TFSM Informal August Long Weekend Meetup

On the 5th, the Toronto Filmshooters Group, as suggested and Organized by +Bill Smith, got together for a walk in the Beaches.  Starting at "THE REMARKABLE BEAN" and finishing at a little craft brewery on Eastern Avenue called Rorschach Brewing Co.

Along the way made for some interesting shooting, but I didn't just have a 35mm SLR around my neck.. Nope, I had a dSLR to capture some quick shots around and to get some shots of the gang out there shooting ...

Of course, what TFSM photo walk is complete without some film shots, considering it is a TFSM meetup!

All film images were taken on the Argus A2 Pre-War model on Rollei Superpan 200 and developed in TMAX Developer.

Until next time everyone, keep those shutters firing!

Empty Road

I took this photo as I have passed this spot several times, almost every single day to be exact, have wanted to shoot it very similar to how I did, however the issue has always been a matter of 'how to shoot it' and 'how to frame it'.  I decided on having the road into the forest to be out of focus and the T junction to be in focus. I find that the back elements being in focus and the front elements, such as the road, if it was out it wouldn't have the same effect. At least in my mind, plus I didn't like how it looked when I had tested that in camera.  It would have been a huge challenge to shoot this in 35mm the same way as I'm sure the focusing would have been a real trick and I doubt I would have got the same effect out of focus as I would here.  Especially at around ƒ/16 or so, as I was here. Maybe the image isn't quite what I had in mind, but it's pretty close.  I'll have to try this again when the fogs return.

Calumet CC400 4x5 Monorail - Schneider-Symmar 180mm ƒ/5.6 @ ƒ/16 - 11:48PM August 1, 2017
1s Exposure - Rollei RPX25 - HC-110 Dil. B 5:00 20°C

Mamiya M645 1000s First Look

I took my wife's Mamiya 645 1000s out for a first look. I haven't used a Mamiya before this and I tell you one thing, I am very happy I got the chance to take it out. Wish I hadn't shot the second half roll of +Donna Bitaxi, but I am sure she'll understand.

The low down is that this is a very light modular camera with a lot of options and a lot of promise.  A camera I would highly recommend you give a second look at, but be forewarned, there is only one film back, which is non-removeable. So if you want to be able to change film-backs mid-roll, you might want to look elsewhere.

Mamiya M645 1000s - Mamiya Sekor 80mm ƒ/2.8 - Ilford HP5+ - TMAX Developer 1+4

Mamiya M645 1000s - Mamiya Sekor 80mm ƒ/2.8 - Ilford HP5+ - TMAX Developer 1+4

Mamiya M645 1000s - Mamiya Sekor 80mm ƒ/2.8 - Ilford HP5+ - TMAX Developer 1+4

Looking Up

So last weekend I tried something a little different for a change.  Instead of just looking at what is around me and in front of me, while in Downtown Toronto, I decided to try... looking up... for a different perspective on things..

The results I got were actually quite inspiring.  I think I like this idea of upward perspective photography.. It makes you really take a different approach to how you view things..

Canon T90 - Canon 35-105mm ƒ/3.5 - Kodak Tri-X 400 - SPUR-HRX 1+17

Canon T90 - Osawa 24mm ƒ/2.8 - Kodak Tri-X - SPUR-HRX 1+17

Canon T90 - Osawa 24mm ƒ/2.8 - Kodak Tri-X - SPUR-HRX 1+17

Canon T90 - Osawa 24mm ƒ/2.8 - Kodak Tri-X - SPUR-HRX 1+17

Canon T90 - Osawa 24mm ƒ/2.8 - Kodak Tri-X - SPUR-HRX 1+17

Canon T90 - Canon 35-105mm ƒ/3.5 - Kodak Tri-X - HC-110 Dil. B

Canon T90 - Canon 35-105mm ƒ/3.5 - Kodak Tri-X - HC-110 Dil. B

I'm really impressed with how everything turned out. I think I'll do a bit more of this whole.. shooting up thing. heh..

Anyway.. Until next time, keep those shutters firing!

Choosing Your First (FILM) Camera

Boy it has been a while. Between packing to move, getting the house ready, school, work and life in general, I've been really busy and haven't had a chance to post.  Heck, I've barely been able to shoot any film!  However I do manage to get out from time to time, or just pick up a camera and fire off a frame. If JUST to keep in touch with the film world.

Now, choosing our first camera can be a daunting and troubling thing to do.  Most people choosing their first film camera will be coming from a digital world. How do you pick up that first film camera? I mean... Digital is easy... just set to "A" and off you go, right?
Well, not really.. You can, but you lose the creative control that you should always strive to have when shooting. 

Now I'm not going to talk about being a complete novice to photography. In this idea of picking your first film camera I shall assume that you have at least some experience shooting with a digital camera and have some working knowledge of how exposure works.
You know, how ISO, Aperture and shutter speed play in with each other.  So lets go into the world of your first film camera....

