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Street Portraiture on 35mm film with the Nikon FE2 & F2

 
Partners in crime - my trusty FE2 (left) alongside it’s new bezzie mate the F2

Partners in crime - my trusty FE2 (left) alongside it’s new bezzie mate the F2

Lots and lots and lots to update you with since the last blog post which was all the way back in December!! I’ve been mega busy with lots of different projects and got loads to tell you all about, so since it’s almost a quarter of the way through already let’s finally get the 2019 blogging season off to a start shall we!

Remember last time I was saying things like “I’m going to focus more on creating photos” and “I won’t be doing as many gear reviews” and “gear just gets in the way” well I still think that’s true but owing to my contrary nature I’d like to introduce you to my latest gear acquistion… the Nikon F2!! Rather than just a boring old review thought this time I’ll be sharing some images i shot with this amazing camera on a recent portrait shoot as well, but first let me take you for a walk around the F2

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Ever since selling my Nikon F3 last year I have had a Nikon F Series shaped hole in my heart/camera collection (check out this link for the reason why I sold the F3) back in mid December I decided (after not very much deliberation) to buy myself an F2, cos ya know..I worked really hard last year and it’s nice to treat yourself every now and again and it was the run up to Christmas and… well, you get the idea…

I found this beauty on Evilbay for the ridiculous price of £70 and so a deal was done, the caveat being that the camera was from Japan so taking a bit of a punt on condition and shipping times, but as with my previous experience of international purchases the shipping is mega quick, it’s really only on arrival into the custody of Her Mahesty’s rip off merchants here in good old blighty that things slow down, after an almost literal ice age in UK customs my camera was finally released to me and there was much merry making and feasting by all….. sort of… two things became clear fairly quickly 1: it was in very good condition and functionally worked perfectly 2: there were traces of dreaded fungus in the viewfinder and in the mirrorbox which didn’t bode well and therefore i was going to have to shell out some more cash (and wait even longer) before getting to grips with the F2 - it’s all sorted now though, fresh from a good clean and service I even managed to negotiate a part refund from the ebay seller which paid towards the cleaning :)

There’s oodles of info out there on the interwebs about the F2 so there’s not much point in me re-hashing it all, suffice it to say that between 1971 and 1980 if you wanted a professional level Nikon SLR then this was it!! Instead of reeling off a list of it’s features and functions I’m going to share with you a series of images I shot with both the F2 and my trusty Nikon FE2 on a portrait shoot recently, I’ll share my experience of shooting with it too of course and no doubt indulge in some techno-babble along the way as is my want…

Oh yes and interesting/geeky factoid alert! The serial number on my F2 is 7865098 and thanks to the wonders of the internet and some Nikon nerds who collate all this info I was able to date manufature of my particular camera to between May & August 1977 - so this camera is only a few months older than me! :)

Ok so that’s enough camera geekery for one blog, what’s the damn thing like to shoot I hear you cry… well… it’s amazing! build quality is second to none, it just feels very well balanced despite being quite a large camera, the viewfinder is HUGE and bright and lovely which makes manual focussing a doddle, alongside the ever brilliant FE2 I now have my perfect 35mm dynamic duo!

Portra 160 with the FE2 and series e 100mm 2.8

Portra 160 with the FE2 and series e 100mm 2.8

These images were taken on a portrait shoot with Model Rebecca back in Feb when we had a mini heat wave - I was so glad we made the most of the sunshine! The FE2 was loaded with a roll of Portra 160 and with the F2 I shot a roll of Fuji Acros 100 and a roll of Portra 400 - I enjoyed using this combination of film and cameras so much and was very happy with the results that I decided right there and then that I’m going to shoot film from now on for portraiture.

Fuji Acros 100 on the F2 with Nikkor 50m 1.4

Fuji Acros 100 on the F2 with Nikkor 50m 1.4

Let’s take a moment to reflect on the film stocks used on this shoot - I’ve had a couple of rolls of Fuji Acros 100 on ice in the freezer for a few years now and since buying it Fuji have discontinued production :( having only shot one roll of it before I figured I’d give it a whirl and I love the results, developed in HC110 it has a clean and balanced finished with lovely contrast.

Colour film duties were fulfilled by Kodak Portra one roll each of 160 and 400 flavours - I think i overexposed the 400 speed a couple of stops to 200 and shot 160 at box speed - having developed these myself I had some issues getting the right colour balance when scanning at home and for some frames it took me a little while to get the colours to look and feel ‘right’

Portra 400 on the FE 2 with Nikkor 24mmm 2.8

Portra 400 on the FE 2 with Nikkor 24mmm 2.8

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So there we have it - I was so pleased with how both cameras performed and I continue to be impressed at the quality of the Nikon lenses, the images here were shot on the Nikkor 50mm 1.4, Nikkor 24mm 2.8 and the Series E 100mm 2.8 - super sharp shooters the lot of them! If you’ve not tried an old Nikon camera and lens I would urge you to do so - there’s a reason why these were the manufacturer of choice for professionals back in the day.

