The photo is why I'm feeling better about buying the D2H. The camera itself is on its way to B&H in New York City, hopefully to return by the beginning of next week with a working vertical shutter mechanism. I'm not sure I could have shot Emmy in quite this way without the visual feedback I got real time from the camera. Similarly the bird silhouette from yesterday's entry. I like it, and, although I'm pretty sure I could have nailed it with film, I wouldn't have known, really known, until the film was developed. The photo's not great, but it's different, different from what I've been shooting, and that was the idea.
The modeling stool and arm rest arrived today. A simple round pneumatic stool with a felt covered platform on casters for the model to rest his or her elbows on as I'm putting their immortal image on film, the old chin in the palm shot, necessary, I'm told, in building a proper portrait outfit. You can see I haven't given up on the studio lights (which still clutter up the living room), all of these avenues of endeavour - the digital camera, the lights - are rolling forward, albeit at a snail's pace, albeit on my own internal time, albeit stated and related with the usual bull(shit), here in Oakland.
I hope to complete them before I myself am finished. Did I mention the PhotoShop upgrade that arrived last Friday? That has, I discover, a built in Nikon digital image plug-in allowing one to manipulate D2H output in clever ways? The Dreamweaver classes that start in April, paid for by the company? I haven't mentioned these? Well. Projects, you see, many projects for the coming spring, all happily happening in parallel, all coming to fruition sometime after I turn a hundred and three. Dee-dell-dee-dee.
You've switched to the Glenmorangie, I take it? Two sheets to the wind, moving toward three?
Emmy's kinda cute, isn't she? Dee-dell-dee-dee.