What system do you currently own?  Nikon? Pentax? Sony/Minolta? Canon?  Or do you shoot Leica? It doesn't really matter, actually. One thing that can help you, though, is that if you are shooting any of the above SLRs (Leica is a Rangefinder, relax I know!) you can actually use the modern lenses on their older film bodies. BUT not all the lenses are made the same, nor will they all work.
Modern Nikon lenses most likely will not work on the film bodies, while the older film lenses should mount and work on the modern Nikon Digitals. I cannot truly speak for sure here, as I do not have a Nikon body I can test that theory out. HOWEVER I have used a more modern Sigma (Nikon AF D mount) lens on my Nikkormat and my Nikon F90. It worked flawlessly, so I know that some lenses are backward compatible.  Same goes with Sony, Pentax and Canon. HOWEVER... you cannot use mirrorless lenses on any film body... Period..  The Sony SLR lenses (provided it isn't a crop sensor lens) will mount just fine to a Minolta Autofocus camera and work.  Same goes with Pentax and Canon.  Any and all canon EF (Not EF-S or EF-M) will mount and work on a Canon EOS Film SLR.

All this can easily help play into your first Film Camera.

The next thing is to inspect your camera. One thing that you have to inspect on film cameras that you won't find on a digital are light seals. See, the film door has a foam or felt seal around the edge of the back. The prevents light from entering the back of the camera and exposing the film.
Also on older cameras the mirror bumper (a piece of foam) will also degrade over time and can dissolve onto the mirror itself.
This should also be checked and replaced if necessary.
Next are the shutter curtains themselves.  On newer model they are usually a vertical travel focal plane shutter, usually made of a high grade plastic/compositite. The light seals around those CAN possibly degrade and create a sticky mess on them. This should be checked and cleaned (GENTLY) if possible. If not, sent out for a CLA (CLEAN LUBE ADJUST) to clean that up.

Now onto Rangefinder cameras.  Rangefinders are another camera that has its own share of things to check for. So lets gets started..
Light seals are one of the first things to check. The film door, just like on SLRs, will have foam or felt seals that prevent light from entering and exposing the film. This is very important to check.  If they are degraded they will need replacing.
Next is the mirror in the rangefinder. Are you getting a bright and contrasty double image? Or is it faded?  If it is faded the beam splitter could be fading or the silver on the mirror could be fading. That will need replacing and fixing.
Check the alignments. The horizontal and vertical alignments of the rangefinder. This will tell you if the focus is properly culminated to the lens. If you find that the horizontal alignment is off it will entirely throw off your focus.  First is to go all the way to INFINITY and see if the image lines up in both your viewfinder/rangefinder and the mark on the lens. If you find that the item at INFINITY (at least 100 to 200 feet away) is not lining up (getting a double image) you need to adjust the rangefinder culmination to make sure you don't mess up the focus.
Next is the vertical. Not as critical as the horizontal as it won't cause you to miss your focus, but can if the alignment is too far off. Adjusting the alignments of the rangefinder can be as simple as turning a couple screws... Or as complicated as a disassembly of the entire top of the camera... or more..
The Argus C3 Brick is one of the simplest rangefinders to adjust, where as the Canon 7 is extremely complicated.

Okay, so everything so far has checked out pretty good. Light seals are in decent shape, or can be easily replaced.. Shutter curtains are good, mirror is clean... All in all the camera you chose, rangefinder or SLR, is in good working order... Or is it?
Does it require batteries? Oh crap, it does. CR2... 2CR5.. CR123... AAA... AA.. PX625... LR44.. So big deal.. Pop the batteries in and... What the heck is that green stuff all over the place!?
This is the one thing you have to watch out for with batteries.. Corrosion! Yes how lovely.. But do not despair.. All is not lost. In fact, corrosion is fairly simply to clean up.  Just some white vinegar and some Q-Tips.  Wait?! Vinegar? 
Yes, absolutely!  Vinegar is actually a fairly strong acid. In fact, you can get 3% vinegar, which is basically just Acetic acid.  Using a small amount applied to your cotton swab you can clean out pretty much all the corrosion, which is alkaline based. The Vinegar will cause it to foam and melt away.  Once that is done, you can take a small metal file to brush against the spring contacts to clean them up and add a bit of abrasion to clear off the metal to make a good contact against your battery.
However some battery housings might be more difficult to clean than others.

So everything is good now. Camera is 100% functional... Now what?

That is up to you... Does the camera feel good in your hand? Do you like it?
Ask the owner to let you hold it in your hand for a while... Or is it in a store? Ask if you can walk around with it in the store for a bit.. Maybe they have a lens you can try on it. See how it feels after 10 minutes pretending to snap a photo or three with it.
Still feel good?  Great!

So it looks like things are good.

Remember, picking your first film camera shouldn't be a chore. It should be an inexpensive first purchase. One that you can learn the ins and outs of film photography with.

Another thing that was mentioned to me by fellow photography +Bill Smith is that a consideration should be about the availability of batteries, or about the possibility of a camera repair technician to fix the camera should something ultimately go wrong.  Very good ideas and valuable knowledge to have.

Thanks Bill!

Until next time, keep those shutters firing!

A Post In A While

Ah, so I haven't posted in ages. No I haven't been neglecting it I have just simply been stupidly busy with life lately. I have been shooting, but not as much as I would like to. I try to get out regularly to shoot, but quite frankly it is easier said than done lately. So I wanted to give an update on some stuff I have been doing.