Portra 160 on the FE2 series e 100mm 2.8

Portra 160 on the FE2 series e 100mm 2.8

I developed the colour film at home too - the first time in a long time that I’ve done that, I was really pleased with how they came out and I’ve got a write up of the process and kit that I used on the way, I promise it won’t be another 3 months before I write another blog, in the meantime happy shooting!




Just Passing Through

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Hello there! long time no see! It feels like a long time since the last blog although looking back it seems I’ve managed to keep it to one post per month just about! My (non photography) work has taken off in a big way and I’m now working away quite a bit and whilst being on the road is certainly a great experience it does eat into my time for things like blogging and of course being away from home and family for prolonged stints is hard too. It is cool that I get to travel though and see all sorts of weird, wonderful and sometimes just plain ordinary places - it also helps that I have a firm belief that if we have the eyes to see it, the world around us is full of images just waiting to be discovered - good job i write a blog then innit?!

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So what have I been shooting whilst out and about, well literally that…these images represent moments on the go, on the bounce, on the hop, out and about, in betweener moments - inbetween meetings, in between appointments, in between places and spaces, hurrying along to catch a train, a bus, a plane - that in between mindest when you’re moving from one place to the next, just passing through, finding a route, not putting down roots…

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I’d love to stalk the streets for hours on end searching for the perfect shot, the decisive moment but when I’m travelling it’s often as I’m on my way from point A to point B that I have the opportunity to take in my surroundings, to connect however fleetingly and momentarily through the lens of my camera.

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I titled todays post ‘passing through’ by which i mean to draw attention to the difference between being a passer by and the act of passing through places and spaces. Passing by suggests an act of avoidance, a disconnect, whilst passing through a place denotes a willingness to explore, to experience, to navigate, to see…the gift we bring is an outsiders eye, a newcomers curiosity but this is neccesarily a temporary state of being with a transcience that will inevitably lead us out of reach.

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As you’ll have no doubt guessed by now this isn’t a technical review post - I definitely subscribe to the idea that the act of photography is about more than a set of techniques and their technical application (althogh these are of course important aspects, they are ultimately a means to an end not the end itself)

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So what end is being achieved here? What is the intent? With these images and subsequent blog post I wanted to apply a more intentional mindset to my work so that it’s less about ‘testing’ the various aspects of a camera and film combo in order to write about it on the interweb and more about creating images which have an underlying theme as in todays case, I’m also interested in incorporated elements of storytelling and exploring different themes, thoughts and emotions through my work and I’m working on several projects to that end as we speak (or as I type - whatever, you get the idea)!

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These images represent the beginnings of a train of thought for my photography, a desire to create a body of work that is ‘connected’ with the theme of passing through which prompts a reflection on how we navigate the world around us, both physical and metaphorical, are we passers by in our own lives? We are bombarded with imagery online and onland which seek to capture our time and attention, can we make time and space to set ourselves apart from the hubub of modern life and simply ‘be’ in a place, eyes open to the expanse of infinite possibilities of fleeting moments.

And if all of that sounds a bit grandiose then as the great Ferris Beuler once said “life moves pretty fast, you might miss it if you don’t stop and look around once in a while” Amen to that!

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For those who are interested the majority of these images were shot on an Olympus 35RC with a couple of shots from my Holga 120N thrown in for good measure films are Kodak Double X, JCH streetpan and Ilford HP5 all developed at home by my own fair hand….I’ll still write gear reviews of course but I’d like to think that at least some of my photography is capable of being more than window dressing for a rambling rumination on the vagaries of X film combined with Y developer to produce Z effect or extolling the virtues of A lens, B camera and C film - this may just be wistful thinking on my part, the true test comes via your contribution dear viewer and how you receive the images, if you made it this far then my sincere thanks for passing through…

Learning how to make Darkroom Prints

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As I've become more involved with film photography over recent years I've come to appreciate and value working with a tengible substance - a film negative. I find the challenge of working with a physical substance requires a different thought process and approach than working on digital there's the lack of an immediate opportunity to see if you got 'it' so you need to be more careful about your lighting and compostion but also I can't just hit delete and start again like I can with digital not only does this slow my creative process down it makes me much more intentional when I do (eventually) press the shutter button.

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So if you're such a big fan of actual factual 'things' then why the flipping heck don't you print more of your work I hear you cry! great question!! I am the first to admit that I don't print enough of my photographic work - film or digital! In fact I hardly print any of it! In this digital age the vast majority of photographs I've shot in either format are just floating around on the web somewhere or hidden away on hard drives or filed away in actual files in the case of negatives - probably never to see the light of day! Worse than that, in the case of my digital files - if I wait too long they might NEVER see the light of day.

