Ever since I have started to take photographs I was always chasing a cinematic look. In fact, this is one of the reasons I shoot film. While it is undoubtedly possible to achieve film look with digital cameras I find it easier by using film. Also, it is a lot of fun to experiment with different film stocks. Discover the characteristics of each individual film types. Under which circumstances to use one over another and what artistic effects can be achieved by abusing a particular type of film.
One of my holy grail films I desperately wanted to put my hands on is CineStill. It is a tungsten-balanced motion picture film converted to be developed in a regular C41 process and thus more accessible for still photographers. In theory, this film can provide that cinematic look in terms of color, tonality, grain as it is, in fact, an emulsion used by Hollywood. Of course, the cinematic look is a product of many other factors than the film stock such as lens, subject, lighting, but it is one of the main contributors.
For their color negative films, Cinestill Film modifies Kodak motion picture cinema film, allowing it to be developed with the C-41 process rather than the Eastman Color Negative process. Cinestill Film converts the Kodak motion picture cinema film by removing the Remjet backing, a separate Anti-halation backing used to protect the film in motion picture cameras. Due to the removal of this anti-halation backing, Cinestill Film exhibits a glowing effect on the image in areas with strong highlights.
It was clear that sooner or later I was going to try CineStill, but I needed an occasion or project to justify it. Thankfully at the end of 2019, I have got the chance to visit a conference in Las Vegas (AWS re:Invent 2019). I thought it was a brilliant opportunity to try this film so I bought 2 roles from eBay. It was a week-long conference so I hoped that I was going to have some possibility to explore the city and shoot film.
My camera of choice was the Leica M2 paired with a Voigtlander color skopar 35mm f/2.5 pancake lens. I also brought with me an 50mm f/1.5 Sonnar for the extra speed. But I ended up using the 35mm lens a lot more as it was easier to carry around and the wider field of view made a lot more sense too. The f/2.5 maximum aperture was bright enough because of the high speed of the film and because the city was brightly lit by the different advertisements at all times. My biggest problem during the night was not the amount of light but the ever-changing nature of it. Images on the screens were flashing, trucks were driving around with wall-sized LED light sources mounted on them. It was such chaos that I gave up on using a light-meter. Instead, I started to rely on gut feeling and intuition. I had to gamble on my exposure.
As expected halation is very evident when bright light sources are in focus. This is due to the removal of the anti-halation remjet layer. I personally find this effect very interesting and unique. For the most part, this glow gives an extra punch to the atmosphere.
Avoid using CineStill 800Tungsten (or expect a unique look) when photographing:
daylight overpowering tungsten
heavily backlit images
strong window light
ontent including intense points of light (christmas lights, chandeliers, neon signs, bright windows)
I have to say that this film did not disappoint me. I shot it under numerous recommended and not recommended situations and as the expected unique look was delivered in a big way. I had been caught off guard regarding the amount of halation, but I must admit I like this effect very much. It helps to smooth out the otherwise not so great bokeh of the little pancake lens. I expected more noise given the 800 ISO rating, but I was pleasantly surprised about how well the noise is controlled. The colors are fantastic and it was very easy to set the white balance on the files in Lightroom. Not sure if it has anything to do with the film though. The only situation which produced results that I did not like and/or was very hard to color correct was in open shade. Especially if people were in the frame. Skin tone reproduction in shade is not the best application for this film based on my limited experience with it. It is also #1 on the not recommended situation on the CineStill website.
All in all, it is a great film with absolutely unique characteristics. I think it is worth to try.
I have been planning to write about my adventures in Dublin and Galway a long time ago. It was a short business trip in 2015 for only 2 weeks but I could fit in some time to explore and of course to take photographs. I wanted to write a bigger post initially because of the great experiences I had in Ireland. Since I have not managed to put my thoughts together in the last two years, I have decided to take a more simplistic approach and let the photos talk instead of me.
I have used my beloved Leica M2 with my Sonnar 50mm ZM lens loaded with Fuji Superia Xtra 400. All the film was developed and scanned by the excellent John Gunn Camera Shop.
