Crazy to shoot film?

May 16, 2017November 18, 2018 CamerajunkyLeave a comment

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.

Piano, Leica M2, Summitar 50mm, Ilford FP4 Plus, Epson V700

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.

Pentacon Six TL, Biometar 80mm, Fuji Acros 100 expired, Ilford ID-11, Epson V700

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.

Showroom puppet after work, Pentacon Six TL, Biometar 80mm, Fuji Acros 100 expired, Ilford ID-11, Epson V700

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.

Systers, Pentacon Six TL, Biometar 80mm, Fuji Acros 100 expired, Ilford ID-11, Epson V700

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.

Grüner See

June 12, 2016November 18, 2018 CamerajunkyLeave a comment

What would a photographer do if he would suddenly need to carry an ever moving child on his back to every location he would take photos?

Photographer with extras, Sony nex 6, Sony 35mm f/1.8 OSS (taken by Eszter)

Of course he would use the new situation in order to justify a new purchase of a lens for the sake of portability to compensate the extra weight he now has to carry. This is how I ended up buying a Voigtlander Color-Skopar 35mm f/2.5 pancake II. It is tiny, extra light and being a wide lens, it is slightly less prone to the shaking introduced by the little one in the carrier. The price is not too steep neither for a native M mount lens plus I have found a quite handsome copy on a local trading site. It was literally no way out of this deal and so far I am very happy with my decision. Thanks to Ben (Flickr) for selling me the lens.

One of our first trips with the new gear lead us to the Grüner See. This is a temporary lake in the mountains which is filled by the water of melding snow every year for a short period of time. As the name suggests the lake has a beautiful green color even though the water is crystal clear. The bottom of a lake is essentially a meadow with grass and rocks and ordinary objects like a bench. The lake is surrounded with forest and mountains and it is truly spectacular. At the time of our (end of April) visit the level of the water has probably not yet reached the peak.

I have loaded a roll of slightly expired Fujicolor Pro 160NS from my stash, and even finished it on the very same day. Good weather, nice location, one of my favorite film stock and a new lens to test. I think it was a perfect start for the Voigtlander. I am actively fighting my G.A.S. (Gear Acquisition Syndrome), so I hope that I will value this lens on a long term. So far I am quite satisfied with the images I have got with it and honestly I think that there will always be place for a small good performing 35mm lens in my bag.

M9 + Sonnar vs M2 + Planar

June 5, 2016November 18, 2018 CamerajunkyLeave a comment

Two friends with the same passion for photography, both using rangefinder cameras almost indistinguishable from the distance. The cameras are matched with fast 50mm lenses from the same brand and color.

Sounds like these photographers or at least their choice of gear is quite the same. While this statement is true to some degree, there are significant differences. In fact, there are more differences than the obvious technological dissimilarity between the capturing media used by the cameras (Ilford Delta 100 film in the Leica M2, Kodak CCD sensor in the M9).

Gábor, Leica M9 P, Carl Zeiss Sonnar 50mm f/1.5 ZM

Ramón uses a digital Leica M9 P which of course captures color information and renders in a very unique way. Many including himself claim that under ideal circumstances the CCD sensor in this camera creates much more pleasing results than other sensors used in other digital cameras with the same sensor size. This is a topic can be argued for a long time, but at the end of the day, it is his subjective view and his decision to use a rangefinder with this sensor.

Ramón, Leica M2 , Carl Zeiss Planar 50mm f/2 ZM, Ilford Delta 100, Rodinal 1+50, 20°C, 8 min — Ramón, Leica M2, Carl Zeiss Planar 50mm f/2 ZM, Ilford Delta 100, Rodinal 1+50, 20°C, 8 min

At the same time, I was using a classic Leica M2 with a black and white film. Even though the output of the digital camera is also appealing, the analog workflow is still favorable to me. It is partly because I enjoy the process of creating the image in this old-fashioned way, but also I can achieve the film look what I am looking for much more naturally.

My primary lens is a Zeiss Sonnar f/1.5 which I love for many reasons but mainly because of its bokeh. Ramón has a Planar f/2 from the same ZM series, although I believe this is not his standard lens. Both lenses are fast 50mm primes, yet they are quite different. The Planar is reliably excellent lens, which can be praised for its great sharpness and generally beautiful bokeh.

The Sonnar is a bit more hectic with the potential of surprises both in positive and negative ways. This lens can be bit soft wide open, but the bokeh is just phenomenal most of the time and from f/2 sharpness is already more than enough to me. The Sonnar has a bad reputation of focus shifting which is change of the focus plane when adjusting aperture. I personally don’t have any issues focusing with this lens. We switched lenses for the day, so we could experiment and see the differences. At the end of the day we enjoyed using these lenses, they both performed well on digital sensor and on film.