Have you tried extracting files off a zip drive lately? what about a floppy disk?remember them? Where is technology going to be in 5 or 10 years time? Who knows what kind of electronic storage devices we'll all be using in the future and even if I can access them, data routinely gets corrupted and is lost for all time. But a 35mm negative is here with us in the real world! A different proposition entirely! My interest in film photography as tangible 'thing' is a combination of the challenge of working with a finitie, physical substance and there are literally physical limits to how far I can push this physical 'thing' to achieve my creative intentions (this is a good erm 'thing' - note to self, stop saying thing now)

OK so we get it, negatives are physical things (aaargh) and this is interesting to you, but then you just scan them into the computer so....what's that all about? Exactly my point!! A film negative is a finished article in waiting - it's a halfway point a pre-photograph, these days most people digitise their negatives to complete them but then we're back in the realm of electronic ephemera again, originally the negative was a halfway point on it's journey to becoming a photographic print and I want some of my film negatives to finally reach that destination!

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I've been wanting to learn how to make proper darkroom prints of my work for aaaages and a recent BIG birthday presented the perfect opportunity to do so (thanks mom)! I found a course being run by Dave Butcher a master printer who worked for Ilford and was trained by them in darkroom printing techniques, Dave is also a professional photographer too and his work is A-mazing! You can check out Dave's work here http://www.davebutcher.co.uk and also the oodles of resources and guides on darkroom printing he has created too by visiting http://www.darkroomdave.com if you are so inclined then I can heartily recommend Dave's Darkroom workshop, it was an awesome experience! I would like to say a huge thank you to Dave and his wife Jan for making feel so welcome during the course, it was fantastic and I cannot recommend it enough! :)

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I won't try to explain the finder details of how to use a darkroom becasue a: there are a few steps involved and b: there are load of resources out there that explain the basic steps including Dave's websites linked above - suffice it to say that I spent the day at Dave's house being shown how to use all of the darkroom kit and process invovled to create black and white prints of my negatives - I took a selection of some of my fav images and I was away!! The process itself is remarkably straight forward although there is a significant amount of kit and caboodle required to enable all this - Dave is a fantastic teacher and it was great to be able to learn from someone with such a depth of knowledge on the subject, of course I am only scratching the surface and just at the beginning of this journey, what I discovered is that with the right kit, some knowledge and a bit of practice you can make decent prints and be happy - but then spend an entire lifetime learning how to make GREAT prints!!

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I was over the moon to leave my first day in the darkroom with these prints to show for it! the detail, sharpness and tone of images that until now I had only viewed on a screen blew me away - I chose a selection of travel, street and architectural images along with a couple of shots of my little boy (had to be done) it was difficult to choose a small selection! but what now? surely you need a load of kit and space to set this kind of thing up right? well - yes, but not as much as you'd think and fortunately I was very lucky to have been given a complete set of darkroom equipment a few years ago which has been patiently waiting in the loft for just this very occasion!!

So here it is! my very own darkroom enlarger which i got along with a box full of bits and bobs that actually make sense to me now I've been on the course - before which I was really not sure what I was looking at TBH!

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So there we have it - a thouroughly enjoyable experience! I am intrigued at how different our experience of photographic prints is to viewing images digitally on a screen - ever been round to someones house and they get the family photo album out? how does that compare to viewing some images on a screen? no value judgements here (ok well maybe some) but it's just different isn't it? our emotional response is different it's a tactile, tangible physical experience - we respond, relate and react differently to it as a medium - and this is fascinating to me, why haven't I been printing my photos more you ask, well that's about to change - big time!

Semi stand developing black and white 35mm film at home

A how to develop 35mm film at home blog has been at the back of my mind for flipping ages so here it is at last! I wanted to share the process invovled for developing your own black and white negatives at home using basic equipment and to show the steps involved.

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A few years ago I was very fortunate to have been able to purchase a job lot of home developing equipment for the absolute bargain price of £25 which had belonged to a local photographer who had very sadly passed away - in fact when I went to collect the film developing kit I was also given enough equipment to set up my own darkroom (which i fully intend to do when i have the space)! I am very grateful to have been given this kit and will treasure it always by continuing to put it to the use it was originally intended. :)

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The kit to develop your own film at home is as follows:

1: Developing Tank - with reels to load the film on

2: Change Bag

3: Chemicals - Film Developer, Stop bath and Fixer (I'll explain more about these in a minute)

4: Measuring Jugs to pour out and mix the chemicals

5: Thermometers to control temperature of your chemicals

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And basically that's it! Oh and somewhere preferably with running water in which to conduct this alchemy - for me the bathroom is best.

So we've got our kit together, the process involved is as follows:

1: Load film onto the reel and seal up the developing tank (this bit has to take place in the dark, I use the changing bag which I'll explain later - it takes some getting used to but if I can do it then anyone can)!