Music on the streets of Dublin was everywhere. I was quite impressed by the diversity and the quality of the music I heard there. It is a vivid city with many faces and to me, street musicians are definitely contributing to the charm and charter of the place.
But things were about to change in regards to the regulation of street music. Don’t know what was exactly on a stake or what the result turned to be. But at the time I was visiting Dublin, large groups were coming together, playing music and peacefully protesting against the planned changes.
I have also taken a couple of candid shots. Partly because I am really bad at this type of photography yet I needed to experiment with it. After all, I was caring a camera which was built for the task.
At the end of the day, I have returned my method of asking people if I could photograph them. I am much more comfortable with this approach. At least I have fewer issues with framing and composition when I can use the viewfinder.
People were generally very friendly and talkative with me. I was very much surprised about the number of positive reactions of people I asked to take a portrait of them. In addition to that, I myself received a lot of attention. Random people started to talk to me about equally random things ranging from the weather to the funny aerobic class across the street while we were waiting for the green light at a zebra.
I was also trying to capture little details of everyday life like this little dog who might be waiting for his owner at the entrance of a pub in Galway. All in all, I really had a great time even if it was very limited. I had a lot of good experiences, met many lovely people and I have taken an unusually high amount of photos on this trip which is a statement of itself. Someday I will go back with my family for some more exploration with properly dedicated time.
For a long time ago, I am trying really hard to identify and find the proper way formulate the reasons why I am pursuing film photography. My opinion has changed during the years quite drastically and I went through many stages. If I want to be honest I have started up because it was the only way I could afford to go with bigger “sensor” sizes and thus achieve bokeh.
Later I turned towards the typically listed reasons such as slowing down, being more disciplined and make every frame count. I was also and to some extent still is a big believer of the film look and the superiority of quality of film over digital. But as digital technology as well as the corresponding software environment matured I have had harder and harder time convince myself that these arguments stand if they are closely inspected.
The film look can be emulated so good that I have hard time to tell the difference between some of my own experimental film filtered digital and actual film photo pairs. The quality argument in strictly technical terms has melted away to me unless one uses really big formats. Even worse there are plentiful situations where digital is unquestionably excels for examples when extreme high sensitivity is needed.
One can be disciplined with a digital camera in hand as well. A memory card with just little space on it can simulate the limiting factor of roll sizes, and nothing stops us not to look at the screen every time the shutter was released.
I was really questioning all the effort, time and money I have put into equipment, film, darkroom material and software into film photography. Should I keep doing this or it would be the best to write off all the losses and switch completely to digital once and for all? I had to let this question sit on a hidden shelf for quite some time somewhere in my mind. I think I have my answer now and I am eager to share. Maybe I am not alone with my reasons.
The answer is not quite straight forward. It is an evil mixture of deep psychological hooks on my personality spiced up with a good amount of nostalgia and a tiny bit of snobbism. The trivial part is that I enjoy to handle nice, well made vintage cameras and lenses. They are built to last and most of them even have quite a bit of a history. I think I also have an anti-consumerist side which grasps for the concept of a simpler world where one does not feel the need to change camera body and even brand every second year. I adore my carefully selected gear and I am now very reluctant to change it for the next big thing from the universe of gadgets.
The not so trivial part starts with the limitation factor on choices. If I use a certain type of film, I can technically do countless things with it especially because I use a hybrid workflow which involves digital processing. But a digital raw file with a library of Lightroom filters in hand is just a bigger set of infinite. This could lead to paralysis via choices. Here is a brilliant Ted talk by Barry Schwartz about this topic. I need to accept the inherited characteristics of the material rather than trying to define it. I am very happy with the aesthetics I get from my favorite film stocks, but I have hard time to be able to decide which filter to use when I start out with a digital file.