Also note that we use the cameras with different style. One of us covers only 1 eye with the viewfinder and keeps the other eye free open while the other covers his entire face with the camera and thus limited with single eye framing. Naturally this difference can be explained by the magnification used on the viewfinders, but it is also hugely a personal preference.

The great similarities and the differences between the cameras and lenses made me wonder can be photographers categorized at all by the type of gear they use? I guess the answer is controversially yes and no. Surely we use the same style of camera with the same focal length. This would put us into a technical category of normal lens rangefinder shooters. But even if we would use the exact same gear we would end up different results which we would have achieved in different ways. I think the most distinguishing feature in the photography of 2 individuals is not within their camera, but behind of it.

Eszter & Gábor, Leica M9 P, Carl Zeiss Sonnar 50mm f/1.5 ZM

Eszter, Leica M2 , Carl Zeiss Plannar 50mm f/2 ZM, Ilford Delta 100, Rodinal 1+50, 20°C, 8 min

Paul, Dan and Miran

June 4, 2015November 18, 2018 Camerajunky4 Comments

At the beginning of this year, I have given away a few lenses and cameras. Among others, Paul and Dan received a camera. Miran, on the other hand, got a 135mm lens and all three of them sent me a self-portrait taken with their “new” cameras/lens.

Paul is a UK based professional photographer who has a strong focus on family photography. Check out his site, it really is lovely. He has got a Fed 3 with a 50mm lens. The camera was not fully functional, still, he has got some nice results, so we can see his mighty beard.

Dan is a teacher from Canada who is now starting again with film photography using the Practika MTL-3 camera I sent him. His self-portrait is remarkable in my opinion because he managed to frame and focus so close perfectly. His Flickr profile can be found here.

Miran is a really nice guy from Slovenia who is also a long time follower of the blog and he received a 135mm f/2.8 Pentacon lens. He has chosen another approach of taking a self-portrait using a tripod and the self-timer and pre-focusing the lens. To see Miran’s blog, follow this link.

Anyway, it was really nice to get in touch with them and actually with all of you who wrote to me. These portraits just made the whole thing a little bit more personal. It is also interesting to see that each of you used a different approach to make these photos and they are quite different in style and mood as well. But the most important for me is that it you gave a good use of the old gear.

Balcony door portraits

November 10, 2014November 18, 2018 Camerajunky3 Comments

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.

Eszti, Nikon F3, Nikkor 50mm f/1.4 AIS, Ilford HP5, Kodak D76, Canoscan 9900F

Gabi, Leica M2, Zeiss Sonnar 50mm f/1.5 ZM, Ilford FP4, Rodinal, Canoscan 9900F

Kálmán & Vince, Sony Nex 6, Sony 35mm f/18 OSS

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.

Brigi, Pentacon Six TL, Carl Zeiss Jena Biometar 120mm f/2.8, Fuji Acros 100 (expired), Rodinal, Canoscan 9900F Comment CAMERA 9900F View full size 1000×1000 Brigi

Eszti, Leica M2, Zeiss Sonnar 50mm f/1.5 ZM, Kodak Professional Elite Color 400, Canoscan 9900F

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.

Many thanks for the proofreading to Ramon.

My film collection

September 30, 2014November 18, 2018 Camerajunky3 Comments

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.

The films

Kodak	Fujifilm	Agfa	Ilford	Other
Kodak Technical Pan	Fuji Acros	Agfacolor Portrait Xps	Ilford FP-4 Plus	Forte Supercolor Fr
KodacolorII	Fuji Superia Xtra	Agfachrome 50S	Ilford HP-5	DM Paradise
Kodak Ektar	Fuji Pro 160 NS	Agfachrome 50L	Ilford Pan F Plus	Centuria 200
Kodak New Portra	Fuji Pro 160 Tungsten	Agfachrome 100RS	Lucky SHD 100
Kodak Portra 160 NC	Fuji Provia	Agfachrome 50RS
Kodak Elite Color	Fujifilm Pro 160C	Agfa Vista
Kodak Gold 200	Fuji Velvia
Kodak Farbwelt 200
Kodak Echtachrome

I also have some photographic papers (Forte, Foma) for black and white prints

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.

Chimneys and cranes (2014), Leica M2, Zeiss ZM Sonnar 50mm f/1.5, Ilford FP-! Plus, Rodinal, Canoscan 9900F

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.