2: pour in the developer and leave for a specified amount of time - sometimes giving it a spin every couple of minutes and other times leaving it alone altogther depending on the particular developing technique you want to use

3: pour out the developer and pour in the stop bath - this stops the developer from doing anything else then pour out the stop bath (you can re-use this)

4: pour in the fixing solution

So in effect what you are doing is mixing all of the chemicals up, soaking the film in the developing tank in the developing solution for an alloted amount of time, then washing it in a 'stop bath' to stop the development and finally a fixing solution to 'fix' the image onto the negative - it's a very hands on tactile process and I'll try to explain it without making it sound complicated!

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This being the 21st century as per usual there is an app which comes in very handy when considering all of this - for reasons best known to themselves it's called the 'Digital Truth' Massive Film Developing Chart the digital truth part sounds a bit odd when we're dealing with an analogue film but hey who am I to question these things?! whatever, it's a resource of 1000's of film types and developer combinations and it can work out the correct developing time for the outcome that you want - you see that's an element of the creative control you have, want more contrast? OK well we're going to have to agitate the developing tank in a particular way to achieve that you can see more about the Massive Development Chart HERE

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The app works great on my iphone and as you can see here it gives me the times for each element of the process - simples! You can also create your own timings and this is one that i did for this particular process which is a 1 hour semi stand development in Rodinal film developer.

Now there are loads of different techniques for developing films so there's loads to go at, one technique which I think I've mentioned before in a previous blog HERE is called Semi Stand Development and it's a beautifully simple way of developing - basically you pour your developer into the tank, give it one or two turns to mix things up and then leave it for 30 mins, give it another spin and leave for another 30 mins and you're done.... there's an even more simple method called Stand Development in which you don't even bother with the spin at the 30 minutes mark! but I prefer to give it that one or two spins just to make sure that the chemicals aren't getting spent and we get a nice even finish.... anyway it works really well with slower speed films of around 100 ISO and below and as with all things in life there are compromises to the simple developing process that it tends to average out shadow and highlight areas and it does bring out the film grain although personally I love film grain so that doesnt bother me!

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Developing your own film might sound a bit complicated but actually it's fairly straight forward - albeit a bit technical process - there's a ton of information out there on the internet to help guide you, I'll put some links in a little later for good places to get you started.

Developing my own film is a whole other aspect of film photography and the creative process that I really enjoy and one which gives you another layer of control over the final outcome of the image. The films in question are Fomapan 200 and Berger Pancro 400  - Foma is a relatively cheap film but I really like it, it's got a classic black and white film 'look' to it which appeals to my eye, the Berger film is brand new on to the market so I was very excited to shoot this - I'll let you into a secret now, I messed up this roll of film and got no images from it :( it's sod's law that the one time I decide to document the development process is the only time in the 3 or 4 years I've been shooting film that this happens but hey ho! that's film photography for ya I guess! I'll go into how I managed to cock it up so spectacularly later (completely operater error i might add, I am sure Beger Pancro 400 is a lovely film, we'll just have to wait for another day to see it)!

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The snazzy device on the left of the pic above is a film extractor - it pulls the film back out of the canister so i can load it on to the reel. In the image below you can see the changing bag which is a light tight erm... bag... you place the developing tank, the reel, the film and a pair of scissors in the bag and zip it closed, then stick your arms in the two arm holes at the top and you then have to load your film on to the reel, wind it on, cut it free from the canister and then load it into the developing tank and seal it shut... all without being able to see what your hands are doing as it's inside the bag! it's a bit of a head twister at first but you soon get the hang of it!!

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The sharp eyed amongst you will notice that that's a roll of medium format film not 35mm in the bag - these pics were taken seperately to the films I'm talking about today but it was only when putting this blog together that i realised i didn't take any pics of me loading the foma or berger film in the changing bag...anyway you get the idea, film in bag, load it in the dark, bobs yer uncle!

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So we've got our film loaded in to the developing tank - i usually pour in some water at 20 degrees C so that the film is at the same temp as the chemicals (temperature control is important - especially with a stand development process) - above I've got my developer, stop and fixer ready - handily labelled so I don't confuse myself! ADOX Adonal is a lovely developer - i bought mine from my favourite film supplies shop NT Photo Services check them out HERE

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I also use a washing up bowl which i fill up with water of the requisite temperate and stand my developing tank in that whilst it's developing as another means of controling the temperature (it's important)!

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After I've followed all the steps outlined above it's time to wash the film and look at the results.....

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... And there you can see on the left I have a lovely set of negatives developed and on the right.... nothing... nada... bollox! the one time i decide to document my film developing process is the one (and only time) i have a problem :( turns out that i messed up loading the film into the camera - it didn't catch on the take up spool so when I was taking photos the film wasn't being exposed... hence blank roll of film! IDIOT!