Of course there is also the fact that to get from the decisive moment to a print or even to a digital file, there is a lot of work involved. Prepare, shoot, make notes, develop,make notes again, scan, process digitally, catalog, select in multiple rounds, archive, print, publish online. All these steps require me to be fully present and put myself into the process. Every stage involves different skills, a lot patience and of course anything could go wrong at any given time especially with the chemicals. Because of this long and delicate process I learn to care more about the photos. Eventually I program myself to like the end results because I have to wait (sometimes months long) to get to see them.
Each and every shoot which survives my process is special for me even though they are not perfect. They have personality and I remember them all. I could mostly tell what film and camera I used even without checking the notes. They reflect a stage on my self-seeking journey, a snapshot of the way I approached a subject and the process at a given point in time. All of these factors together shape the reason why I stick to film.
Of course there are numerous things which I don’t necessarily like about film. While I enjoy working in the darkroom, I am not very happy to get in contact with dangerous chemicals. Working with old equipment means that occasionally they give up, leaving you with nothing but bitter disappointment instead of nice photographs.
This is a high risk high reward game I seem to enjoy. I would certainly think different if I would practice photography for living and not only for fun. In any case, I stop struggling for finding better answers for now. There are still many reasons I have not listed now like working with tactile physical materials or the element of surprise as the process cannot be fully controlled. But I know enough to let this question go and I will keep focusing on the actual act of shooting film rather than analyzing the motivations behind.
The second half of the Fuji Superia 400 in the Yashica had been shot during a wonderful family trip at the south of Austria. We have picked an easy trail close to Arnfels this time but one packed with nice scenery and experiences. We have passed by beautifully taken care of wine yards and a forest filled with life and with the colors of the autumn. We have picked some chestnuts, had a closer look of a variety of strange mushrooms and met with all sorts of wild and domestic animals including a little deer.
I was equipped with the Yashica TL Super with the Pancolar 80 attached to it plus I had my old Weimar Lux Cds light-meter with me. Eszter was shooting with her Nex 6, and of course we shared the duty of carrying the little one (who did not get lighter), but at least he could also run around a bit on his own due to the easy terrain.
The lights were initially quite harsh but inside the woods we were rewarded with some nice beams of light filtered through the branches of the trees. I find it very difficult to capture the delicate atmosphere created by such light conditions on any medium, but this small format film has done a decent job.
As we moved out from the forest, I started to look for details. This pole of an electronic fence seemed to be a good idea to take a picture of. Now, I find it quite boring unless I use it to evaluate the creamy background blur of the mighty Pancolar even slightly stopped down to around f/2.2. Notice the orange blob at the top left quarter of the frame. It is obviously my 2 years old running around.
Portraits of feeding animals are essential for any family photo book.
Not sure what happened with the top part of the cabbage photo. I think I must have overexposed so much that the film decided to make some color shift. In any case, I was indeed pushing the boundaries of the film because I tried to shoot as wide open as possible despite the abundance of light.
All in all it was a great trip with a handful of shoots we like both analog and digital. The Yashica served well once again, but I cannot deny that this camera especially with a bigger lens is not easy to carry all day. The weight can become a real problem if the camera is not the only extra weight one needs to take care of. Would I take it once again for a hike now that the much lighter Leica came back from service? I think will still take it occasionally, but more because of the lens not so much for the sake of camera.
To follow up the previous post where the focus was on the retro stylish look of the Yashica TL Super, here are some of the shoots out the roll which was in the very same camera. All of these photos have been taken during our last visit to Hungary in the middle of October. The film is Fuji Superia 400, which is lately my choice of color negative film due to it’s versatility and because I had quite a few rolls of it left from my Irish trip from last year. This film works great for me in almost all circumstances from low light situations (when combined with fast glass) to sunny daylight. This time I had mostly enough though not plenty of light as the weather was generally overcast. But the colors of the autumn are well retained and the scattered light helped with the portraits.
I used a single lens, my big favorite the Pancolar 80mm for the entire roll. I try to force myself to carry only one lens at the time. This helps me learn the quirks of the given setup by focusing on it for a longer period. Also if I have only one lens available I need to solve every situation with it which could help me leave my comfort zone and thus contribute to my creative development.