Blue ceiling (2014), Not as famous as the red version though. — Blue ceiling (2014), Not as famous as the red version, but at least I own the rights.

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.

Jump (2014) , Pajtás, Lomo Lady Grey 400 (expeired), Rodinal, Canoscan 9900F

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.

Film is magic — Old negatives (from my first roll which was developed a few hours after this moment), Industar 55mm f/2.8 N-61 L/D, Fed 5, Flash, Silver print

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

Livin’ Streets on Ektachrome

August 13, 2014November 18, 2018 Camerajunky3 Comments

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.

The Kodak Ektar adventure

June 15, 2014November 18, 2018 Camerajunky7 Comments

Finally, I have convinced myself to try out the famous Kodak Ektar film, so I loaded a roll into my beloved Olympus OM 4 Ti. Unfortunately, the camera had other plans and the electronic circuits gave up at the middle of the roll.

In the end, I ended up rewinding the film and I loaded into the good old mechanical workhorse Yashica TL super. This process, however, leads to 2 consequences. Unsurprisingly I have got some nice double exposures, but most importantly I bought a bit worn Leica M2. At least I won’t have problems with the electronic parts of that camera.

I still haven’t given up the hope that the Olympus can be repaired at some point, but I generally lost my trust in these old electronic cameras.

The Ektar, on the other hand, is truly a gorgeous film which delivers everything that is written on its box. It is smooth, high resolution with fine grain and with rich deep colors and high contrast. My scanner is absolutely unable to extract all the possibilities of this film. I am very impressed by this film indeed, however, I find it not the best suited for portraits as it is too vivid. But it is only my impression based on less than a complete 36 frames roll so I might change my mind.

I am definitely going to experiment with the Ektar, but from now most likely with my “new” M2 and with a ZM Sonnar.

Joanneumsviertel , Olympus OM 4 Ti, Zuiko 50mm f/1.4, Kodak Ektar 100. Canoscan 9900F

Olympus OM 4 Ti, Zuiko 50mm f/1.4, Kodak Ektar 100. Canoscan 9900F

Facsemete-2 Facsemete-2 Olympus OM 4 Ti, Zuiko 50mm f/1.4, Kodak Ektar 100. Canoscan 9900F

Yashica TL Super, Carl Zeiss Jena Pancolar 80mm f/ 1.8, Kodak Ektar 100. Canoscan 9900F

Yashica TL Super, Carl Zeiss Jena 50mm f/ 1.8, Kodak Ektar 100. Canoscan 9900F

Yashica TL Super, Yashinon 50mm f/1.7, Kodak Ektar 100. Canoscan 9900F

Welcome the Sun

March 29, 2014November 18, 2018 Camerajunky2 Comments

Finally, the Sun has returned to us and days are once again long enough for me to have a chance to enjoy the light even after working hours.

To celebrate this blessing I have finished shooting the roll of Velvia which I have started last October and now sharing with you. A mixture of my two favorite seasons, autumn and spring on the same roll in vivid colors. Isn’t it wonderful? I am truly being energized by the spring, and I hope you too. Go grab a camera and have at least as much fun taking photos as I do right now.

Hilmteich See ( Graz, Marc 2014), Pentacon Six TL, CZJ Biometar 80mm f/2.8, Fuji Velvia

Eszter & Anna (Hilmteich, Graz, Marc 2014), Pentacon Six TL, CZJ Biometar 80mm f/2.8, Fuji Velvia

Anna (Graz, Marc 2014), Pentacon Six TL, CZJ Biometar 80mm f/2.8, Fuji Velvia

Eszter (Mariatrost , Graz, Oct 2013 ), Graz, Pentacon Six TL, CZJ Biometar 80mm f/2.8, Fuji Velvia

(Hilmteich , Graz, Marc 2014), Pentacon Six TL, CZJ Biometar 80mm f/2.8, Fuji Velvia

Last roll from 2013

December 21, 2013November 18, 2018 CamerajunkyLeave a comment

Yet another quick post with little-written content but with a bunch of random snapshot images. This is what I end up with when I carry the same roll of film over weeks and only occasionally have a chance to shoot. I am basically on pilot light mode right now and really hope that the next year I can do something a bit more organized work. What I can book as an achievement though is that I could gather some courage and I asked a stranger for a portrait on a street again. It was a really nice experience and I am happy with the result, but you can judge yourself if you scroll down to the second photo.

This time I had my Olympus OM4 Ti in my bag in the last few weeks loaded with the same Ilford HP5 I used in the Kiev before. As usual, the film was developed and scanned by me.