So after hanging up the film to dry, i scan the negatives into the computer and here are the results! I'm pleased with how the Foma turned out - some examples below

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A key thing with Semi Stand Development is that you can develop different speed films at the same time! 100 speed, 50 speed 400 speed?? stick them all in the same tank if you have the room - your timings, dilution and process will remain the same, sure the final effect varis depending on different factors but you'll get a solid image

A final note to say that all of these photos were taken with my much loved Olympus OM2n camera with a 28mm f2.8 Zuiko lens - a winning combo for travel/being out and about!

 

Guest blogging - Emulsive and World on Film

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Just a quick post today to basically say YAY and Hurray as I share the news that I am appearing as a guest contributor/blogger/waffler on the amazing film photography website Emulsive! here's a link to my first article and hopefully the first of many more to come -a huge thank you EM from Emulsive for accepting me into the fold, it's a great website with loads of fantastic images and stories from around the wold so I am mighty pleased to join their ranks :)  Take a look HERE

You'll recognise the images from a street shooting trip to Leeds last summer with a Rollei 35S and some Rollei Retro 400S film.

And double yay becuase I've also been featuured in World on Film which you can see HERE a this one was another street shooting advenutre to wildest Sheffield! huge thank you to Stephen at World on Film - it's a greta resource with some amazing photographers sharing their stories and I am delighted to be part of that! More to come!

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Fear not - I'll be back very soon with more Camera, Lens and film review goings on and also an update on some of my recent commercial projects too that help pay for all this film photography tomfoolery!

 

The Ineffable Pathos of Ruin....

I flipping love a good ruin, don't you? I also love hiking and film photography - if you like those things too then today's blog will be right up your street, or path or moorland, whatever - you're in the right place!

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Raistrick Greave is an ancient derelict farmhouse atop Heptonstall Moor in West Yorkshire - these photos were taken on a walk in 2017 but the roll of film has been languishing in the fridge since then (i keep film in the fridge - it's a thing, honest) but no longer, the images have been awoken from their icy slumber to tell the tale of the haunted ruins of... RAISTRICK GREAVE!!! (que thunder sound effects and scary music)!

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Not only do I love a good ruin but I flipping love an open moorland too, the seemingly endless expanse of sky and undulating sea of grass - I can't resist the urge to stick my walking boots on and head for the horizon, which sounds like a really polite way of telling someone to bugger off doesn't it?! These photos were taken on one of my all to infrequent jaunts out into the wilds, on this occasion accompanied by my mate Dom who had discovered the ruined farm house on a previous walk and suggested we take a look.

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On the approach to the site the first traces of human occupation appear - the remains of rough stone walls sunken into the ground tracing the boundary of what must have once been grazing or even farm land but is now very definitely open moor - this just adds to the sense of dereliction and dissaray.

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It is difficult to obtain much detail about the history of the place except for it's name Rasitrick Greave and that it was (obviously) a farm house - when I say difficult to obtain I don't mean that the information is hidden away behind myriad booby traps in an Indiana Jones and the Temple of Doom kind of way, just that having spent, ooh... litreally minutes on google I couldn't find anything - anyway myself and my esteemed Colleague Mr. Dominic Ranson Esq reckoned it to be 17th Century ish and that's good enough for me - alternative suggestions are welcomed!

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Looking back at the photos now It's difficult not to get into a reflective mood -  this was once a home, build to withstand the elements and provide shelter and warmth, a place to live! People lived here, the buildings were... alive....host to all the mundanities of daily life, the hustle and bustle, the highs and lows, the births and the deaths....but now fallen silent, deprived of the one thing that brought them meaning - life! Home now only to the wind whistling through the cracks in the wall

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I wonder how many people sat around that hearth warming themselves by the fire after a hard days work in the fields,how many times did they sit at the window and take in the views, what were there hopes, dreams and aspirations? All that's left are these tumbledown stones, monuments to forlorn hope. I wonder if in a few hundred years enough will remain of my own home for some itinerant soul to ponder....

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I'm feeling far too reflective to bang on about the film gear used to create these images suffice it to say that they were shot on Rollei Retro 80S on my trusty Olympus OM2n and developed in Adonal which has once again prove itself to be a great means of creating images with contrast, depth and sharpness.

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Shooting 35mm film in the studio

Using film in the studio is a really enjoyable experience, I was fortunate to be asked to second shoot my friend and fellow Photographer Ruth's fashion shoot in her studio a while back and had the opportunity to grab a few shots of very awesome model, Zivvy. All of the black and white shots were taken on Fuji Acros 100 film on a Canon EOS 3 camera, all the colour images on a Canon 6D DSLR.

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I love working in the studio - it's a real treat, most of the time I shoot on location which requires some flexibility in your approach to allow for all sorts of variables in lighting and the general randomness that comes from shooting on location (although that is part of the fun)! However in the studio YOU are in full control!  In these images there are three studio strobes - one either side and another overhead, with a fourth light providing a backlight to the white background so there's a lot to take into consideration, it's an exercise in balancing and shaping light to achieve a certain effect depending on the look you're trying to achieve. I take no credit for coming up with the concept or the lighting arrangements for this shoot - that was all Ruth!