This lens has it’s caveats and sweet spots to learn as well. Others may observe these differently as many aspects of the character of a lens can be judged subjectively. I find myself shooting with the Pancolar most of the time wide open or close to it. This is where the character is mostly evident in the form of beautiful smooth bokeh when the background is right. The lens is plenty sharp in the center at least for my eyes and subjects. Stopping down to medium apertures where the depth of field is still small enough to have some background blur makes it evident that the iris is very far from circular. This case the background can be very busy which is not always desirable. In addition contrast can be too high to my taste especially for portraits.
Of course the photos from this post were not the only ones from this roll. The Yashica was with me on a family hike in the south of Austria where both the light and my subjects were different. I will publish a selection from those shoots in the next post with the hope that I can show the versatility of this film and my single lens approach.
It is not easy to be a tourist. Visiting popular places has the obvious disadvantage that they are already photographed from every possible angle at every possible time of the year.
So what can a photographer do who is short on time and cannot afford the luxury of deeply explore his travel location? In other words should one leave the camera at home when going to a family afternoon visiting a hipped touristic site? Some would say yes. Just enjoy the time with the family and do not break the flow with those annoying stops to stare through the viewfinder. There is no way to take new, refreshing original photos anymore. There is even a camera called Camera Restricta which checks online how many publicly available photographs have been made on a certain GPS location.
If the count exceeds a limit, the camera denies taking any more pictures. While this camera offers a really extreme solution to the issue, it certainly raises the awareness that we should approach spectacles with care. After all, no one wants to create the 10 000th identical photos about that waterfall.
In my opinion, it is absolutely possible to take outstanding photos at locations which are considered completely exhausted as photographic resources. It is challenging indeed, but challenges are there to accept and conquer them.
This is what I have tried to do lately. I was sent on a business trip to Dublin and of course, I tried to get the most out of it. Due to the packed by work nature of my travel, I had not much time for exploring, but I had a weekend and a few afternoons to work with. So I teamed up with my college and friend and picked some quite touristic places to visit. So we went to Glendalough, an extraordinary place with a beautiful mixture of nature and early medieval architecture. We had a great time and we were truly amazed by the wonders of this place, but as expected there is quite highly developed tourism involved here.
I was terrified when I realized that people were taking literally thousands of pictures just under that few hours we spent there.
But after the initial hesitation, I have started to shoot and tried to make up a set of rules I applied to make a difference.
Think with a head of a tourist
I tried to picture what is the easiest shoot one could get. This is what most people are up to. It is also a good idea to step back a little and watch what locations others choose. After I have mapped the patterns, I have picked a little bit different, harder to reach so to speak less trivial spot and angle. Many times just a few meters what you need for a significantly better shoot.
Use something special
According to a popular saying, your camera does not really matter. I agree on that a talented photographer can take stunning images with just about anything. On the other hand, a bad photograph is not any better just because it was taken with some exotic gear.
But the reality is not that all black and white. In the age of mass-produced digital cameras, smartphones and even smartphone cameras, a good old film camera can really shine out.
This is not the primary reason, why I shoot film, but it is great fun to see how much people are surprised because of the image quality and (I hope) cinematic look of my pictures.
Focus on the details
The world is full of neat little details. Many see only the big picture. Want to squeeze somehow the Eiffel Tower into the frame. But sometimes details are just more interesting. Better still often there is no indication whatsoever about their origin. Therefore it is always a good idea to have a camera in the bag no matter how touristy is the place to be visited. There is always the chance for a nice rusty road sign lurking at the next corner.
I have to admit that this photo with the fern was not taken at Glendalough but in Galway. However, this is my favorite detail photo from this roll.
People make things interesting
All humans are addicted to the look of other humans. Why not exploit this property of the mind and compose someone into the frame. It does not work at all times, but chances are that a handful of these photos will be the best ones. At least this is the case many times with me.
I am really bad at photographing people without their acknowledgment. I am not just bad at it, but also I prefer not to do it. That is why I asked these girls for this picture.
