Cindy Sherman - Trish Morrisey - E200

Ms Sherman is a the Mammy of the sort of stuff being cogitated in the Avenue just now.  And Trish Morrisey brings it closer to home.  Both of them get claimed by postmodernism and feminism, and I'm avoiding one of those roads and am unsuited for the other.

I don't know what gear Sherman was using, I suspect large format, and I read somewhere that that's what Morrisey is doing - which is fair enough, to get the right look, and maybe also to point up the ambiguity  of the images.  But I'm going with MF, and the Sporti.  It's the right camera for the era - a Holga would be foolishly lomo, (I'm starting to hate that description), and the Nikon F would feel too near-perfect.

I've already blogged that I'm getting shagged-off with Black and White, lately.  This was reinforced when I was having a discussion in Flickr with Cliff about family photos, and he pointed me to these, which crystallized the emerging antipathy - beautiful photos, but their beauty's only emphasizing their banality.  B&W's ok if you want it to represent something, an early 60s snap, say.

But colour's much more expressive. I've ordered three rolls of E200, to put through the Sporti and xpro.  I like the way the colour shifts are apparently unpredictable.  What I did notice was that Holgas seem to give a bigger shift than, say, a Mamiya, so it might be down to lens quality.  Which means finding out what the Sporti does with it might be fun.




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