Wednesday, May 17, 2017

Forgotten Roll

I bulk load almost all of my 35mm film these days, so I'm occasionally at risk of holding a blank, unmarked cassette of exposed film. Such was the case the other day.  Is it Delta 100?  Is it PanF+?  Who knows! Good thing I had some Rodinal on hand to help me out. Turns out it was indeed the Delta 100.

Forgotten Fall

I had forgotten the story of this roll, but began to put the pieces together as I looked at each scan. This was last autumn, well after the colors had come and gone, but well before the first of those snow storms hit our region.

One for the Road

It was a random trip out to the Columbia River and the McNary Dam, just about a ten minute drive from where I live. This might have even been two or three trips, as I seem to remember wanting to get some shooting in before the weather turned for the worse. The light was hitting the atmosphere just right after I got off work.

Forgotten Fall #2

I think what attracts me to film is that the memories of that story are embedded in that strip of emulsive material, just waiting to be unlocked when I give the word. I can't erase them. I can choose to not scan and share a frame here and there, but they're there just the same. They're a part of whatever was in view of my eyes and my heart at that time.

The Dry Season
I've never felt the need to give justification for shooting film, but there it is. My upcoming summer is going to consist of mostly black and white film, some 35mm and some 120 pinhole. And perhaps a few frames from a TLR if I can get it operating correctly again.

County Line
Here's to summer.

Sunday, April 30, 2017

More pinhole

It's Worldwide Pinhole Photography Day, so I'm posting this right before I head out with my Zero Image. These are some images from my last outing. Zero Image 618 pinhole camera with Tri-x in d-76 1:1.  Red #25 filter used.

Waitsburg, Washington. Sun flares can add interesting elements to pinhole images.



Holdman Cemetery



Wednesday, April 12, 2017

Pinhole in the City

I took my Zero Image to Portland over spring break and shot around Powell's Books on Burnside one afternoon. Each of these are ~5 second exposures.

Must turn left.

SIZZL PI

Overlook

City of Books.

Monstrosity. 

Wednesday, April 5, 2017

Pinhole: Cable Bridge

I wasn't sure about using Fuji Acros 100 for pinhole work, but I like how these images of the Cable Bridge in Kennewick, Washington turned out. Developed in Rodinal 1:25 for 6:45 minutes at 68° F.








Tuesday, February 7, 2017

B&W Pinhole: Seattle

Sometimes I don't learn from my own lessons in pinhole photography. Take rule #1 for example:
Your foreground will be front and center, dominating the scene between your camera and your subject. 
Moreover, I ignore rule #2 that is necessitated by the first one:
Pinhole photography is mostly a near-field experience. Normal-sized objects that are more than a few feet away from you will look exaggeratedly far away when you view your final image.
Yet here I go, ignoring both rules by not minding my foreground and trying to capture people and things 30-40+ feet away. Maybe next time I'll get it right.

Still, I was happy with the motion blur I got in a few of them. Tri-x remains a favorite to shoot in this thing. It's got a nice range of latitude and you really can't hurt it. Take a look:



I couldn't wait for the light to turn green. Luckily it did, just at the right time. 

Foreground. Lots and lots of foreground. 


Blue skies in Seattle. But do you think I remembered my #25 red filter?
I think I dodged a bullet when developing this earlier today. The lid on my Paterson tank had gone loose right after the development stage but before the fixer. It must have let some light in for those few seconds, but I wasn't able to tell based on the negatives.

Sunday, February 5, 2017

Color Pinhole: Seattle

I spent a few days in Seattle last week and spent a couple of hours walking around with the Zero Image 618. This is my first attempt at color C-41 film in a pinhole. If you're going to shoot C-41 in pinhole, Kodak Portra seems to be a good choice. I thought it was going to be grossly overexposed, even accounting for reciprocity failure, but these came out ok.  My goal was getting some motion blur in traffic, but that seemed to be obvious on only one of the frames. Still, I was able to get a few frames I was happy with and came away with some things to consider for next time.




Monday, January 16, 2017

Refining pinhole

Motion blur is a funny thing. Too much--which is what happened on these images--and your subject disappears in a mist. Not enough and it just looks like unintentional blur. In either case you lose the effect you're going for. 

When you're locked in to an ISO and aperture number, your only choice to adjust shutter speed (further than a stop, anyway) is to adjust in development. These images below suffer from far too much motion blur, so shooting Tri-x at 1600 instead of 400 ISO would make a big difference. When accounting for reciprocity failure, An 18 minute exposure theoretically turns into two minutes.

I say 'theoretically' because of the incredibly wide latitude that is inherent in Tri-x. Even at more conventional shutter speeds, underexposing by a stop doesn't result in significantly less exposure on the final negative. So, all things equal, that original exposure of 18 minutes could be as little as five with no adjustment in development time. 

Or heck, throw in another 30 seconds in the tank just because you can. There are lotsa variables here when it comes to long exposures and film. My takeaway is don't be afraid to close that shutter after you've captured what you need to. 

18 minutes. Too, too much motion blur. 

Picking up trains

Four year old playing with trains 
Self portrait


Backyard under moonlight. Funny, I don't remember shooting this.

Getting the spooks in the house to do a few dishes. 


Getting ready in the morning

Saturday, January 14, 2017

2017 Directions

A few thoughts for the new year, some of which are somewhat random:
  • I have intentionally reduced the amount of portrait photography I do over this past year. Once I'm done with this current group of seniors, I just might cut it out completely altogether.
  • Some other priorities and considerations prevented me from getting up to the Palouse last spring. I plan to rectify that in 2017.
  • Has my landscape work gotten appreciably better in 2016? I can't say that it has. My focus for improvement in 2017 will center on composition and taking advantage of good lighting conditions. More opportunities to practice should lead to better images, both film and digital.
  • I'm in the market for a really good 645 SLR or RF. Something like one of the Fujis will work just fine, thank you. I might sell off the Mamiya C330 to make it happen. 
  • Speaking of the C330, it's been badly in need of a reseal for the last year or so. That's another project for this winter. Whether I sell it or keep using it, this is a priority that needs to get done.
  • I'm going to pick up a Hoya R72 to do some IR work, in both digi and film. 
  • More black and white in general in 2017. The Fujichrome I shot in 2016 is proving too erratic to process myself. Rather than keep trying and keep failing, I'm going to bite the bullet and send it to somewhere like Blue Moon Camera for processing. I'll limit my consumption of e-6 film in general, the return of Ektachrome notwithstanding. I do have some bulk rolls of Ilford Delta 100 and PanF+ in 35mm format, so I plan on burning that this year. Also, it would be good to get some Eastman Double-x 5222 to bulk load. 
  • Pinhole proficiency. My goal is to use the quirks and characteristics of that format to my advantage. 
  • And even though this is a film blog, I plan on returning to my digital roots for landscapes this year. There's no reason to not shoot both.
That's it for now! I'm looking forward to a fantastic 2017 of film. 

Wednesday, January 4, 2017

Getting the Foreground

I shot these before I read Zeb Andrews' excellent blog post You've been foreshortened, but it's good to see the element of the foreground somewhat under control in my work. Shooting pinhole photography is really helping me see in a new and different way.



All three images: 120 Acros 100 on Zero Image 618 pinhole camera, Red #25 filter. Developed in Rodinal, 1:100 semi-stand.