Stairway, vicinity of the Women's Market, the outdoor market of Sofia, Bulgaria, 1998. (Rolleiflex Tessar f3.5, Ilford HP5.) Click on image to enlarge

Stairway, vicinity of the Women’s Market (aka Georgi Kirkov Pazar), the outdoor market of Sofia, Bulgaria, 1998. (Rolleiflex Tessar f3.5, Ilford HP5.) Click on image to enlarge

My photographic approach is in flux but always involved slow pace, slow cameras, finicky composition, and careful metering

I prefer fixed lenses to zooms and eschew extreme focal lengths and needlessly high ISO settings.  I enjoy frontal views and strict geometry — this, possibly, a lingering result of  two decades of living and working in the Netherlands long ago, surrounded by Dutch portaiture and marveling at the ever-present horizon and leisurely cycling along the squared-off fields and linear channeled waterways of the Dutch countryside.

When photographing people, I value the intimacy of eye-contact and, with it, mutual recognition and acknowledgement, and prefer the chest-level viewpoint and normal perspective afforded by my old square-format, twin-lens Rolleiflexes.  But, alas, film is expensive nowadays, and processing, scanning, and printing even more so.

When it comes to architecture,  I once preferred my analogue Nikons and rectilinear and PC lenses and, better yet, my folding field camera, a couple of fine German lenses, and a brace of roll-film backs loaded with black/white, color negative, and slide (diapositive) film.

Nowadays, however, I dream of someday having access to the speed, light weight, and advanced sensor of an up-to-date digital camera plus a few high-quality lenses.  In the meanwhile, I make due with my decade-old, endearing but infuriating and malfunctioning, Fuji X100.

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