Greetings to all at APUG. I'm very pleased to have found this community and wanted to provide an open and brief intro. for one of your newer members.
I am a lifelong cinephile turned art enthusiast turned stage actor turned experimental writer and P&S photographer turned aspiring cinematographer, in a nutshell. I've been working with digital video for the last 2.5 years and am now gravitating towards film-based SLR photography (first 35mm, next medium format) for an intricate web of reasons...
In no particular order:
1. I want to work with film.
2. I want to work with black and white (film).
3. I want to work with good equipment (lenses) that I can afford to own.
4. I want to learn basic photo theory (and then some).
5. For learning and image analysis, still photography makes a lot of sense to me.
6. I want to apply what I learn to motion picture arts.
7. I want to be involved in a medium the gear for which does not render itself obsolete months after purchase! How refreshing indeed!
8. Still photography is a much better partner for private, solo creative ventures, than is video, for me. Much more satisfying in many respects.
And so it is with this that I begin. I recently bought myself the best Christmas gift I could afford, the NIkon F6, with a little money left over for one lens and a tripod head, a bag, and some initial film. I am committed to the one lens, 50mm 1.8, for at least six months, in the name of cost effective discipline and growth (I actually do like the focal length).
Subject "genres" include stilllife, abstracts, macro, documentary portraiture, and urban landscapes...
Influences include Bresson (Bressons actually: Henri-Cartier as well as filmmaker Robert Bresson) and James Nachtwey.
I currently don't have access to or the schedule for doing my own darkroom work, and so I am content with working through a good lab or two, for now.
I currently have a deep interest in documentary portraiture and making myself available to the profound moments of form and light within the context of regular life. I am looking to portray the transcendental as well as the absurd, both of which seem to be rampant in modern life. My interest is in form, on the deepest level, and I expect to find everything I need in the streets, on the buses, and on the leaves and branches in the trees.
Favorite films and directors include:
films by Andrei Tarkovsky
Sans Soleil, by Chris Marker
The Hypothesis of the Stolen Painting, by Raul Ruiz
Persona, by Ingmar Bergman
The Color of Pomegranates, by Sergei Paradjanov
The Battle of Algiers, by Gillo Pontecorvo
Koyaanisqatsi, by Godfrey Reggio
Au Hasard, Balthasar, by Robert Bresson
Russian Ark, by Aleksandr Sokurov
The Passion of Joan of Arc, by Carl Dreyer
M, by Fritz Lang
Arsenal, by Aleksandr Dovchenko
The Man With The Movie Camera, by Dziga Vertov
Favorite authors include:
Jorge Luis Borges, fictions
Franz Kafka
James Joyce
Carl Jung
Ezra Pound
Paul Bowles
I am a lifelong cinephile turned art enthusiast turned stage actor turned experimental writer and P&S photographer turned aspiring cinematographer, in a nutshell. I've been working with digital video for the last 2.5 years and am now gravitating towards film-based SLR photography (first 35mm, next medium format) for an intricate web of reasons...
In no particular order:
1. I want to work with film.
2. I want to work with black and white (film).
3. I want to work with good equipment (lenses) that I can afford to own.
4. I want to learn basic photo theory (and then some).
5. For learning and image analysis, still photography makes a lot of sense to me.
6. I want to apply what I learn to motion picture arts.
7. I want to be involved in a medium the gear for which does not render itself obsolete months after purchase! How refreshing indeed!
8. Still photography is a much better partner for private, solo creative ventures, than is video, for me. Much more satisfying in many respects.
And so it is with this that I begin. I recently bought myself the best Christmas gift I could afford, the NIkon F6, with a little money left over for one lens and a tripod head, a bag, and some initial film. I am committed to the one lens, 50mm 1.8, for at least six months, in the name of cost effective discipline and growth (I actually do like the focal length).
Subject "genres" include stilllife, abstracts, macro, documentary portraiture, and urban landscapes...
Influences include Bresson (Bressons actually: Henri-Cartier as well as filmmaker Robert Bresson) and James Nachtwey.
I currently don't have access to or the schedule for doing my own darkroom work, and so I am content with working through a good lab or two, for now.
I currently have a deep interest in documentary portraiture and making myself available to the profound moments of form and light within the context of regular life. I am looking to portray the transcendental as well as the absurd, both of which seem to be rampant in modern life. My interest is in form, on the deepest level, and I expect to find everything I need in the streets, on the buses, and on the leaves and branches in the trees.
Favorite films and directors include:
films by Andrei Tarkovsky
Sans Soleil, by Chris Marker
The Hypothesis of the Stolen Painting, by Raul Ruiz
Persona, by Ingmar Bergman
The Color of Pomegranates, by Sergei Paradjanov
The Battle of Algiers, by Gillo Pontecorvo
Koyaanisqatsi, by Godfrey Reggio
Au Hasard, Balthasar, by Robert Bresson
Russian Ark, by Aleksandr Sokurov
The Passion of Joan of Arc, by Carl Dreyer
M, by Fritz Lang
Arsenal, by Aleksandr Dovchenko
The Man With The Movie Camera, by Dziga Vertov
Favorite authors include:
Jorge Luis Borges, fictions
Franz Kafka
James Joyce
Carl Jung
Ezra Pound
Paul Bowles
heheheheh
Welcome to the fold!
I'm so pleased to see that you like Russian movies... in overall, our interests are quite close 