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It can take a while to get your lighting and composition worked out even when using a digital camera with the benefit of being able to instantly review  your shot, the process becomes slightly more protracted when using film, which is why I recommend using a combined approach - shoot film AND digital!

Back in the day photographers would often use a polaroid camera (or back for their medium format camera) to assess how the light was falling on their subject, polaroid is still available but it's expensive stuff, you can also get flash meters but they're not cheap either so I used my Canon 6D DSLR to meter the shots and judge the lighting - think of it as a digital polaroid! :)

Zivvy, Gav and Ruth reviewing the mood board and deciding on final styling

Zivvy, Gav and Ruth reviewing the mood board and deciding on final styling

As second shooter I took some behind the scenes photos on my 6D as Ruth, Zivvy and Gav the Hair Stylist did their thing - I really enjoy shooting candid, reportage images like this as it shows the hard work that goes in to making the final images - it's normal to spend a long time getting ready for even a simple shot and it's all part of the creative process that often gets missed out, behind the scenes shooting allows you to tell that story.

Zivvy trying out some vintage bling

Zivvy trying out some vintage bling

The key to a successful model shoot is not lighting, or kit it's....wait for it.... team work! Your ability to communicate, collaborate and ultimately create with the stylist, model, hair and make up artist is fundamental, I was fortunate in that Ruth had put together a great team and concept (and also put her make up skills to good use), Zivvy is a very talented model and the hair stylist Gav was also awesome, having a good team of people working together towards a shared goal is much more important that a whizzbang camera or lens or whatever (although of course they're nice to have too) ;)

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In order to integrate my digital and film sets ups when working in the studio I used a Canon EOS3 which has exactly the same mounts, inputs as the 6D so i could use the same lenses and flash triggers switching between film and digital as required, nice and simple it's no good spending ages faffing about trying to get ancient film gear to talk to modern studio lighting whilst the model, Hair and MUA, stylist et al are waiting for me to figure it all out, I like to shoot quickly and keep the energy going as I think this translates to the final images so having a fully integrated set up is a real bonus.

All of the black and white images you see here are Fuji Acros 100 35mm film which I semi stand developed myself in Adonal (on reflection probably not the best developer/process for the job as it's known to bring out the grain of the film and Acros is renowned for being smooth - next time I'll use something else)! I love the high contrast though!

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After the shoot I had a couple of frames left so I used them up around the studio.....

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Fuji Acros 100 is a lovely film, I kind of wish I'd been more patient and bought some more appropriate developer/used a more appropriate process but I was impatient to see the final images! Don't get me wrong though I love the images and am very happy with them I just think that a developer like Xtol or D76 would've made for a smoother finish perhaps - oh well! live and learn!

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Of course I wasn't just metering with the 6D - I enjoy digital photography very very much also, here are a few of my digital shots...

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So that's it then - I hope you've enjoyed this latest blog post. I'm really looking forward to working with a combination of film and digital cameras in the studio again soon :)

Rollei 35S review - shooting from the hip!

Today we'll be getting to grips with the Rollei 35 S pictured here with a 50p next to it for scale (50p being the internationally recognised unit of scale) and really just to make the point that this thing is TINY!! I mean really tiny.... look at it.... next to the 50p and everything... tichy...

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I was VERY fortunate to have been gifted this camera by a friend of a friend and I am very grateful especially so since I absoltuely love this camera!! At first glance I thought it might be something special and whilst I hadn't heard of a Rollei 35S before I was familar with the brand Rollei as they manufactured the legendary series of 'Rollei-flex' cameras and also some of my favourite 35mm film Rollei 80S (they really like the designation 'S' don't they)? which i have banged on about in a previous blog post HERE so I had high hopes for this camera - and a after bit of googling I was pleasantly surprised to learn that this is a very highly regarded piece of kit. Even without the internet's say so it's apparent from the build quality - this thing is very solidly built and feels well put together with the body being mostly metal, although still fairly light.

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The other thing I noticed on closer inspection was the lens - a 40mm f2.8 'sonnar' lens.... again this is something i have heard of, Sonnar being the designation of a Zeiss lens design... Zeiss being the name of the supremo German lens manufacturer who are basically super awesome....so in short this thing is 1: tiny, 2: VERY well built and 3: has a super sharp lens on the front of it.... that my friends is a win, win, win!!

In practice the control and use of this camera is quite unusual - in fact at first i was a bit put off by it, I'll attempt to explain but take it from me that having shot a couple of rolls of film through this thing now, it's actually really easy to use and it's probably more complicated to explain, or at least it'll probably sound more complicated but trust me it's not really complicated....oh god it already sounds complicated and I haven't even started yet, right.... here goes....

