Studio Move

I helped a friend move studios yesterday. Here are some pictures:

Offhand

Night In Chinatown

What a Mess

Guitarist Guy

Some Colour

Something Different

Hand-drawn type specimen

Designers in the Night

I had the pleasure of hangin’ out with designers Christy & Michael.

Blazers Advert

A continuation of the Nikon 35mm f/1.8 lens test. Turns out it ghosts/flares really bad. More on that in an upcoming review.

Lens Test, 2

Lens Test

Finally picked up a Nikon 35mm f/1.8. Tried it out in a very dark bar; results are okay. More test photos to come.

Local band Pine Language played Saturday night at Kelly’s Olympian.

Rock Out

Untitled

Andrew Soltis hugs Ben Baretich in a Burger King parking lot.

Go Slowly

USMC Lance Corporal Kyle Reed applies face paint in a parked car.

I was lucky to see my good friend Andrew Soltis for a New Years Eve bash, and he returned my Nikon lens. Back in action. Portland-based photographer Maggie Hudson and I are starting a project; more on this as it evolves.

My brother was on leave during the past week, so I took quite a few pictures of him. There’s some great material, I hope, and the potential for a nice collection of images. However, I’m forcing myself to not touch the pictures for at least a month. Here is why:

In his book In The Blink Of An Eye: A Perspective on Film Editing, editor Walter Murch (best known for his work on Apocalypse Now) explains the importance of objectivity when editing. Directors often feel very strongly about shots, he explains, because they know the struggles and efforts made in creating them. The editor does not know these exertions because the editor is not on the set. He or she is able to view shots without bias. Thus, the editor is able to pick the scenes, shots and takes that best construct a story. Murch explains that directors who also edit take time off after finishing a movie. They do something strenuous to clear their mind – like climbing the Alps – then return to cut the film with more clarity.

It was really great to see my brother. I was with him for six of is nine days in Oregon. Its an understatement to say that I’m emotionally attached to these photos. I fear that if I sort them now and I may not make the best choices or edits. I’m in no rush. His stay in here took an interesting twist, but we’ll get to that in a month or so. For now, I’ve got to find some mountains.

(Pick up the book if you do anything with pictures or motion. It’s cheap, a fast read and you’ll learn theory. Murch nails it. Well worth it.)