08/2016

analog

08/2016

Last month was tough. Summer, while very enjoyable in its many forms, can also bear undesired side effects in the midst of all the warm weather, travel, and activity. Throw in some unfortunate untimely events and you will end up with August 2016. During these 31 days, I spent some time really getting to know some of the unusual players in my film lineup. I had met with another analog photographer who was looking to clean up some space in the studio. To me, this meant getting a 100' roll of Ilford FP4+. While I had previously shot a few rolls of the stuff, and had good success with it, I ended up learning how I can better use it to suit my needs and get the most out of this great film. Darrell, my analog photography colleague, had more in store for me in the form of old Kodak Technical Pan. If anything, it encouraged me to dig up any and all information I could about this nearly extinct variation of film. Through reading about the pros and cons of the Tech Pan, I started to make more connections between tonality, contrast, developer usage, and different processing techniques. It's astonishing how much helpful information I retained just from Darrell's unexpected surprise. After exhaustedly reading everything I could find about the wonderful world of Tech Pan, I felt that such a beautiful film deserves a certain level of respect and shouldn't be shot just anywhere. What better place to capture fine wondrous detail with incredible tonality than the majestic Rocky Mountains of Canada - Banff National Park. While I only shot one roll (and bracketed those shots 3 x 12) I feel like I the photographs I made served the film really well and to its full potential. Before this revelation, I would often shoot with appropriate filtration to get a high level of contrast. I find now that contrast is very easily controlled in post-production, both digital and dark room post-processing; I am shooting (and scanning) for maximum information retention and later adjusting contrast to suit my needs. What started out as a fascination with a new film stock, developed into a completely new thought process for my black and white workflow and creating stronger images. Oh, and a shitload of slide film. Cameras / Lenses Pentax K1000 / 28mm 2.8 Canon AE-1 Program / 50mm 1.8 Hasselblad 500CM / 80mm 2.8 + 50mm 4 Canon Elan II / 11-16mm 2.8 + 24-105 4 + 35 1.4 Films Ilford FP4+ Kodak Tri-X Fuji Provia 100F Fuji 200 Film Photography Project Infrachome Fui Velvia 50 Kodak Technical Pan Cinestill 50D Cinestill 800T Rollei CR 200 Fuji Provia 400X

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