No Traces, Ray of Sunshine (Dec. 23, 2004).
I guess I would call this the first "normalized" week in the new apartment. It's pleasant, albeit quietly so. A place to sit and read (Philip Caputo's A Rumor of War currently). A place to wax somnabulent as the History Channel talks about Fremont's conquest of California. There are, of course, things I do miss of the home I grew up in. Although I had intended my stay there to be brief - an intermission between moves - it stretched out longer than expected, and I grew fond of waking up to walk my dog. Therefore, this first picture, from No Traces is a good example of just what I miss: the goofy, sweet pleasure of having a dog around. There's a neat perspective on this shot, which is brought on by the use of a fisheye lens (unless the dog is, um.... special). I need to get one of those lenses, someday.
Cariboo Images and Thoughts, School Master (Dec. 2004).
From the technology of the last shot - a Canon 20D digital camera with a precisely ground lens - to the barest beginnings of technology; this is the first benefit of School Master, from Cariboo. Taken with a pinhole camera, one of the earlier-developed styles of cameras. I appreciate School Master, both from the structural perspective of how the image came out and from the historical perspective of what was required to take pictures in the 19th Century.
Shutter~Log, Femme au cinema (Sep. 27, 2004).
This is one of those shots that, initially, I have a hard time explaining why it pleases me. Taking pause, though, I suspect that my strong initial reaction to Shutter~Log's Femme au cinema is based on the vibrancy of the colors. The rich red of the theater seat contrasts perfectly with the black background. The symmetry of the "femme" of the picture also serves the shot well. The viewer only sees seven seats in the image, yet suspects that, given the symmetry, there is no one else in the theater. It gives the image the hint of a story.
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