Daniel D. Teoli Jr.

APUG / Photrio didn't like my photos so they kicked me out a long time ago. But I still read it once in a while. They had a post on the never ending debate on cropping and street work.https://www.photrio.com/forum/threads/cropping-and-street-photography.172596/This debate is just one of ego. I once saw a terribly crooked photo by Cartier-Bresson of a bullring at a museum. He would have rather presented a crooked photo than straighten and crop it...it is all ego. It is the photogs job to present the best they can, unless they aspire showing garbage as Winogrand was prone to do.If it works uncropped, great, but most of my street work is cropped. Now, if you are working for job and they demand no crop or you are a crime scene photog, then sure cropping could be bad. But if you are just working for yourself, crop or uncrop...it just does not matter...unless you are a slave to your ego. I once read on a forum that the photog said if a photo had to be cropped it was not meant to be taken. Another said if they stopped making film they would give up photography. Both egomaniacs that serve their ego before the photo.To me, the successful photo has a poetic flow to it. This flow can be one of harmony or one of discord. Whatever it is…the photo flows. This poetic flow is what separates the snapshot from the photograph. It is the same with the successful poem vs. a mass of meaningless words. One has poetic flow, the other does not. The poetic flow makes it stick in our mind. Sometimes the situation does not allow for much poetic flow. You just want to record that moment in time. That is how I think of poetry as it relates to photography. In any case I use all the tools available to me to make the best poetic flow I can with my photos.With my work I seldom show the uncropped, non-post processed photos. That stuff follows you around for life once it is on the internet. Why show your junk? But once in a while I show some examples for the die-hards that say don't crop, don't post process, etc. And it may help the newbies that think everything is always perfect.Here is one of Mike Busey at one of his infamous parties. Mike is the brother of actor Gary Busey. It is from my project The Americans...60 years after Frank. I could not get any closer, so made do with what I could get. You can see for yourself what basic cropping and some dodging and burning can do.If I was a Photoshopper I guess I could have done better removing unwanted things. In my case I don't know how to use Photoshop and just get by with Lightroom. And in the big picture, once you start doing too much bullshit to a photo it loses it reportage value and it becomes just fiction.As a social documentary photog I try not to stray from the material honesty of the photo or main message the photo conveys. Cropping, dodging and burning are the basics we all did in the wet darkroom back in the day. I carry over those same techniques into my digital work to prefect a photo's poetic flow. It is strong NSFW so don't complain if you decide to look at it at the link.NSFW https://danielteolijr.wordpress.com/2020/01/26/cropping-and-street-photography-are-you-a-slave-to-your-ego/

I wrote to Vimeo twice to complain. Looks like they restored the deleted videos. But have not checked them all. I wrote to another website to complain about them deleting one of my uploads and they banned me altogether and took down all my content as a bonus. I figured I don't have much to lose with Vimeo so gave the 'squeaky wheel gets the grease' a try.

Thanks Phil. Never heard of it. I could not find new ones. Are they still being made? Like everything else guess you gotta go to eBay for one. https://www.ebay.com/itm/KINOTON-FP-38EQS-16mm-35mm-professional-Cine-Projector-Many-Extras-Warranty-/283318526163

Thanks, I appreciate that. Seeing the series 'More Treasures from American Film Archives' was a big help to me with film preservation. It clued me into not trying to make the films perfect. And in the big picture I am not trying to make them perfect, but I've been trying to clean them up by cutting out some of the splices or short 10 frame defects etc. I watched some of the films they had in the 'More Treasures from American Film Archives' series and they left in a defect or a few second film decomposition that didn't have any material effect on the film. They could have cut it out and it did not matter, no one would have missed it. But I guess they work under the auspices of every frame is important, even if the frame is mostly obliterated. I also liked the discussion of toned and tinted film on that series. They had a very rare 2 tone film there. Film base was dyed, silver emulsion was toned. Their toning and dye commentary was very important to my education of film preservation. I got 600+ films to scan in my archive. +/- half a million feet of small gauge film. But have little time to work with it. Film is not the only area I work in. While most of the films I have are silent, maybe 15% are sound. And that is another challenge to do with a silent scanner. I've placed a few DVD scans of my films (archival and personal experimental films) with institutions as donations. I hope to work more in that area. But it all takes time. In any case, film preservation work is some of the most interesting work I could hope to ever encounter....it is just fascinating. Everyday I wake up I can't wait to dig into it.

Vimeo deleted all the videos on my SGFA account. I snuck Hollywood Sand Witches in after they deleted everything. But it may not last . Really sad how all that work goes into preserving history just to have it wiped out....cancel culture 2020. From now on I will prob just use the Internet Archive. In the Rustbelt we have the worse internet in the nation. 1.0 upload .4 download speed. When doing any uploads or downloads my computer grinds to a halt. Uploading videos takes many hours. Then all my work just gets wiped up for my trouble. Here are 2 links for Hollywood Sand Witches if Vimeo deletes this video. https://archive.org/details/hollywoodsandwitches720pd.d.teolijr.a.c. https://archive.org/search.php?query=Hollywood Sand Witches 720p

Vimeo canned my ass. I lost all my videos. Here are 2 links for Crowded Train on the Internet Archive. Hopefully it stays put. https://archive.org/details/crowdedtrain720pd.d.teolijr.a.c. https://archive.org/search.php?query=Crowded Train 720P I lost 48 Tumblr websites as well once they changed their policy. Just no continuity with internet. Really depressing sometimes. You can put in years of work and lose it all in an instant. Do you know how much work went in to making 48 Tumblrs? Sometimes you just want to give up on it all. What's the use?

