Louisville Magazine

DEC 2018

Louisville Magazine is Louisville's city magazine, covering Louisville people, lifestyles, politics, sports, restaurants, entertainment and homes. Includes a monthly calendar of events.

Issue link: https://loumag.epubxp.com/i/1055789

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Page 37 of 88

kyoms.com LOUISVILLE MAGAZINE 12.18 35 #grainisgood — testify to his love of the old way of doing things. "I'm not saying you can't shoot digital without a discipline, but for me, the lm focuses me to see more of the eects of light in real life rather than taking the picture, then looking at a screen to see the light. "And every shot, considering that lm and processing cost money, has a tangible value," Grubbs continues. Between the cost of large-format lm and the cost of having it processed, one could spend close to $10 per shot. Once, I stood outside State Film Lab and shot a brilliantly painted gra†ti tag that somebody who goes by KONQR had splashed on the building across the street. I positioned the view camera near the railroad bridge, so I could, in the same frame, include both the tag and the colors of the comic book store beneath it. State developed both exposures, and they came out beautiful, rich and bright. I was grateful, because the next day the tag had already begun to be painted over in a Œat, brutal white. "I love the traditional form of street photography," says Andrew Cenci, who began shooting on 35-millimeter lm and has since experimented with medium- and large-format. "ough there is dispute over what constitutes proper "street photography," Cenci says he is drawn less to architectural shots than to the chance to explore people. Cenci has traveled to Tokyo and Bangkok to take pictures, but he has also hewn close to his neighborhood in Shelby Park. He relishes the Derby, when the streets of Louisville prove more interesting, he says, than New York. A number of his street shots from Asia, all done on black-and-white lm, were on display in the Green Building Gallery this year, as part of a dual show titled "Discover." For the opening, the largely packed room bustled with conversation. Cenci's digital work began when he took photos for an engineering and equipment company called MXD Process. Later, working for a local design company called Forest Giant, he met Dean Lavenson, a local professional photographer. "e two hit it o, Cenci says, and started going out for drinks at Ward 426 on Baxter Avenue, across the street from Lavenson's studio, which shares a building with State Film Lab. Cenci learned about the 4x5 view camera and loved how it excelled at portrait photography — the depth and the contrast one could achieve. When he learned that Lavenson, who does all his commercial shooting digitally, was fully procient with the use of the 4x5 view camera, he asked him — "begged" is the word Cenci uses — to teach him to use the camera. Lavenson eventually agreed. When I show up at Lavenson's studio for the rst Monday of his free three-week class on view cameras, pizzas are in the commercial kitchen that is part of the studio. "ere's a pizza oven for his work with Papa John's. "e bulk of Lavenson's studio is a simple, mostly white space. A 4x5 Cambo — a professional-quality camera — is mounted on an imposing monopod and links directly to the iMac on a small table. His mother helped buy that camera when he enrolled in the Brooks Institute of Photography in Santa Barbara, California, in the mid-1980s.

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