

Shot with an 8 stop neutral density filter at 30 seconds iso 100.


Venice Beach Cinemagraph Gif




Selfie Cinemagraph


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An adventure from Malibu to Humboldt

Posted on Oct 25, 2013 in Blog, Projects

There are times in your life when you go on a two month trip and take over 20,000 images.   Sometimes it can be because you are machine gunning an awesome moment, perhaps a time lapse, but most of the time is because everything is beautiful.

These images are a glimpse of a two month adventure.

For more check the previous blogs.

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Fall in Love with Film Again – Voigtländer Bessamatic SLR Test

Posted on Oct 12, 2013 in Blog, Projects

Fall in Love with Film Again – Voigtländer Bessamatic SLR Test

For my etsy store, Cool Vintage Cameras, testing is one of the most important part of making sure the camera is fully operational. I recently came across a Voigtländer Bessamatic 35mm SLR Camera that is in near mint condition.  For this test, I used the in-camera light meter for accuracy & the results were quite impressive. Here is some background info about the Bessamatic before the gallery.

The Bessamatic was launched by Voigtländer in 1959, a few years after the 1953 Contaflex and the 1957 Retina Reflex, all from Germany. This is by far the biggest and heaviest of these three leaf-shuttered SLR cameras, at more than 2 lbs. or 0.935kg. The late arrival on the market had helped Voigtländer improve the ergonomic design taking advantage of previous designs. Nevertheless, it has all the shortcomings found on these cameras, the finder blackout after exposure and the limited range of interchangeable lenses.

The Bessamatic is easy to handle and the controls are sound and reliable. The shutter is the behind the lens SLR Synchro-Compur, as found on its fellow competitors, with the EV cross-coupled shutter speed and aperture rings. The viewfinder is bright and the focusing screen has a split image rangefinder, probably the same as found in contemporary Contaflex cameras. The focusing ring is at the front of the lens. The selenium meter cell window is above the lens, in front of the finder prism where it out of the way for light-obstructing fingers. The light meter needle is visible to the right in the viewfinder, as is a follower pointer with a small circle at the tip. They are easily brought to coincide using the large aperture-control knob under the smaller rewind knob.

The camera has a sturdy wind-on lever at the right-hand side with a flimsy film reminder in the hub. Next to it is the shutter release and the rewind release lever. At the left-hand side is the rewind knob at top of the large aperture knob. A small lever on the left-hand side of the shutter housing have settings for M and X flash synchronisation, as well as V for self-timer, shifted when a small button is depressed on the opposite side of the shutter housing.

The camera back is opened by pushing two small latch buttons against each other using two fingers. The rewind knob is fully extended to load the film cassette. The only quite unusually odd thing about this camera is the frame counter, not the readout itself situated quite conveniently at the back, – below the wind-on lever, but the way in which it is reset. To set it, the film advance sprocket drum, next to the take-up spool, must be turned, using the thumb at the ridged middle part until reaching the desired number. It is difficult, time consuming and not very practical. Otherwise, the interior is beautifully finished and the film easily loaded.

The lenses available for the Bessamatic are quite comprehensive, ranging from 35mm to 350mm and are considered as being of superior quality, but rather expensive second hand, since not easily found. The Bessamatic is often associated with the first 35mm zoom lens, the 36 to 82mm f/2.8 Zoomar made by the Zoomar Corporation of USA.

If you would like to purchase the camera click here

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Capturing Nostalgia – Polaroid Emulsion Lift Transfers

Posted on Sep 30, 2013 in Blog, Projects

Equipped with Impossible Project instant film and a Polaroid SX-70 Camera, capturing nostalgia is not finished without the laborious emulsion lift transfer.  This process is done by ripping the Polaroid apart, wiping the glue off the back, heating the Polaroid in hot water to remove the emulsion & transferring to watercolor paper carefully with brushes.  The technique that I have used has evolved over the past year to achieve desired  results.  Note: If you do not have patience, never ever try this.  The first couple of times I did an emulsion lift, my results were not desirable…like anything, over time things for better.

Here is how the process is done:

Fill a tray with hot tap water heated to approximately 150 F. Fill another tray with warm tap water.

Immerse the dried Polaroid print face up in the hot tap water for 2 to 4 minutes. When small bubbles appear on the surface of the print, then it is ready for the next step. Different film requires different time in the hot water bath. Expired polaroid film requires longer time in the hot water bath as does black and white Polapan film.

Transfer the print from the hot water bath (after about 4 minutes or so) to the warm water bath and gently push the emulsion layer from the edges of the print to the centre using your fingernails. Carefully lift the emulsion and peel it away from the backing. Throw away the backing and place your receptor sheet (watercolour paper, rocks, wood, glass) in the warm water under the thin emulsion. The emulsion is very fragile at this point, so be careful not to tear the image. Gently float the emulsion layer on top of your receptor. Hold the emulsion lift by the corners and lift it in and out of the warm water a couple of times to remove the wrinkles and stretch the image. Allow the wrinkle free, stretched image to lay on top of your receptor sheet and lift the entire image and receptor out of the water bath.

You can begin manipulating the image by purposely causing wrinkles and tears to add texture and interest to the image. When you are satisfied with the placement and manipulation of the image on the receptor sheet, gently roll the image with a rubber brayer to remove air bubbles. Let the image lift dry overnight. Press the image under a press or under a large stack of books overnight to remove any lumps or waves in the receptor sheet.

Once the images is flat and dry, you can manipulate the image further by applying watercolors, pastels, marshall oils and pencils to further enhance the image.

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