This is my quick guide for myself. I hope some of you will find it interesting. If you have something to add, or just like to comment, I would be happy to read your opinion.
The Jakominiplatz is one of the most important public transport centers of Graz. Tram lines meet here as well as it is the starting point of many local and medium distance bus lines. It is indeed a very busy, sometimes seemingly chaotic, ever changing colorful place. So many interesting and not to mention very different people are mixed here in this relatively small parcel of space that the Jakominiplatz is truly is a photographic goldmine. The combination of the crowd with the wide variety of heavy vehicles and infrastructure makes it an ideal location for street photography, portraiture or even abstract architectural shoots.
I am one of the daily passengers. Sometimes I pass by more than once a day and of course I always have some kind (mostly different) camera with me. It was inevitable that eventually I will end up with a nice collection of images taken here using a wide range of equipment under different light conditions and in many distinct styles.
I have captured the greenish mist of winter nights painted by the army of mercury street lamps on heavily expired film as well as using a digital pinhole camera, I have played with the strong shadows cast by the pylons and with the perspectives of the tracks in strong back-light. I have taken sneaky street photos with a digital compact and I toke some nice medium format portraits here. I find it fascinating that every time I pass by here something is different and there is always a new perspective to explore. In addition it is really fun to see how much impact the particular camera/lens has on the end result even under otherwise similar circumstances.
I think that at the end of the day I found myself in an experiment which I have not planned through or intended to do at the beginning at all. An experiment to prove that the photographer’s choice of the tool does matter even though this is not the only factor. Furthermore to show how much inspiration can be found in ordinary places which we visit every single day and therefore tend to ignore. I hope that my pictures will encourage some of you to explore your own Jakominiplatz.
Light quality is extremely important to a photographer, just like snow for an Inuit. We have countless names for the different types of light while any average people would only call them “strong” or “weak”. The amount of light we get is very easy to measure and describe. But the quality is a far more subtle, much harder to formalize concept and therefore much more interesting to me. Modern cameras can handle low light extremely well thus photography is now possible under such difficult circumstances no one could be foreseen just until a few years before. But high sensitivity sensors with great quantum efficiency and extremely sophisticated noise reduction processing cannot create great photographs just by extending the lower bound of minimum illumination necessary to capture an image. Although these new tools certainly aid the photographing process, the quality of light (among other factors) is and always will be key to a good image.
I am currently experimenting with mainly available light, trying to find situations which work for me so I can get the results I like in a somewhat predictable manner. One of my favorite spots lately is the door of our balcony. In my opinion, this location has nearly ideal light conditions for portraits during most of the day. The balcony is relatively deep, and only the front is open (sides are solid walls), then comes the big door followed by a deep room with white walls and furniture.
This setup has a similar effect to a soft-box. Light comes through in a beautiful evenly distributed, soft way, which then decays rapidly as it penetrates into the room. A subject placed close to the door can be lit very well with a strongly directional but soft light while the background is lost in darkness.
I have taken several portraits at this place using different formats (APS-C, 35mm, 6x6cm), films and digital sensors, and a small, but representative selection can be seen in this post. I think it is interesting to see next to each other similar shoots using similar focal length but with vastly different capturing technology.
The conclusion is that, no matter what your medium is, good light (and composition) could always give respectable results but technology does not save the day if the light quality is poor for the subject. But it is again another subjective property, what is poor light for a photographer for a given purpose, could be magnificent for another. Nevertheless, I think it is crucial to study light as a photographer, amateurs and professionals alike.
Just about a week ago I was called by the reception at work that a package arrived with my name on it. I was genuinely surprised because I have never received anything unexpectedly at work. Who on earth would have sent me a package and especially to this address? It must have been a conspiracy.
My curiosity reached an even higher level once I picked up the package and I realized that the sender is an old photographer I only know remotely through a friend. I made some small animations in flash for him as a favor and I’ve almost completely forgotten about it. It seems that he has a much better memory and he sent me this little package to cheer me up.