The lens is not connected to the view finder so you have to focus the lens by judging the distance between yourself and your subject and then using the scale on top of the lens to set focus..... so that means that you have to read the numbers of the dial around the lens so looking at the image below we can see that with the lens focussed thusly then at f16 I'd have everything from about 4 feet to about 10 feet in focus -with the centre point being 6 feet - a top tip when shooting with this camera is to keep the aperture small, i generally didn't go below f8 so that you know you've got enough depth of field to compensate for the lack of fine focussing ability and guesstimating the distances (unless you want to go around wth a tape measure and literally work out the distance)! so it took a bit of getting used to but as I said it's actually more difficult to explain than it is to actually do! 

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the dial on the left of the pic above adjusts shutter speed and the on on the right of the image does the aperture - it's actually very ergonomically designed and easy to use and adjust settings, the meter is untested as they don't make the batteries for this anymore but my trusty i-phone app is more than up to the job so it's no bother. (I might do a review of the app soon).

As I mentioned using the depth of field to help focus is key to successfully using this camera,  the images above demonstrate - on the right is an aperture of about f4 so only the front portion of the wall is focus whilst the iage on the right is about f11 so a really small aperture and therefore most of the image is in focus - simples!

Becuase the focus is done in this manner and the lens isn't linked to the viewfinder makes the Rollei 35S perfect for street shooting becuase you don't have to hold it up to your eye to focus, it's tiny size also supports this stealthy approach - I've always been a bit self conscious when it comes to shooting street photos and these days folks don't really take too kindly to having their photos taken which kind of kills the 'documenting life as it happens' ethos of street photography - but no longer! with this I can snap away completely under the radar..... it opens up a whole new realm of creative possibilities which I find very exciting!

Enough techno babble! more photos! I've shot two rolls of Rollei Retro 400S with this camera - the first on an afternoon in Leeds City Centre and the second back in what is seemingly becoming my fave street shooting destination... Dewsbury! I developed both rolls of film at the same time using a semi stand development process and I have to say I am very pleased with the results, really great contrast and detail with a good grain texture - it has a painterly feel to it in some of the images which is really appealing....this is my fave development technique not least becuase my time is so limited these days that it's just easier for me to throw the film in the developing tank and get on with something else while the Rodinal does it's thing! Sorry - that was even more technobabble! ENOUGH!

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And now on to Dewsbury - different conditions it was quite overcast vs the bright sunny day I spent in Leeds with a much darker feel, I like!

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Fomapan 200 35mm film review

Film photography is a dear doo, don't let anyone tell you otherwise - if it's not cameras, lenses or film then it's developing kit or just random bits of film related paraphenalia all of which takes it's toll on the old bank account! So it can be very welcome to discover some relatively cheap film - enter Fomapan 200...but is it any good? well if you can't be bothered to read the rest of this review then the short answer is YES! Hopefully you'd like a little more insight than that, and hopefully I can oblige!

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The first group of images were taken on a photo walk around the fair city of Bradford in West Yorkshire on my Olympus OM2n and trusty Zuiko 28mm 2.8 lens - I wax lyrical about this combo HERE,and the second group of photos were shot with the same camera and lens many months later in the fair town of Dewsbury West Yorkshire with a couple of shots in Hull and Huddersfield for good measure - it's like a tour of all the most glamorous towns in the world!!

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I started my Bradford photo walk in the National Media museum - hoping to catch the National Photography collection before it was pilfered (sorry I mean transfered) to London... as sods law would have it I missed out by two days and was presented with nothing but this snazzily decorated staircase leading to a locked door :( whilst i was gutted to have missed the exhibition I was quite impressed how Fomapan 200 handled the dimly lit scene, helped along no doubt by my chosen development process of Semi Stand developing in Adox Adonal (Rodinal) for 1 hour (with 3 inversions at 30 mintues) at a dilution of 1:100 - this is my go to sem stand process and as you can see from the results here the Fomapan 200 responded very well to it, I was slightly nervious first time round for two reasons 1: at that point 200 speed film was the fastest film I'd semi stand developed and 2: Fomapann 200 is a 'Tabular' grain film (in the same vein as Kodak Tmax and Ilford Delta) formulations which traditionally do not respond well to stand development. Your mileage may vary but I think it works great in this developer - there is a grain texture which looks more like a classic old school film grain rather than 'Tabular' grain which is inherenlty smoother but for me grain is a good thing, when I shoot film I want it to look like, well - film! I've recenlty bought some developer specifically for Tabular grain films so I'll be interested to compare the results some day.

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Fomapan Creative 200 (to give it's full name) is manufactured in the Czech Republic by long standing film producers Foma, there aren't really that many 200 speed films around most manufacturers offfer a choice of 100 or 400 films but Foma in their infinite wisdom have provided for those who would like a little more flexibility - in fact they claim that the film can be rated anywhere between 100 and 800 ISO but I've only ever shot it at box speed so I can't comment on how it performs when pushed/pulled in that way, what I can say is that on photowalks in varied lighting in and around busy city centres, inside buildings and the like it performs wonderfully!

