Why do we need to say something – anything – about our images? A few weeks ago I was in Chicago looking at a display of student work at Moody Bible Institute. There were two different exhibitions: one with very nice photographs, printed on canvas and beautifully displayed. The other area featured a series of page layouts, combining words and text, printed, laminated to foam core and nicely presented, complete with registration marks from the printed page.
I found myself drawn to these images more – even without reading the text.
frame 16- South St. Vrain, Allenspark, Colorado (2019) – 50 sec. @f16
There’s something about the combination of images and text that resonates with my aesthetic – though it’s difficult to explain what, precisely. Maybe it’s the graphic designer in me desiring some presentation of context. While the photographer in me longs to have images stand on their own, open to interpretation by whomever, to whatever end.
frame 17- South St. Vrain, Allenspark, Colorado (2019) – 50 sec. @f16
I’ve found it extremely liberating, returning to wet printing in the darkroom; being freed in a sense.
frame 35- South St. Vrain, Allenspark, Colorado (2019) – 20 sec. @f16
Letting go of the should’s; the trap and rigidity of expectation and simply experimenting, free to fail, free to succeed. Free to create.
frame 33- South St. Vrain, Allenspark, Colorado (2019) – 20 sec. @f16
Photography is an interesting art form. It relies on science to work. Light, measurement, interpreting facts and figures to produce an aesthetic. But it’s so easy to disappear down the rabbit hole of numbers and figures and that same science, becoming trapped in propriety to the extent one loses sight of the aesthetic leading them to stop and appreciate the scene in the first place. We get so wrapped up in numbers we can lose sight of the art.
frame 31- South St. Vrain, Allenspark, Colorado (2019) – 20 sec. @f16
To be truly free to create again is to have learned the rules, thanked them, put them aside, and begin asking what if.
frame 34- South St. Vrain, Allenspark, Colorado (2019) – 20 sec. @f16
I’ve been doing a lot of reading again. Edward Weston’s Day Book no.1, Mexico. In it he’s having a discussion with another photographer about what the camera “should” be used for:
E.W. “Photography has certain inherent qualities which are only possible with photography – one being the delineation of detail – so why not take advantage of this attribute? Why limit yourself to what your eyes see when you have such an opportunity to extend your vision?”
Johan: “If in a certain mood, why should I not interpret that state through my picture and not merely photograph what’s before me?”
E.W.: “it would prevent you from telling the truth about the life towards which your lens is pointing – if you wish to interpret why not use a medium better suited to interpretation or subjective expression – or let someone else do it. Photography is an objective means to an end – and as such is unequaled – it comes finally to the question: for what purpose should (my emphasis) the camera be used?”
frame 22 – Middle Saint Vrain Creek, Allenspark, Colorado (2019). 3 sec. @f32, 180mm AIS, no filtration
I do see his point, regarding the camera’s unique ability to precisely record detail. And facts. But what a pompous ass; suggesting a camera should only be used for one thing. It’s absurd. From this moment forward I’m removing the words “should” and “shouldn’t” from my active vocabulary.
I do realize I’m questioning Edward Weston. And I do realize the audacity of such an act.
Lava Cliffs Triptych, Rocky Mountain National Park, Colorado. Photographed with the venerable Nikkor 180mm ƒ2.8 AI-S prime lens.
Not long ago I decided to spend some focused time shooting Ilford’s PanF 50 Plus. In an effort to minimize variables the decision was made to focus on 35mm using the trusted and favored F6. The F6’s venerable meter virtually eliminates exposure error, and I really wanted to dial in +/-EV, development time, agitation, grain, scanning, wet-printing, etc. The decision was also made to use exclusively Ilford’s DDX developer. What follows are the results. The executive summary: I have ordered lots more Ilford PanF50 Plus film for an upcoming trip to Santa Fe where I’ll look forward to continuing this ‘experiment,’ though I now feel quite comfortable that PanF is all I could hope for in a 35mm film.
frame 22: Laval Cliffs, RMNP, Colorado. 180mm f2.8 Ai-S, PanF50+, DDX 1:4 by the book: 68° for 8 minutes.
I’m not really a numbers guy. I mean – I am – but don’t perseverate over them. I like to use numbers as a starting point; get things figured out, then use that knowledge to extrapolate as I shoot. I’m not one of these people that tweaks and tracks every variable just to reconstruct later. Ilford made recommendations on their film based on good authority. I’m not one to second guess. My interest in numbers is really searching for a baseline – then (rather unscientifically) adjusting exposure based on the scene. If in doubt, bracket (but I hate wasting film). If I think it’s going to be an especially worthwhile shot I’ll bracket – but usually trust in the flexibility of film and the F6’s infallible meter.
Mammatus Cumulus Clouds, Fort Collins, Colorado. June 18, 2018. Ilford PanF50 shot at ISO50, 50mm ƒ1.4D @ƒ5.6, 1/125 sec. Nikkor Y48 Yellow Filter. Development: DDX 1:4 by the book; 68° for 8 minutes.
Something I have been doing a lot lately is working with filters. Yellow, orange and a couple different reds. Being a Nikkor devotee (and making no apologies for it) – I have a nice assortment of vintage 52mm Nikkor filters I use use regularly – especially when shooting my old pre Ai, Ai and Ai-S lenses. More and more I’m prone to favoring these smaller, lighter primes over hauling around the big-barreled, gold-ringed f2.8 zooms with 77mm filter threads I was infatuated with with in my ‘earlier years.’ I also have a nice set of 58mm B+W F-Pro’s for the Mamiya 645 rig I’ll use with a step-up ring if needed. Usually one of the 52mm Nikkor filters does the trick though.
