Every once in a while I get reminded that great glass is not only a gift but it's a necessity. It's a necessity in order to separate you from everyone else - it's a necessity to give your images the power of a compelling view. Get great lenses - even if it's just one - get one - and shoot that system like you are going to die tomorrow.
Fuji Acros 100 - Nikon F100 - 50mm f1.4 - Stand developed in 5% Rodinal @ 60minutes - developed and scanned in house.
Shot on the beach with a Rollei 6008i - where it all came together. Developed and scanned in house and when the planets align and everything turns out just the way it should - it’s so awesome.
Fuji Acros - stand development in Rodinal with a 60min cook at 5% dilution.
Yashicamat124G - Ilford HP5+
Shot at the South entrance steps of the SLC Capitol - with the F100 on HP5. As with all of my images - no crop.
BW film or any film is always a bit of an event in discovering the result — and I guess that’s what keeps me coming back.
As I learned in my stats class years ago - there are some un-predictable parameters which don’t lend to a “sure thing” event.
I now see why, when those back in the day, shot film they were true artists of the time. There was no preview - no chimping - no spray and pray. A wedding photographer for hire had no choice but to get the shot - and I doubt any had “errors and omissions” insurance if they didn’t. And if you didn’t get it - then - a world of hurt your had to face with the client.
The capture is the easiest - film selection defined your style - and predicting exposure with limited frames determined your profits. And I haven’t even brought about the challenges of flash.
This is downtown SLC - a scene of the sun peaking during just the right time of the morning. BW with this golden light is a challenge - where color becomes dramatic and a no brainer - BW is unforgiving.
Nikon F100 - Ilford XP2 C-41, 80-200mm f2.8 AF-s
Here's a shot from my first roll of this 3200 -- an experiment with the Bokeh. Not much contrast in this developed roll I must say.
Ilford Delta 3200 - Nikon F100
Nikon F100 - Ilford HP5+
I didn't get it -- till looked it up. Once again -- and image from Maui.
Nikon F100 - 50mm f1.4 - Ilford HP5+
This was a grab shot - and a bit of a surprise at how well it turned out. I couldn't have imagined this result. Geometric patterns are difficult to come by, recognize, and then capture.
Ilford Delta 400
Nikon F100 - Ilford Delta 400
Nikon F100 - Ilford HP5+
Nikon F100 - 85mm f1.4
Nikon F100 - Ilford HP5+
More Maui - not too bore, but I just can't look away; fair warning as more will be coming.
The Yashica is a joy to use and learn from. This is Ilford's Pan f - 50 ASA. It's hard for me to compare but I would like to compare Delta 100 or a TMax and see the results.
YashicaMat 124G - Ilford 50 Pan f
Small sensored cameras most of time have slow lenses - coming back to full frame, be it film or digital, reminds me of the creative power, the f1.4 depth of field can offer. Sometimes the background is too busy for comfort and the 1.4 allows the blur - or sometimes the attention to the scene is important to get in one area - and this type of lens allows that. Or - it becomes creativity of its own sake. Either way it becomes another creative tool for reference.
Nikon F100 - 50mm f1.4 - Ilford HP5+
Three feet away while seated on a ferry with a 50mm and little options for framing present. And in a way conditions force the idea to get out of the comfort zone and you make do - and it's a nice thing when something good literally develops.
Nikon F100, 50mm f1.4 with Yellow 44 filter, HP5+
Nikon F100 - 50mm f1.4 D, Yellow 44
I had a chance to see this up and coming band — “the Accidentals” here in SLC last month. I also offered to photograph them as I just happen to have the gear to possibly get some good images. My brother Mark who introduced me to them also put me in touch with their Manager.
In my off time - there are two genres I just love shooting - Bands and Sports.
I had to bring the digi - D3s - but on a whim I also brought my F100 loaded with 400 HP5+ mounted to a 85mm f1.4. The 1.4 was a given considering I only had 400 asa in the F100.
This is Savanna Buist accompanying the opening act - total improv on the spot fill. So I took the opportunity of chance to burn some frames — and this is the best of the two.
It’s interesting how the BW takes the “Band” out of the band — and turns it into some kind of “Classical” looking image. It doesn’t hurt that she is playing a classical looking instrument either.
This was taken cradel to grave - Shot, developed, and scanned in house.
It turned out well — and the band will be Grammy winning in about 5 years — you heard it hear first. They are really something. I can’t wait to hear their next album.
Nikon F100 - 85mm f1.4 - Ilford HP5+
This image took me a bit by surprise -- as too how well it turned out. Exposure, composition, and focus is perfect. And not having the vision of being able to predict it, caught me also. That's one of the aspects of film - a week after you get the roll developed, there are surpirses - mostly good.
I also didn't mention - this is a timeless image - it could have been shot in 1954 for that matter.
This is Stanley Kane - of FFKR Architects reviewing a set of documents.
Riding the Trax - anything goes -- especially at 7am - ish.
Nikon F100, Ilford HP5+
This is a watershed moment - as this image is from a roll of film I've taken from cradle to grave. Shot on the Nikon F100 on Ilford HP5+ with the 85mm f1.4, developed with Kodak D-76 at 70 Degrees for 13 minutes, and scanned on a legacy Minolta Dimage 5400 series I at 5400 dpi. I say legacy as these necessary consumer scanners are no longer produced - but I'm saving that for another post.
So now everything is in house - and the fixed costs are only film and chemicals. No more $20 per roll for processing. - per roll.
And I have my friend Will Wright to thank for getting me this far and helping me realize what film has too offer.
Nikon F100 on Ilford HP5+
Yashica Mat 124G - Ilford Pan F 50