Category Archives: Photographs

Tracking Charnier

Movies, Photographs

The French Connection.

This post contains spoilers regarding the conclusion of the movie The French Connection II so if you have not seen the movie and it’s on your list, quit now.

The original The French Connection was released in 1971 and was directed by William Friedkin. Famous for its car chase under the elevated subway, it’s a far lighter movie than its 1975 successor, directed by John Frankenheimer. Both movies address the smuggling of heroin through the French port of Marseille and the sequel has some truly horrifying footage of a heroin addicted Gene Hackman nearly dying from his captors’ ministrations.

Suffice it to say that the last ten seconds of the second movie are some of the most dramatic on film, culminating in the death of the drug kingpin Alain Charnier, splendidly acted in both movies by the distinguished Spanish actor Fernando Rey.


Montpellier to Marseille.

My son Winston spent an extended sojourn in France during the first half of the year, extending his French studies with a tour of Europe, centered in the beautiful ancient town of Montpellier, some 70 miles west of Marseille on the Mediterranean Sea, and he came up with the idea of finding the exact location from which Hackman fires the deadly shots at the evil Charnier. He did this using his memory of the documentary style ending, no GPS involved, but his image of the shooter’s location comes with GPS data courtesy of the iPhone he used. This is from the shooter’s viewpoint, though Charnier’s luxury yacht is missing:


Winston’s image of Charnier’s location.

And here are the exact coordinates:


The site of the climactic closing seconds of the movie.

Tremendous fun and encomiums to Winston for his diligent tracing of a great movie location.


Hackman, as ‘Popeye Doyle’, fires the killing shots.

Edward Hopper and the American Hotel

Paintings

A fascinating review.

You can view my library of photography and art books by clicking here.

Published in 2019 this splendid anthology of Hopper’s painting centers on the theme of hotels and travel and is recommended for the many illustrations it contains. You certainly should not buy it for the prose which is stultified and lugubrious in the extreme. The fact that the noun ‘dialectic’ occurs regularly suggests that the writer(s) learned English as a second language and are intent on having you know that they understand the rules of grammar better than you. Example: “As a frequent painter of hospitality sites, Sloan provides object lessons how a hotel can suggest value in the vernacular and comfort in the commonplace” (p.21). Please.

Well, forget that nonsense and luxuriate in the host of images contained in the book’s 200+ pages.

One of the really fun inclusions consists of two maps documenting road trips Hopper and his wife took in 1941 and 1952-53. Lots of fun as they show the exact places he stayed and (often) painted.


The book with Hopper’s road trip maps.

The long, sharp shadows and miserable people which Hopper so often depicts are abundantly present. He pulls no punches, even when the humor is sardonic as in this amusingly titled ‘Excursion into Philosophy’:


Excursion into Philosophy, 1959.

And those miserable people can only be described as exceptionally physically ugly:


Ugly. Morning Sun, 1952.

Hopper’s vision is intensely photographic but one interesting educational point of the book is that he was also a fine cartoonist, creating no fewer than 18 covers for an industry periodical named ‘Hotel Management’. Not the most thrilling of subjects, true, but he glamorizes the travel experience and its travelers – his style is reminiscent of George Barbier:


Hotel Management cover, May 1925.

The book is recommended for all photographers looking to enhance their vision.


Click the image for Amazon.

Thank you to my son Winston for the fine Christmas gift.

Notre Dame reopens

Photographs

Glorious.

Well, it took 5 years and almost $1 billion in contributions sourced from across the planet (yours truly included) and Notre Dame reopened today, recovering from unspeakable tragedy. While one sour note is sounded by the presence of the Pig of the Western World, as morally degenerate a human as has ever occupied the White House, all churches attract vermin and Notre Dame is no exception.

So let’s rejoice that the world occasionally does something really right. The Grande Dame is back:


The reopening ceremony. Click the image for the video of the ceremony.


The new spire.

Vive La France!

Carmel de Nuit

Photographs

Night photography.

When I think of night photography two names immediately come to mind – Brassaï and O. Winston Link. The former for his mythical images of Paris at night, the latter for the greatest steam train images ever made.

Back in 2013 I determined to photograph the festive season windows at night in that up market retail paradise, Carmel, and related the experience here. It bears adding that I have owned many 35mm focal length lenses but two stand out – the 35mm f/2 Asph Leitz Summicron for its contrast and the 35mm f/1.4 Sigma for its sensational definition – assuming you can get one that actually focuses correctly. The resolving power of the Sigma is unquestionably the highest I have enjoyed on any camera and the stellar definition is abundantly in evidence in my images. So it was the Sigma, attached to a Nikon D3x, which was the optic of choice for the night images of Carmel’s magnificent shop windows. Anything but lightweight, this combination was mounted on the outstanding Sirui K-40X ball head attached to an ancient and massive Linhof tripod. Looking at the data exposure times varied from 1/15th to 8 seconds and apertures were mostly f/5.6 or f/8. I let the Nikon do the exposure figuring though I had the camera set to underexpose by 1 stop, knowing that burned out highlights in these very high contrast images would not be recoverable in post processing. And speaking of processing, the new to me features of Lightroom Classic compared with my ages old Lightroom v6 made the already fine images even better, specifically the sophisticated masking tools and the ‘Texture’ slider which made the many images of clothing really come alive. Why, I almost feel good about sending Adobe $10 monthly for these enhancements. A couple of images were round tripped through Affinity Photo 2 to square things up.

Anyway, of the 56 images 42 were winners and you can view the slide show by clicking the picture below. The music is Cole Porter’s “I’ve got you under my skin” and the slideshow was generated using LRc. I encourage you to view this on the largest screen in your home, the TV, as the quality of the photos is nothing short of spectacular.


Click the image for the slideshow.