Thankfully I have my trust Nokia Lumia 1020 mobile camera phone with me so I can get some shooting done when I have a moment or two, but I would love to have a go-to film camera more often than not. But sadly they are a bit restrictive and bulky for my job. Quite simply it would be too difficult for me to work with a film camera instead of my phone.

However a recent film shooters meetup and walk (summer 2015) took us to St. Lawrence Market and the surrounding area over to C'est What bar and grill. It is a absolutely lovely place to grab a bite and a pint.

Oh incidentally my wife and I have also gone completely Vegan. Don't know what that is? Look it up!

 www.vegan.com

I won't bore you with those details, I'll talk strictly about the shooting I did at St. Lawrence Market. It was great fun, but a little.... crazy..!
I shot some CBEMA (Svema) FN64 rated at 200 there (which came out stunning btw) and some wonderful Porta 800! That film is amazing. No, not in 35mm... 120!

I have been finding myself more drifting to 120 instead of 135 lately, just simply because I prefer the lower number of frames and larger sized frames. It makes such a difference having such massive film (at least to me).

Midday Meal - Zenza Bronica SQ-Ai - 80mm ƒ/2.8 - Portra800

My go-to camera is the Bronica SQ-Ai. It just instantly became my go-to camera for, well, basically anything I shoot!  I love the square and how the camera handles. It just feels right in my hands, but I'm a Bronica kind of guy!

Main Entrance - Zenza Bronica SQ-Ai - 80mm ƒ/2.8 - Portra 800

The market is beautiful inside and quite chaotic, but it makes for some interesting photo opportunities. I thoroughly enjoyed it, but it was the outdoor shots that I enjoyed most!
When we left the Market and wandered about Downtown Toronto I got to try out street photography with a medium format SLR!  Go figure!

The Odd Couple - Zenza Bronica SQ-Ai - 80mm ƒ/2.8 - Portra800

Not the easiest thing to do, shooting street photography with such a big camera, but I managed to, as these people didn't even have the slightest clue that I had even taken their photo, another plus for Waist Level Finders...

The Lady With The Lilac Parasol - Zenza Bronica SQ-Ai - 80mm ƒ/2.8 - Portra800

The shot above literally took more than 10 minutes to take.  I had it all lined up at one point, but then other people started to show up in the shot and I had to wait.  I didn't want random people pollution in the photo, so I waited and waited and waited...
Then this lady started walking toward me and the moment arrived... She was the sole person in the shot and actually stood out just enough to give this more than a landscape shot...

I tripped the shutter and perfect!  I knew I had nailed the perfect photo..

Across The Bar - Zenza Bronica SQ-Ai - 80mm ƒ/2.8 - Portra800

Yeah, we ended up at a bar/pub after.. We always do for 'after-walk' refreshments, which means beer.. It was fantastic!  We got fries and a beer, of course.  +Alex Luyckx, the organizer of the walk, let my wife wander around with a Hasselblad. Lucky gal!

Well Crafted - Zenza Bronica SQ-Ai - 80mm ƒ/2.8 - Protra800 

However my wife decided on a coke instead... but I couldn't have framed this photo any better..

So yes, I am still active, just haven't been updating my blog often enough.  I hope to rectify that soon and get some more Camera Reviews as well..

Until next time... Keep those shutters firing!

Roll Reversal - A Safe Alternative

Many people who know me know that I am all for experimentation with film.  One film I have done excessive amounts of experimentation with is Polypan F.  The one thing I have never done is REVERSAL of it.  I have done reversal with SCALA and Foma 100R (films made for reversal). And lets not forget the Kodak Cinecopy #5363 that I used.  

The one problem with doing Reversals yourself is the harsh chemicals.  Potassium Permaganate is one thing (Found in fish medicine to treat Ich (pronounced Ick)).  The other chemical is Sulfuric Acid.  That is battery acid!  VERY bad chemical to have. It's ... well... acid!  Let's face it Acid is not person friendly, let alone safe and kid friendly!  Those with kids, not the easiest to have these kind of chemicals around.

The other option is to send to Dr5.com, which is a great way to get some absolutely stunning reversals!  However, what if you are not in a place where shipping a roll of film to DR5 is economical... What about doing it yourself without using harsh chemicals... Is there a way?

Apparently there is.  +Kelly-Shane Fuller, who is known for his E3 reversal in modern terms using HC-110 and C-41 to get E3 reversals with more stable colour dyes than the original E3 process...

Well.... lets look at his Chemically Safe B&W Reversal process..
For one, you use Hydrogen Peroxide (available the world over at drug stores) 3% which is as safe as it gets, considering you can pour it over an open wound to clean it out.  The other is Vinegar... Good old fashioned White Vinegar, which is a great thing... You can mix it to make a B&W bleach, or... pour it on your fries....

So he made a 260mL solution...  How?  Let's get into it;

250mL Hydrogen Peroxide 3%
10mL (2 tsp) White Vinegar
Heat to 150°F

So that's it...

Steps required;

Develop Film as normal using your favorite B&W developer...
BLEACH 6 Minutes
Fully Expose to light (take out of the container and off the reel)
Re-Develop to finality (you can reuse your Developer you poured out)
FIX
Wash
Photoflo
Dry

Then you get some beautiful slides!