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They do a good line in 60's architecture in Bradford - here I've used the perspective to enhance the brutalist vibe of this civic building, the home of some truly brutal bureaucracy no doubts!

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I find that the tonal range is very pleasing with rich blacks, smooth greys and clean white areas, look at he mod scooter above! very smooth image with a nice texture and finish - proper two tone! BELL BOOOOY!!!!!

The following two images are from Bank Bottom Mill - a semi abandoned building near where I live, I was just using up the last couple of frames on my roll after my visit to Bradford - again a great balance of tones, quite high contrast and nice detail and grain throughout.

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We leave Bradford behind us and our travels now take us to Dewsbury - same camera, same lens, same make of film, same bottle of developer and guess what..... same outcome! Very balanced images with perhaps a touch more grain in than the roll I shot in Bradford - this could be from the development process maybe I introduced some extra inversions (which encourages grain) and of course the two rolls were shot months a part from each other so lighting was totally different, either way once again I am very pleased with the results so the first roll wasn't a fluke!

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I've walked past this doorway so many times I can't remember, it's amazing how having a camera in hand encourages the eyes to pick out previously unseen details and generally be more open to your surroundings....in this case my eye was drawn to the faded paintwork where a Christian Cross was once fixed...suddenly this dilapidated old doorway was transformed, it had a story to tell - one that spoke of a once proud heritage but no current sense of purpose, a forgotten place echoing with the ghosts of finery long since faded... or something like that, whatever... either way cool doorway eh?!

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Change your perspective and see the world afresh! For me this is part of the enjoyment of  photography, how do you show a subject (in the case above a building) in a new light, how do you generate interest through form and structure - it's a constant challenging to your composition to make the most of your surroundings within the confines of a 35mm frame, and of course you dont get to look at the results until you've developed the film! It's also one of the many valid reasons for shooting with a fixed focal length/prime lens - if you want to change your perspective then you need to move your body! it's a more physical and therefore meaningful experience - this is a lesson I need to translate into my digital work more and stop relying on telephoto zooms to do the work for me!

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I suspect that films are NOT developed there anymore, in fact last time I cheked this building was covered in even more scaffolding so perhaps (unusually for Dewsbury Town Centre) it's about to be redeveloped - I'm not bashing Dewsbury although I think anyone would agree that it's a bit rundown - this makes it a great subject for street photography as many of the buildings have an evocative (if somewhat forlorn) sense of what used to be which I find quite visually appealing "the ineffable pathos of ruin" indeed! Having said that I do hope things start to change for the better for the town!

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We leave Bradford and Dewsbury behind and head East for the next image which was snapped whilst on the train to another fair City - Hull, capital of culture no less - and what better subject than the Humber bridge, I really must go back and shoot this properly (i.e. whilst not on a train) it's an amazing structure - looks so graceful in the distance spanning the Humber estuary, for those who are interested in it's history have a look HERE

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Photographically speaking (this is a photo blog after all) I quite like the reflection of the train lighting in the image and the blurred foreground which gives a sense of motion and direction to an otherwise static image, the shot was literally from the hip before the view was obscurred by trees and stuff so I was pleased it came out as well as it did.

A big yorkshire sky filled with cloud (it's default setting) underpinned by the Emley Moor Mast which is the seventh-tallest freestanding structure in the UK, fourth-tallest tower in the EU (sorry brexiteers) and 24th tallest in the world! At the risk of this turning into some sort of public information service about the buildings, bridges and towers of Yorkshire (that would be a niche website) there's a link for more info about Emley Moor Mast HERE

I like the simple composition a thin band of landscape and the tower piercing the huge blanket of sky - this image just presented itself to me as I was driving along one day, my view of the foreground obscurred by a wall and I literally abandoned the car in a grass verge and jumped out to see if I could match the image that originally caught my eye - and I did! The number of times I've been out and about without a camera and seen sweeping vistas, tiny details and all manner of scenes that I would have wished to capture are imeasureable.. all these moments are now lost, like tears in the (yorkshire) rain...

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We've seen lots of buildings on our tour of Yorkshire with Fomapan 200 but what's it like on other subjects - portraits and the like? well the above photo taken in the fields behind my house attests to the loveliness of the film (and the horse)!  great contrast and level of detail and that grain structure that by now we've come to know and love too. it also works on people - here's a shot of my son when he was about 6 months old :) in it he's doing a great impresssion of one of those old Soviet propognda photos like he's a baby Kosmonaut or something!

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So in summary then I am a huge fan of Fomapan 200, it's versatile, works well in mixed lighting, gives great contrast and high levels of detail, works well in a semi stand development process and ultimately it's very reasonably priced - you can buy 3 rolls of it for £14.99, which these days is pretty bloomin good! I heartily recommend this film, it's lovely, there is no compromise in quality in my experience and it creates a really useable alternative to all those 100 and 400 speed films out there, give it a whirl!