Analog Love Letter: Architectural Sails

Here's another one of my Lomography/Xpro phase photographs during the mid to late 2000s. Xpro, or cross processing, is developing your film in the wrong chemicals in order to yield odd color shifts you wouldn't get if you processed your roll of film in its normal chemicals. For me, xpro'ing film allows the viewer to see the world with a different set of eyes. Some film that's xpro'd will shift into the red as if you've got a pair of infrared eyes, and some will shift in the blue's and greens.

This particular film shifted towards the green and yellow with a bit of blue. The Walt Disney Concert Hall is an amazing piece of architecture. When it was first built, light that fell on the reflective surface was so bright that people who lived in the adjacent apartments and condominiums complained and a fix was made to the building to dampen the effect. 

Frank Gehry, its architect, is one of my favorites. He also designed the Guggenheim Museum in Bilbao, Spain.

"Walt Disney Concert Hall curves" / 35mm cross processed Kodak E100VS / February 2010

Analog Love Letter: Los Angeles Silhouetted

When 500 Days of Summer came out, it become an instant movie favorite of mine. It was a bit of a love letter to a couple of things I hold near and dear which is Los Angeles, The Smiths and well, falling in love.

There is a scene in the movie in which the two protagonists spend a brief moment together on a park bench on Bunker Hill next to the Grand Central Market and Angel's Flight (which is now closed sadly). The scene made the park so famous that for a brief time, there was an actual bench dedicated to the movie and I believe it was called the "500 Days of Summer Bench." Correct me if I'm wrong.

I went to the location with the mission to take a photo of GCM while sitting on the bench but I took this photo of the buildings being silhouetted because the bench was cordoned off. I later learned that the park itself was being closed down and the bench is now no longer there.

"There is a light that never goes out" / 35mm Kodak E100VS / February 2010