Kodachrome 64 (Expired) As B&W Slide

Yeah, that's right.  KODACHROME as a slide again! Sadly, no colour, but hey, a Kodachrome slide is something to behold!  Regardless of how it is...

Then there is Polypan F (care of your's truly)... It is absolutely stunning!  I couldn't believe the tonality he got out of itI sent him a few rolls of Polypan F down and he finally got around to trying it out... Man.... Not only did I get him hooked on Polypan (It's an easy thing to do) but he is stunned too over the amazing tonality and look of this film as a reversal.
I'm all for B&W reversal.. And the fact that you can now use a much much MUCH more kid friendly version of the bleach..

Thanks Kelly-Shane Fuller!  

Stay tuned as photos of the film on a light table and under room light to show they are "SLIDES" will be posted later..

Can't wait to try this process myself!!
So until next time... Let's keep those shutters firing!

All images were used with permission from the original author and are direct linked from his Flickr stream.
Images are protected under International Copyright Law.  Use without permission is strictly prohibited.

Svema Photo-125 C-41

This is not the first post I have done on the Svema 125ASA C41 film.  It's fantastic!

I can easily compare it to Portra 160 for smoothness and grain structure.  But for colour palette, it is in a league of its own.  Portra 160 is wonderful, absolutely, but I will have to say that this Svema film makes it look pale in comparison.

After seeing the way it renders landscapes, I will never shoot Portra 160 again!  It just seems to be missing that little bit of something for it.
Portraits? Well, I cannot compare.  Sadly I haven't seen how this Svema 125 works with portraits under proper controlled light, but I'm sure it probably does very well.

The first roll I shot was in my T90, and I gave it as much of a fighting chance to prove itself as I could. Rated +1EV and slapped a very damn good (and sharp) lens in front of it (Vivitar 28mm ƒ/2.5).  The images were nothing short of stunning.

However, I loaded roll #2 in my Ricoh Mirai 35-135 camera.  This thing is bizarre!  Looking more like a weapon from the future, it is very well designed. The lens is one of the best lenses I've used as a Zoom!

So using the funniest looking camera in my collection, I have captured one of the best images I've taken of a flower, or any other kind of plant life..

There's a reason I rarely take out this camera.. I'm scared that one day I'll have an accident with it and be left without it.

It's just such a damn good camera!  Optically, and functionally...

Until next time.. Keep those shutters firing!

First post of 2015 - Stay Tuned.. More are coming!!

Large Format..

I've been asked a few times why I have chosen to shoot large format.

It's not about resolution.  It's not about detail.  Heck, it isn't even about the size of the photo...

Then what is it about?

My simplest answer is simply... Because I enjoy it.  There is a frustration and a sheer amount of joy when shooting with a large format camera. When you set up your shot, you have nothing to take the measurements for you.  The light has to be measured just right, then you have to take into account for the aperture, and even the bellows draw, before you can even take your photo.
There are no auto exposure large format cameras.  The weight of the camera is something else, too. Almost like the phrase.. "DEAD WEIGHT" ... you feel that way when you are carting around a monorail.  Even Field Cameras get heavy after a while, and I'm sure a Press Camera doesn't get any lighter the longer you're carrying it.

One of my most prized cameras is my Deardorff 5x7 1950's Chicago original camera.  Originally owned by my late grandfather, it has, sadly, gone into disrepair, and is not in the best of conditions.


Lack of proper storage, lack of care, and
moisture has not been its friend.  Stored in a basement that suffered from moisture and mold, it did not fair wonderfully.
It would have been nice if there was more to it than what there is. You can see it in the photo above.

Everything about Large Format is big.  Big film... Big lenses.. Big cameras...
And ultimately, big times for each exposure.
Just to show you a basic idea on the size of the lenses, I put a roll of 35mm film beside my Schneider 210mm lens.
As you can see, it's far from small!
The lens in the background is a Agfa Anastigmat Apotar 105mm ƒ/4.5

When I'm out in the field with my 4x5, I have to set up each shot meticulously, and slowly.  Focusing is an art!  Sure, with a 35mm camera or a 120 camera you are much closer to the view screen, and can easily focus, a large format camera requires a bit more finesse. A magnifying Loupe works great! I have a folding Magnifying Loupe to critically focus and make sure what I want sharp, is sharp.

Also, weather becomes a factor.
Sure, you have the image composed how you want it.  You've adjusted the camera to keep all the lines straight that you want straight, focus is perfect and you've set you aperture and shutter speeds.
Film is ready to be exposed and you trip the shutter...
But you have to wonder.. "Did the light change from when you set the shutter and aperture? Did the wind blow and shake the camera during the exposure?  Did you properly compensate for bellows draw?"
You won't know until you get back to develop the image and see the final negative.

Left - Agfa Anastigmat Apotar 105mm ƒ/4.5
Right - Schneider-Kreuznach Symmar 210mm ƒ/5.6

There are also other things to take into account when you're out shooting.
Such as Bellows Factor.  When you're at "INFINITY" you don't have to worry about your bellows factor, but the closer you focus the more you have to take into account for bellows draw.

I use an app on my smartphone to calculate bellows draw, but it can be done in your head or with a bit of math.