Well, he managed to make me very happy, because the small box was full with gorgeous films of many types. There were even some legendaries like the Kodak Ektar 25 and some, which I have never even heard of before, such as the Lucky SHD. Now I have film for tungsten light and a bulk package of medium format Ektachrome. It is truly an amazing gift, even though some of the films had expired way before I was born (which unfortunately was already a pretty long time ago).
Of course, I have already had an interesting collection of films. But, with this addition, my stock has reached the critical mass to share it with you. After this post, I finally free someplace in the freezer and it will become hard to show the full collection as a whole.
Kodak Technical Pan
Agfacolor Portrait Xps
Ilford FP-4 Plus
Forte Supercolor Fr
Fuji Superia Xtra
Fuji Pro 160 NS
Ilford Pan F Plus
Kodak New Portra
Fuji Pro 160 Tungsten
Lucky SHD 100
Kodak Portra 160 NC
Kodak Elite Color
Fujifilm Pro 160C
Kodak Gold 200
Kodak Farbwelt 200
What film really means to me
Also, I have started to think about my very intense reaction to this gift and decided to try to summarize my thoughts and feelings about what film means to me.
Film powers old cameras
First and foremost film allows me to use the plethora of cool film cameras, which would otherwise be used only as fancy paperweights at best. This way I can experience what other people could feel when they used these now vintage cameras through history.
Even better, if I put the state-of-the-art film into any old camera, I can achieve state-of-the-art results if the lens is good enough. I think it is fascinating that someone can reach levels of quality today with the very same gear his grandfather used, which was considered impossible at the time the camera was made. This is something a digital camera of current times will never be able to provide. If this would not be enough, the film opens up the world of medium and even large format photography on a very affordable price point compared to their digital counterparts.
Film is a symbol with deep meanings
But film is a lot more than the ticket to film cameras. It is a very deep symbol in our culture. It symbolizes nothing less than eternity. It captures moments but unlike the digital sensor, it encapsulates them. Film itself becomes the frozen moment of memory and emotion. This is, of course, a process, which cannot be reverted. Once something is captured it will be preserved unchanged as long as the film physically exists. This very nature of film gives us the impression of truthfulness, the feeling that anything recorded on film must be real. Of course, we all know that any image in a medium can be faked, but it is very hard to alter the film for ordinary people after it was developed.
Film is commitment
Once the film is loaded into the camera, there is no way to return and the photographer has made his/her commitment to a particular type of film with all its properties. Although there are plenty of parameters that can be changed later (thinking of push, pull, cross-processing and other tricks), the characteristics of the used film will be inevitably present in the result and the possibilities to change this in post-processing are rather narrow. Today there is much excellent software out there to manipulate photographs. The possibilities of manipulations are nearly endless and even film/developer simulation is possible on a very high level (though it can be debated how truthful such simulations are in reality). I embrace and endorse these tools, but, honestly, the countless amount of options often makes me insecure in my decision. I tend to hesitate and eventually I run into contradictions with myself. I want to retain the maximum amount of detail, while also wishing to bestow a strong character in the image. As a result, many of my images are good, however, they fall short of featuring such a strong character and I am frustrated because of the possible other ways I could have chosen. One has to be able to keep the power of the tools provided under control, otherwise, that power is useless. It seems that I am not fully ready yet for the marvels of the digital post-processing revolution. I just prefer to work the character given by the film I choose and then try to get the most out of it in post-processing. Yes, it comes with commitment, but it gives me results (I like) and frees me from the burden of too many possibilities. All in all, I am much more satisfied with my film images.
Film is responsibility
A piece of fresh unexposed film is like a newborn baby. It has an inherited genetic character, but it is completely blank, has no criminal record and can become virtually anything. It is the responsibility of the parents (sorry photographer), to provide the best start and guidance to achieve the most. Shoots can be repeated, but every frame is an effort and an investment, especially if someone (like me) uses a tedious hybrid workflow. Of course it is not a good idea to over complicate or worry too much about the process of taking a photograph, just like an overprotective mother can be also harmful. But it is important to be aware of the responsibility over the film we are about to use.