NSFW A rare 1928 silent 16mm film by Cine Art. Contains nudity and racist themes. Film was dyed yellow / amber color with numerous splices, breaks, base scratches and blown sprockets. 2K transfer with Retroscan. I also scanned the Wood Nymphs from Cine Art, but it was in terrible shape and needs lots of cleaning up. Hopefully will get it out in a week or so. After seeing the films and listening to the commentary of the DVD set 'More Treasures from the American Film Archives' I am not so fussy with defects. They had some beautiful dual colored films. Highlights were dyed yellow, shadows were silver toned green / blue. Daniel D.Teoli Jr. Archival CollectionDaniel D.Teoli Jr. Small Gauge Film ArchiveDaniel D.Teoli Jr. VHS Video ArchiveDaniel D.Teoli Jr. Audio ArchiveDaniel D.Teoli Jr. Social Documentary Photography

35mm archival projection was mentioned in the interview. I thought all projectors caused wear and tear. I didn't know they had such a thing.

https://hyperallergic.com/538404/momas-dave-kehr-on-film-preservation-and-why-theres-never-enough-money/ Marking its 17th edition this year, the Museum of Modern Art’s To Save and Project festival celebrates newly preserved and restored films, both from the museum’s collection and other archives and distributors from around the world. This year’s slate included the premieres of restorations of silent films by D.W. Griffith and Raoul Walsh, a collection of amateur films in the National Film Registry, a previously unreleased PSA about age discrimination from Night of the Living Dead director George Romeo, and more. To Save and Project represents New York’s biggest film preservation event of the year. Hyperallergic spoke to Dave Kehr, a curator in MoMA’s Department of Film and former film critic at the Chicago Reader and the New York Times, about this year’s festival. The conversation ultimately broadened into how To Save and Project has evolved over the years, how digital has radically changed restoration practices, the funding difficulties archives face, and the generational shift occurring in the film preservation field. This interview has been condensed and edited for clarity. * * *

Thanks for the rundown!

...there is a reason Deakins is rated #1. The proof of his mastery is in the pudding.

That is not a question I'm asking you. That was a question someone asked on another forum. I give you my answer, with illustrative photos at the link. NSFW https://danielteolijr.wordpress.com/2018/01/27/is-flash-important-for-street-photography-at-night/ I do a tremendous amount of night / low light street photography. When it comes to night / low light street photography you only have a few choices to choose from. Available Light Film / High ISO....Available Light Digital / High ISO....White Light Flash....Infrared Flash....Electric Lighting....Tripod Shots. My first choice for night street photography is to use available light. Next is a mix of available light with fill white flash. Sometimes there is not enough available light, so it is mostly flash. If I need to stay low key it is IR flash aka ‘blackout’ flash. With regards to tripods…I seldom, if have ever use one. As a documentary / street photographer, I take pride in my technique to be able to get the shot handheld and on the fly. At the link I also show some examples of 'push processing' film and digital. With digital, push processing is a dream compared to the old film days. Every image can be handled separately as compared to treating an entire roll of film. Over the years I have replaced much of my white light flash work with infrared flash. The drawback with infrared flash is it is black and white and you can't do motion blur well. All the light comes from the IR flash in the dark and infrared does not pick up much of the available light. This is getting more true as the world switches to LED lighting. In the old days you could get some motion blur with a slow shutter speed shooting infrared flash if you had incandescent lights in the background. But whatever method I choose, I can work seamlessly between all styles. That is the key...working natural. With candid street work there is no time to learn on the job. Especially in our world we live in nowadays with all these agitated people. But that is a different post...Self Defense for the Street Photographer. (Google if interested.)

How many shipping reels get spliced together to make up a house reel?

OP, I had good luck with a Canon FD 35-70 zoom adapted to Sony. ($45 from Japan) But zoom range is puny, it is slow and don't use it much. It is a sharp, well built lens. Just wish it went from 35-135. You have to be careful with adapted lenses to Sony. Some yield poor corner sharpness, esp wides. I've been using Rokinon cine lenses, the basic ones. Happy with them for my work. Maybe Rok will come out with a cine zoom that is affordable. There could be an issue with mixing still camera lenses with cine lenses, the f stop vs t stop thing. But I've not found any issue with this zoom that way. I don't have to swap lenses without shooting some digital test footage. Maybe that was more of an issue in the film era. The Canon FD does produce a different IQ than my Rok lenses. Lots of zoom options out there if you got the $$. https://www.bhphotovideo.com/c/search?Ntt=cine Sony E mount zoom&N=0&InitialSearch=yes&sts=ma&Top+Nav-Search= ...you know the deal...lotto hits...and I will buy the Zeiss!

From the little I saw, beautiful work! It was smart of you to show stills along with video. Sadly, in the rustbelt my internet download speed is 1.0-1.4 mbps and upload speed is 0.4 mbps. So could not see much video. Do you have any time to do personal work that does define you? If so, send in some samples. It is good you keep your site all pro work. Sometimes I see sites with personal stuff mixed in. Not so common with pro cine, but see it with wannabe still photogs trying to stretch things. It degrades the portfolio. Isn't gaffing a step down from DP? If so, maybe take it out to look more focused on your impressive DP portfolio. In the section about your background, try 'justified' text. Looks better in my opinion. Good luck!