Remnants v3

Dennison R6 L-C016

MOMA has a photography exhibit, appropriately, Ocean of Images: New Photography 2015It runs through March 20 and I hope to plan an escape some weekend. It seems that each year, this exhibition—like others that explore trends and new artists in a given medium—brings out the opposing camps: “No, this isn’t photography” in one corner versus “Of course it is, it’s a new, fresh look at photography” in the other. Time marches on so change is inevitable, good or bad.  For now, I take a look back.

Dinsmore R0 L-C026

These B&W photos—like the ones in Remnant and Remnant v2 come from the same collection or year they were taken, which was sometime in 1973.  I am particularly moved by this photo, a portrait of a teacher I had in high school.  Mr. Dinsmore was his name. He had an emotional quotient [EQ] that was apparent long before EQ became a chapter in any number of business management books and case studies. First and foremost, he was a very good english literature teacher.

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Sadly, I learned that Mr. Dinsmore passed away, a brain tumor taking him from the school and his charges.  His spirit—and my memory of him—lives on.


Remnants v2

Dennison R7 L-C016

I love “time machines.” Old print ads, mechanical cameras and fountain pens, and of course, museums.

Coming across black & negatives and prints—especially those you haven’t seen in decades—is a journey all its own. I’m not waxing forlornly for the past, but I am revisiting these slices of time: what are the “whys” and “wheres” of these images?

Dennison R7 L-C018


Robert Dennison R7 L-C014

Obsolete Film, Interesting Images

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It doesn’t take a whole lot to keep me entertained. While on vacation I took some photos using outdated medium format film [120 Fuji NPH 400 color negative].

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It is true that using film cameras can slow you down, but that’s not a bad thing if you want to slow things down a bit. Shooting medium format film—to me anyway—can be relaxing. I have to think, be immersed if you will, because everything is manually and mechanically accomplished: shutter speed, aperture, exposure, film advance, loading/unloading and so forth.

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Call it nostalgia, but I get a lot of pleasure controlling my cameras versus having cameras control everything right up to when the shutter is pressed.

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The home that becomes a house

15 Homestead-1004999As is often said, the only constant in life is “change.” From the simple, to the complex, there’s an undeniable commonality about anything that changes: something is altered, modified, created or destroyed.

Such is the case when the Homestead recently sold. No longer a home, it is now a house, an empty canvas ready for what every new homeowner does to a key living space: change it to make it their own. In effect our ancestral abode has shed the attributes that made it our home. Think of a brand losing or morphing its attributes into qualities altogether different. Such qualities are not entirely alien, but changed enough to see and feel a difference from what was once a space all too familiar.

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It’s been decades since I lived at the Homestead full-time.  At present, I choose to recall good memories as the not-so-good memories dissolve into the negative space created by vacated furniture and other items. As noted in a lyric from a Carol King song, “…yesterday’s gone, but today remembers…”

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