Film is heritage
Needless to say that film has an enormous historical heritage. The different materials, processes and characters resemble historical periods, great moments, fantastic artworks and intellectual advancement. Film has such a deep roots in our culture that it is impossible to not to feel its importance and legacy.
Film is fun
Despite all the serious thoughts here, film also provides a lot of fun. It is such a gamble to use a crappy camera with some expired film and hope for cool light leaks. There are plenty of applications for simulating this, but I think part of the fun is that the control is not completely in or hands.
Film is alive
Unlike digital files film has an organic grain structure. It can be emulated by software, but computers can only work with pseudo-random generators. There will always be a pattern in digitally added noise. Film has a life-cycle. It ages and it can go bad when stored inappropriately. On the other hand, even if it is expired and stored recklessly there is still a chance that something interesting will come out of it. A box of expired film (like the one I have received) is like a box of old exotic old wine. You could find something truly amazing or the complete opposite, but you cannot say until you taste it yourself. This is also part of the magic.
Film is magic
If I needed to find a single word to describe what is the most significant property of film, I would say it is simply magical. There is something mystical about the chemical process, which forms a photograph. I always found this quite fascinating even though I am aware that everything about it is well described and no dark arts are involved. But when I combine this feeling with the uncertainty of the result (especially when I use expired film) and with the waiting necessary to finally get the developed film back from the lab, the experience is truly magical.
These aspects are just a few among the thoughts circulating in my head about film. These are all interconnected, and after all, that is why I feel special when I can hold a package of film in my hand. I am sure that others would come up with a completely different list, but I am pretty certain that almost everybody who is old enough to have had some connection with film photography retains some emotional connection to it.
Just one more fun thing to think of
I have played around with Blender and made this highly sophisticated scene of a plain and 2 boxes. I painted a texture for it based on some old Forte and rendered the scene. It is pretty obvious that this is not a photograph because of the sharp edges and the way to perfect texture, But the point is that it is possible to make it photo-realistic with some additional effort. An image generated solely by a computer to tribute the film which may be one day substituted entirely by the computer, or at least the possibility will be given. In the end, it is all about personal and professional preferences.
Computer generated illustration of old Forte film by Camerajunky
Walls are usually not the most exciting subjects to photograph. To use medium format slide film to do that is even more strange and could be considered as some sort of crime by some. After all, we live in a time when both film and labs which are able to develop slides are more and more scare.
But what if you’ve found some really awesome walls filled with stunning graffiti masterpieces varying in size up to 30 meters (my approximation) and the whole place is a partly abandoned industrial complex.
Well, I couldn’t resist and loaded my Pentacon Six with a roll of expired (in 2004) Kodak Ektachrome 64 and headed to this place with my wife to take pictures of walls. In fact, she took way better photos than me, so maybe I will post those in the future as well.
I usually have no problems with expired film stocks, but this roll of Ektachrome gave me a very interesting result. When it came back from development it was possibly the flattest looking positive I have ever seen. I thought that I majorly overexposed all the frames equally. Surprisingly after scanning, I had to realize that almost no highlights were blown away and I could recover many details and color information during post-processing. I have the impression that the last 10 years after the end of the expiry date of the film was not spent in a refrigerator. I still have 4 rolls of the same batch of film, I need to think it over if I want to give them a second try.
The place we found hosted the Livin’ Streets 2014 festival for urban art, graffiti & street art between 07.06-18.07 2014. Their facebook page is here. Although we were too late to see the actual event, we could still meet with one of the artists who stayed to finish his work and also we could see all the paintings in the finished form. It was a great experience and we had a lot of fun, so yes it is totally fine to shoot some walls from time to time.
The photos were taken by my Pentacon Six Tl using a Carl Zeiss Jena Flektagon 50mm and in some cases a Biometar 80mm. The film was developed by a local shop and scanned by me with a CanoScan 9900F.