The other thing is Image Circle.  Just because you're using a Large Format lens doesn't mean you will get a full image circle.  Adjust the front for rise, and add a bit of tilt and you run the risk of losing your image circle.
I've shot a few images where I've lost part of my circle simply because I added too much rise, and gave a bit of a shift and lost the lower corner of my image, which was too bad, but it did add to the image.

It can be quite frustrating when you load the film into the holder, get the camera set up, and pull the slide out only to find that the film drops out of the holder because you missed getting the film under the rails on both sides.
It's happened a few times to me, unfortunately.
But it's always a learning experience!

Heading out in the field can be quite the challenge too, with the weight of a monorail and tripod braced against your shoulder.
I have a Duffle bag that I use to cart my camera to and from a location and the car.  But once set up, it's carried via my tripod and braced on my shoulder.
The bag carries my film holder and my lenses.

When people see me they either have no idea what I'm doing, and many times they pull out their cellphone and take a photo or three of me.  The other thing they do is start blabbing to me, asking me questions about the camera and where I buy the film for it.
What it really comes down to is that I completely enjoy using my large format camera in every aspect.  Sure, it is not the easiest method to capture images, nor is it the lightest.
Errors are compounded by the fact that you don't get a do-over.  One shot, one chance.  After the image is taken, you cannot capture the same image again.  If you didn't get it, you didn't get it.  You cannot try again for the exact same image, you'll simply have to move on and go to the next.

Recently I went out on a photowalk with my good friend +Alex Luyckx who is one of the few that understand the enjoyment of "Large Format" photography.
Other photographers, such as +Andrew Koran, +Mathew Marrash, +Holger Drallmeyer and +Kelly-Shane Fuller also understand Large Format enjoyment.

It's funny how when I first started shooting film I'd blow through several rolls of film a week, but as I got more experienced I started slowing down more and more.  Eventually I found myself shifting from 35mm to medium format and large format.
Taking my time from image to image I was finding that 35mm was too long to finish each roll.  120 was a nice balance for image quality, lower exposures per roll, and let me slow down and take my time from image to image.
But I still find that it's too many frames... I'm looking for a 6x9 camera so I can slow down even more, but still be portable.

But when I want to really slow down, and really get the shot I want... I shoot Large Format.

There's a building I've been working in (I'm an electrician by trade, but love the art of photography) and there's an absolutely beautiful retention pond.  After having to temporarily satisfy myself shooting the photos with my cellphone and with a Brownie Hawkeye (not to mention my Argus C3) and a Spotmatic and even my Voigtlander Vito CL, I got out there with my Monorail.
I set up, and shot a set of 4 exposures.  2 shots on some expired (1977) Kodak TXP320 (Tri-X Pan 320) and 2 shots on Kodak Ektar 100.

My first shot with my 4x5 was on Kodak Ektar using my Agfa Anastigmat Apotar 105mm ƒ/4.5 (see photo above) while the second Ektar shot was using a Kodak Ektar 127mm ƒ/4.7 lens.

When I set up a shot it can take a few minutes, or more..
One image I set up took about 5 minutes from the time I had the camera up on its tripod to time I had the image composed and focused, it was over in the blink of an eye..

In 1/15s I had the image recorded to film, and it was one of the few times (like the image of the stairs above) I knew I had the shot as I wanted it..

There was no wind, no motion in the camera at all, and I had the shot..
It gave me a strange sense of satisfaction to get the photo exactly as I wanted it.
Only taking 5 minutes was also quite the surprise, as the latest image I have taken took more than 40 minutes from start to finish to take.

I got the camera set up in only a matter of moments, but the light wasn't right.
It's amazing how waiting for the sun to reach the right spot in the sky to give me the right colour of light, the right intensity and the best reflection off the glass of a building, can take so long.
I had to satisfy myself with using my Spotmatic and Vito to take a few random shots around the area where the 4x5 would just be showing off.

So I waited... and waited.. and waited
Finally the sun was giving me the right amount of light, was in the right spot.. and I knew I only have a few minutes to get the photo..

So I cocked the shutter, pulled the darkslide, and tripped the shutter...

I know I've got the shot how I wanted it... But currently the image is ... waiting for development..
The Ektar will be sent out to Borealis lab in Quebec, while the Tri-X Pan will be developed in either Caffenol-C or HC-110 Dil. B....

I have yet to decide fully..

For now, I'll have to be satisfied with the images I took using my Voigtlander Vito CL and Spotmatic.

As it stands right now, I'm only moderately satisfied with the Vito and Spotmatic images, but my Brownie images completely blow them away, for the most part.

Although it can be quite trying to shoot 4x5 (or larger) film, and rather daunting, there is a satisfying feel to it.  You get some remarkable image resolution out of it, and incredible enlargements should you so choose.

My fellow shooters know that for detail and resolution you cannot beat large format.

But that's not why we shoot it.  No, that is not at all the reason whatsoever.  If it was all about sharpness, detail and resolution, why would anyone in their right mind shoot Pinholes with 4x5?
They do.  In fact, so have I!  The image to the right was shot with a homemade Pinhole lensboard using nothing more than my original Calumet metal lensboard, some tinfoil, electrical tape, and a piece of wire thread to poke the hole.
That's it.. and here's an image created using nothing more than a super small hole, and the mindset to create it.

