Shot on the Nikon F100 with Fuji Acros 100 and then Stand developed in Rodinal for 60 minutes.
Salt Lake City State Capitol - Nikon F100, Fuji Acros 100 in Rodinal Stand Dev. for 60 min.
Filtering by Tag: SLC
Shadow on the Wall
Nikon F100 35mm with Fujifilm Acros 100 - wall is from the Bogue Building here in SLC, with afternoon Sun. Stand development in Rodinal for 60 minutes.
Nikon F100 Stand Development with Acros 100 @ 60 minutes
Downtown SLC
This was shot in October off the elevated Eccles Theater building during the open house. Black and White can really be compelling when there is such high contrast in the scene.
Nikon 1 V1 - no crop.
the Ferrari Wheel
Shot on Ilford HP5+ self developed with Ilford DD-X and scanned on Minolta Elite 5400.
a little Coffee in SLC
Shot on the Nikon F100 and self developed.
SLC
Shot with the Nikon 1 V1 on a SLC backstreet - no crop.
FIRESTONE
This was shot on the Nikon F100 with Ilford HP5+ and developed recommended with DD-X.
Street Experimenting
SLC - Capitol
Shot at the South entrance steps of the SLC Capitol - with the F100 on HP5. As with all of my images - no crop.
BW is unforgiving
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
the Waiting game
The best thing about film, and the worst thing about film: not seeing the image after capture.
It forces the creation of the discipline to wait. Some times that is very lengthly. My nephew of 7 years, after I took a picture, asked me, “Can I see it ?”.
Ilford HP5 - SLC County Building
Nikon 1 V1, 6.7-13mm
Court Room
SLC Federal Courthouse - 2
Nikon 1 V1 - No Crop
Nikon 1 V1
SLC Federal Courthouse
Nikon F100 - Ilford Delta 3200
35mm Film
Film as made me become a better photographer, in 1 week - because I have a vested interest. Each click is $1.25 in the end. I become more deliberate, intensive, and reflective of everything I shoot.
I’m using the Nikon F100 and a D 24-120mm lens. It can outshoot me, yet it can’t run itself - that’s the rub.
This was Ilford’s Delta 3200 shot at 1600 - and going from what I read up on this film stock, many say it’s really a 1600 speed - and from seeing the various examples online I took the cue and decided to stay at 1600. For some reason I can’t take Kodak’s Tri-X seriously. Maybe because I shot so much of it in High-School and it never did me any favors. But that’s a personal problem I guess.
Why Film ?
That’s the Jedi Mind Trick - Shooting film makes me feel like the skill is one of perishability - you either know what you are doing to get the shot or it vanishes to the shoulda, coulda, woulda.
The worst thing about film - I can’t confirm the result after the shutter fires.
The best thing about film - I don’t know yet, other than the boost to the psyche in thinking I’m somehow unique in the photographic space - which is nothing but trouble.
Film becomes a design constraint - give a designer all the choices in the world, and good luck getting a result - but give a designer limitations and you have a better chance at getting something great. Can the same be true in the photographic world - I don’t know ? ASA, and film stock are the limiters / aka the design constraints.
Where does this go ?
It keeps going until I get bored or I reach the law of diminishing returns for my efforts. And that may be a while - as I have a Yashica Mat 124 2-1/4” x 2-1/4’ in the mail for me to dig my teeth into.
Believe you me - this is going to be good.
It's been a while...
And that is not necessarily by design - but just how it's been this summer. I'll have more posts upcoming for sure.
CityCreek - SLC - Nikon P330
Cafe Noir -- SLC
Nikon 1 V1 - 18.5 - BW convert with SilverEfx
Photo walks
I took some time out last Saturday to photo walk, something of which I rarely do.
SLC Public Safety
*Correction* 8/1/13 per the Architect of Record - 175,00 square feet above grade and 160,00 square feet below grade with Parking.
My original figures were taken from figures provided by the Salt Lake Tribune.
***
Public Safety building in Salt Lake City - 100% net zero - 125,000 square feet with a square foot cost at $700 +. Expensive. But it sure looks worth it.
Nikon 1 V1 with the 10-30mm developed with LR and SFex Pro. Lightroom's lens correction tools are just too compelling / powerful to be replaced with others.
SLC Public Safety - Nikon 1 V1, 10-30mm
Adjusting a Model - action shot
A colleague adjusts a model at the office of FFKR Architects in Salt Lake City.
The autofocus on the V1 is without peer - and the sensor size is compensated by the resolution of the lenses. Shoot a great lens and uprezzing is a non-issue. Shoot a "wanting" lens - and you can't hide the flaws at 12x18 print and bigger.
I would rather have the shot with a small sensor and less rez- than not with more rez, i.e. Nex-7.
This is with the 18.5mm eq. 50mm. Desired for two reasons, it is crazy sharp - and f1.8 to keep as close to the base ASA -- yes, I just said ASA -- boom !
Nikon 1 - V1, 18.5mm f1.8 - FFKR Architects, SLC