There's no automation with creating these images.  It's just you, the camera, your film and knowledge, a bit of chance and your light meter.  Keeping notes is a very valuable asset, especially when it comes to development.  N+2?!  Or was it.. N-1?!  Oh yes, film holder 1-2 loaded with Fuji Acros 100... July 10th.... Here it is..
Okay, Develop as normal, good...
When you have multiple film holders, this is a very good habit to have.  Keep notes!  Not only will it help you keep track of each shot you take and how to develop them, but will also help you stay organized and disciplined.

I'm never going to say that Large Format is for everyone.  In fact, it's definitely not for everyone.  People who prefer to shoot small formats, and like the fact that you can shoot many images and have multiple chances to get that "image" will be better off not shooting 4x5 or larger, but those that find 35mm or even 120 a little too quick, well... Large Format photography might be for you!

One thing is for certain... I got the bug.. and I got it bad!
So bad, in fact, I'm actually pulling lenses on Quarter Plate cameras, 116 cameras, 616 cameras and even 6x9 cameras for their lenses to use on 4x5!
Every time I see an old Kodak Folder I check.. "Oh do I have that lens?" or... "I wonder if that'll give me full coverage....

All in all, I will not stop shooting large format.  I find myself shooting more and more lately.  After the last photowalk where I went with Alex to the University of Toronto campus in Downtown Toronto, I blew through the most frames of 4x5 I have ever gone through in a day..  Actually both him and I both did!

He claims 8 sheets of film, while I claim 10.  Sadly I mucked a couple, but it's all in the enjoyment of shooting..

Oh, and speaking of old Kodak Folder lenses...

Not bad, I think for a 100 year old Rapid Rectilinear lens off an old Kodak Autographic Brownie that used to use 116 film!
In fact, I would have to say, this makes for one hell of an enlargement!  I happen to have made one on 11x14 Silver Gelatin paper..  Absolutely stunning!  Sadly, however, it's still not quite big enough.  I think, perhaps, 16x20 is in order!  At least it'd be without cropping!

For now, I'll have to remain satisfied with the monorail, as I am too funded out to get my Deardorff restored, but it'll be a wonderful project, and a beautiful (and stunning) camera once it is finished.

So until the next time... Keep those shutters firing!

Film Is Not Dead

Film... A concept that has been around for over 100 years, and has just gotten better and better over the years.  Sure, there have been trials with it.  Disc film.. 110.. Even APS film was tried and failed.  Strangely enough, 110 film made a comeback in 2013!
Many people shot 110, including myself when I was much younger, and really enjoyed it.
Some even considered it a serious enough format to use it at weddings.  Considering the Pentax Auto110 system, it was used at weddings, but I don't think it was a very common practice for all photographers.
Most 110 cameras were just simple snapshot cameras, like the Brownies of yesteryear.

I don't shoot 110 today, but 135 (also known as 35mm) 120, and 4x5.

Recently I made a contribution to a company known as "Ferrania Film" which is an Italian film manufacturer.  They made 110, 126, 135, 120 and even 4x5 films until they shut down half a decade ago.
Strangely they saved their mothballed machines from destruction and launched a Kickstarter campaign to bring their production back online.
A new E6 film in both 135 and 120 formats!
Unlike Kodak, who completely left so many photographers gasping as they completely axed their entire E6 lineup and gave the market to Fuji, who is also axing many of their films, Ferrania is re-entering the market with a Colour slide film right from the get go!

Then there's The Impossible Project.  A company in The Netherlands who purchased the last remaining Polaroid factory, and saved it from demolition.  After purchase, they had to literally start from scratch!  Their own formula, their own dyes, chemicals, process and packaging.  They had to reinvent... Polaroid Instant photography!
Yet they are another resounding success story!
From the venerable SX-70 series of cameras, to the P600s and even Spectras.  They survive, and sell well.  They are also manufacturing and selling 8x10 instant film!
How about that?  In a digital world, Instant Film is still being made, and sold in sizes that the average person doesn't even print at!

Then there's the Film Photography Project.  They have become a source of film knowledge, and a source of even film itself!  With rare types of film, like E6 Infrared, to Svema, and even Cinefilm types, like Eastman Double-XX, or Eastman 5363 High Contrast film.  Amazing stocks, and readily available in 35mm rolls (or 100' bulk rolls) from the Film Photography Project store!

Have you ever walked into a antique store and found an old Brownie camera that took 620 film, but didn't know where to get that film for it because, well, 620 film is no longer manufactured?
Actually, it is.  620 film never stopped being manufactured, but the spools did.  620 film is just 120 film on a smaller thinner spool.  If you purchase that 620 camera you can get a spool inside that camera.  Purchase a roll of 120 film, and by pulling the spool out of it (in the dark of course) you can roll the film up tighter and fit it inside the camera without the spool in place.
Then feed the 120 film paper into the take up 620 spool..
Line it all up, and close the camera up.
Flick the lights on, advance to frame #1, and you're ready to go!

Or there's another option.  The Film Photography Project is producing NEW 620 spools through a plastic extruder and loading 120 film onto it for sale to you!

There are even other companies starting out.. CineSTILL is growing, and putting the Vision line of films in 120 format!

Can you imagine?  They are phenomenal films, and in 35 are gorgeous, but 120? Stellar!

So before you count film down and out, think again.  It's here to stay, and so long as there are people buying it, it'll stay here!

Now get out there and support film.


ILFORD, KODAK, FUJI, ADOX, FERRANIA, ROLLEI, AGFA, SHANGHAI

Start shooting, and enjoy it!  Film cameras have never been as low of price as they are now.

A Mechanical Film Camera will last you a lifetime, giving you the same results as you can expect every time!

Imperfect, organic and tangible beautiful images!


Film.... Is.... Not.... Dead!

Why I Shoot Large Format...

So there is a question put out there by some friends of mine.
Also, with +Alex Luyckx and +Mathew Marrash, who have both been asked similar questions, I have wondered this very thing myself.

Why do I shoot Large Format...

It's a complicated question, that is not easily answered.  One reason I can think of, is quite simple.  It is very relaxing.  I enjoy shooting formats like 35mm, and 120.. but there is something that feels too fast about those formats.  In a "never stop, never slow-down" world, I like the fact that there's something that cannot be done quickly.

"Winding" - Shanghai GP3

When I find myself looking for something far more relaxing and enjoyable than pointing a camera at a subject, and releasing the shutter without much though, I turn to my 4x5.  Sure, I wander around with a massive Monorail, but there is something about these amazing cameras.  They have immense capability.
The incredible amounts of movement on them, such as swing, tilt, shift, rise or fall, it gives a whole new dimension to the photo.

Take the image above.  I'm able to keep the path in focus, while throwing other areas, such as the trees at the top of the image, out of focus, keeping your eyes centered on the path moving through the image.

Plus you can take a single film, and change your entire Metering Index for each shot.  A 400 speed film can be 100, or even 800, giving different looks without ever changing your film.  Just change your developing.

"Oakville Lighthouse" - Fuji Provia 100F

When you shoot colour, it takes on a whole different dimension.  The detail begins to pop right out.
Colour takes on a whole new depth, and the clarity is unobtainable through any other means.  Sure, it's only 4x5, but if you take a look at a regular printed photograph that you get from your Local Walmart, from a digital or 35mm print, you'll notice that the print dimensions are 4x6.
Now imagine a negative, or a transparency, that is basically taken on a sheet of film that is just 1" narrower

than the 4x6 print.

To this day, I still remember the very first time I got my hands on my 4x5 Monorail.  Browsing the Kijiji website, I just so happened upon someone who was selling a Calumet CC400 with lensboard, case, 5 film holders, a pack of Fuji Provia 100F, and some other various stuff for a very inexpensive price.
All I needed was a lens, and I was ready to go!

So I popped onto that great auction site and got myself a Schneider-Kreuznach Symmar-S 210mm ƒ/5.6 Linhof lens for a price that I have never found again.

After I got the lens I designed, and made, my own lensboard. Painting the front Red, it really made it stand out.  The lensboard takes in the "Calumet" red dot logo and blends it seamlessly with the surrounding Bluish-Gray finish of the rest of the camera.

It really looks quite sharp!  Those that have seen the lensboard always remark at how lovely it looks.

The next lens I picked up was an old Kodak Ektar 127mm ƒ/4.7 Wide-Angle lens, commonly found on a Speed Graphic, such as what +Alex Luyckx has.  It has such a wide image circle, that I think it'll even cover 5x7 film!  It gives me movements on 4x5, and like many Kodak lenses, is incredibly sharp.

"Rundown" - EFKE IR820C w/Red Filter (Kodak Ektar 127mm)

But that doesn't necessarily answer the question as to why I shoot large format.  And as I said, it's not a question easily answered.

Lets look at it a different way.  Why not shoot large format?  Well, simple.  The gear is heavy, cumbersome, expensive, and not easy to transport.
There are film holders, different lenses and boards, big heavy tripods, and enough movements to make your head spin.
But at the same time, when you are shooting a 35mm camera, or even that dSLR, you have a very limited perspective to think of.  Where, I find, Large Format lets you take a whole different perspective when shooting.
You can shoot at an angle, and by adjusting your lens angle you can get straight lines and correct perspectives.
Plus, you slow down.
In a world where the digital camera can fire off 30 frames in a few seconds, the large format camera lets you stop, relax, and focus.

"Spidersilk" - Fuji Provia 100F (Schneider-Kreuznach 210mm)

This image is probably a prime example of slowing down.  From start to finish it took me no less than 2 hours to get it set up.  After focusing I had to measure off the bellows and calculate the bellows factor.  That means adding stops to represent the amount of light lost from the lens to the film-plane due to the bellows extension.  This is done using a tape measure, or a guesstimate, of the lensboard to the film plane.  A 210mm lens will have a bellows draw of 210mm from the film plane to the lens at infinity.  This is the normal factor for the lens.  While you extend it beyond 210mm you have to increase the number of stops of light for your exposure.  Thankfully, instead of doing a bunch of math either in my head, or on paper, I have an app for that on my phone (yes there is an App for just about everything!).
Then you have to take a light reading.  Well, when I took this, the sun was blasting down through the sky and blowing some parts of the image out.  I was shooting a transparency after all, and wanted some of that powerful light to be behind some clouds.  So I waited.... and waited... and waited....

After what seemed an eternity (was just short of two hours) I found the sunlight starting to wane.. then finally that harsh glaring light softened down.
Quickly taking a ready, and factoring in the bellows draw, I dialed in the settings on my lens, and the shutter.
Loading the film holder, drawing out the darkslide, then releasing the shutter, I knew I had the image I was after.

It was then that disaster struck.  I forgot to label the holder properly, or note it in my book what was loaded.
So I ended up with this film being loaded into the tank along with many other B&W sheets to be processed in HC-110 Dil. H.

Sure enough, however, the image is nothing less than amazing.  Super smooth, and incredibly well toned!  I couldn't have gotten a better image if I tried.
It almost feels like it just works better in B&W than it ever could in colour.

My wife complains at times when I take the 4x5 our on a walk.  "Why are you taking that thing for?? It's so big and heavy, and takes you forever to take a single photo!"

"IR Garden" - EFKE IR 820C Hoya R72 Filter

Well, again, you slow down, and you really pay attention to what you are going to take a photo of.  When I was at High Park, I imagined this water garden all aglow in IR light.
The image in my mind was perfect...
I lined it up in the camera, stopped down the lens, and just envisioned it.
Metering the shot as best as I could, I got the shutter ready and released it....

Tick... tick.... tick... tick....  45 seconds ticked by....... then finally 90 seconds was reached, which was right on the money for what I metered for, and I closed the shutter....
I knew instantly that i had exactly what I was after...

Sure enough, the image, when I got the film developed, popped out and stared at me.  The negative was just beautiful!

My very first IR image had been captured.. Unlike many others who shot their first IR on 35mm or even 120.. I did it on 4x5!  And I was absolutely in love with IR!  So much so that I bought a roll of Efke IR 820C in 35mm... It makes you slow down as well, shooting IR.

Then there is the old lenses that you find on old Kodak Folders, or the old Rapid Rectilinear lenses, or even Achromatic lenses.
These are dual element lenses that are either cemented together (Achromatic) or separated by a pocket of air (Rectilinear).  The difference is that the Rectilinear lenses are actually convertible.  Remove one of the elements and you can get a Telephoto effect, or a Wide-Angle effect.  Most often it's a "TELEPHOTO" effect.

"Running" - Ilford FP4+ (Kodak Rapid Rectilinear)

I had a couple of old Kodak folder cameras which were no longer functional, due to lack of film, or the bellows being far too holey to be used.  So I did what any sane person would do.  I remove the lenses for use on my 4x5.

And I can tell you right now, that was the best choice I could have made for these old cameras!  The camera is just a light tight box, but if I can't use it, why let the lens, which is a beautiful piece of workmanship, go to waste?

So I did some testing.  One of those tests was with some Ilford FP4+ and the lens during the winter.
Visiting one of my old haunts, the Trethewey Wetlands, I took a photo of the serene and glass-like Black Creek river.

What a beautiful site!  I knew that as soon as I closed the shutter I had the image that would make me remember about why I shoot 4x5 film.  Why large format is so special to me... and why I could never give it up....

Sure enough, this image has made its way onto my wall in the size of 11x14, but it doesn't even begin to do it justice.  It needs to be bigger.... 16x20?  Probably even bigger... It just had to be bigger!  It has so much immense detail, and has such a feeling of serenity and peacfulness.......  An image that can probably spend the next many years being reprinted over and over again..

But finally.... What I dare to dream of doing with my big camera...  Shoot portraits..

"Mother and Daughter" Fomapan 400 (Schneider-Kreuznach 210mm)

This is what I truly love.  Portraits... Large format Portraits have such a different feeling.  Such a different relationship, and just give you a whole new meaning to slowing down.  You want to capture that moment at the right time, the right way.

This is one of them.  Sure, it's not the best for that "Candid" moment, but sometime the stars align, and you are able to capture that moment, just by being there, and being ready.

"In The Field" - EFKE IR820C (Baush & Lomb Rapid Rectilinear) No Filter

So remember that when you are shooting any format, digital, or film, try to take the idea that you're shooting a much larger scale.  Imagine, instead of shooting just a super simple sensor the size of a postage stamp, or a piece of 35mm film, that you are shooting something much larger.  The size of a print, where a single shot matters.

Then focus, and pay attention to your surroundings, the light, the position of your subject.  How the background portrays with your subject, and ultimately, what the photo means to you.  Does it tell a proper story?

Even when you shoot a digital format camera, you can easily just slow down, and relax.  Take a breather and visualize the image before you before you even take the photo...
It'll materialize in your head, and when it does, then release the shutter.

You'll be much happier when you do..

"Ghostly Sitting" - Shanghai GP3 (Carl Zeiss Jena 105mm)

Finally, like many, although this image still eludes me, the shot I have visualized many many many times over.  I have taken this photo probably a hundred times in my head, and this time I thought I had it.
I was so close, but again, the shot eluded me.

Sadly, this bench is no longer in this location, but has been moved... Now the image I must visualize again...
And hopefully one day, with the right equipment, I'll get the image I was after...

So why do I shoot Large Format Film?

The simplest answer is this...

Because it lets me imagine a world that perhaps doesn't exist.  A simpler world, where time slows down, or even stands still... even if it's just for a moment...



Until next time...  Keep those shutters firing!