Where I was experiencing some interesting results was using the deep red B+W F-Pro filter. It’s super dark – darker than the Nikkor R60 Red. Here’s what Schneider says about it on their site: “Compared to the lighter 090 red filter, this one even darkens the reds near the yellow tones in the spectrum, as its transparency only begins in the orange-red region. It produces dramatic effects and extreme tonal separation for graphic effects. That accounts for the large filter factor of appr. 8.” It’s so dark, focusing is sometimes made difficult. And when you shoot a ISO50 film you’re really needing a tripod to get an aperture that’ll provide adequate Depth Of Field. But the real ‘problem’ (if you want to call it that) is, it darkens any greenish vegetation to the near black range. This isn’t something I’m typically after. Enter the Nikkor Y48 Yellow. Especially when working off the hand, I find it just right to deepen tones in the sky and increase separation, but leave other elements largely as is. A bump to deepen midtones, minimal light loss and a relatively unchanged TTL experience.
Lava Cliffs, no.5, Rocky Mountain National Park, Colorado. 180mm f2.8Ai-S, Ilford Pan F50, DDX 1:4 by the book; 68° for 8 minutes.
Not long ago I acquired the lovely, ancient 180mm f2,8 AI-s. I have long been a fan of shooting landscapes with telephoto lenses – but upon close inspection, anything shot with the 70-200VR has been somewhat disappointing. Not to mention its size and weight being a deterrent. The 180 f2.8 solves all those issues and then some. Mounted on the F6, this ancient lens benefits from the F6’s ability to dial in Non-CPU Lenses. Doing so while working with the lens allows the correct shooting information to be recorded in the shooting data for that frame. The 180 has no tripod socket because it doesn’t need one. The L-bracket on the camera is more than sufficient to hold its relatively light weight. The one negative is I’m not about to invest in a set of 72mm filters for it and have to carry them around too. So when I’m shooting the 180 I’m going so with the rectangular front-slide-in filters.
Unnamed trail above treeline, Old Fall River Road, Rocky Mountain National Park, Colorado. 50mm f1.4D, Ilford Pan F50, Nikkor Y48 yellow filter, DDX 1:4 by the book; 68° for 8 minutes
Snow, Old Fall River Road, Rocky Mountain National Park, Colorado. 50mm f1.4D, Ilford Pan F50, Nikkor Y48 yellow filter, DDX 1:4 by the book; 68° for 8 minutes
Alpine Ridge Trail, Trail Ridge Road, Rocky Mountain National Park, Colorado. 50mm f1.4D, Ilford Pan F50, Nikkor Y48 yellow filter, DDX 1:4 by the book; 68° for 8 minutes
and a few PanF50 Plus shots from the past to show a little more diversity:
San Luis, Colorado. Nikon F2, Nikkor 50mm 1.2 Ai-S. DDX 1:4 by the book: 68° for 8 minutes.
Bisti Wings, Bisti/De-Na-Zin Wilderness, New Mexico. Ilford Pan F50, 28-70 f2.8ED @70mm, f7.1@1/60 sec. (-0.2EV) DDX 1:4 by the book: 68° for 8 minutes.
Valley of the Gods National Monument, Utah. 28-70 f2.8ED @42mm, 1/1.6 sec @ f16 (+1.7EV). DDX by the book: 1:4, 68° for 8 minutes. Something else I routinely love about the F6 is the ability to go back and review shooting data. In the above shot, for example, I was amazed to realize the frame was made at +1.7EV.
The amount of detail and resolution PanF50 holds is remarkable. Without moving to my medium format system, PanF50 provides all I need when exposed, processed and scanned properly. Like other ‘high performance’ films, it’s not as flexible as say a TriX. But getting to know and understand it is well worth the time. I’ve ordered a bunch more for an upcoming trip to New Mexico in July.
Over Christmas we had the opportunity to visit Chicago again. Growing up in the suburbs I’d never had occasion to overnight in the city, with home being only 30 miles away. This trip we decided it was time we changed that.
Harry Caray’s, Chicago, Illinois Part of the Chicago at Night Series from December, 2016. Images made hand-held pushing Ilford HP5+ to ISO1600. Developed in Ilford DDX.
One of the wonderful things about spending the night in the city is – the night! Chicago, as many other cities, is so active at night, with so much light that it’s easy to photograph hand held with the right setup.
The City at Night, Dearborn St. Bridge over Chicago River; River North District at Night, Chicago, Illinois
Chicago, Illinois Part of the Chicago at Night Series from December, 2016. Images made hand-held pushing Ilford HP5+ to ISO1600. Developed in Ilford DDX.
In anticipation of various low-light scenarios on this trip I stocked up on Ilford HP5+. In the past I’ve shot it at rated 400 with success. One goal for this trip was to simply drift about the city at night to see what I could see. Pushing HP5 was an excellent way to avoid a tripod and open the experience up to simple creative experimentation. This outing was shot with the Nikkor 17-35 f2.8 ED (remind me to tell the story of how I stumbled upon this incredible lens some time…) at ISO1600, off the hand, just having fun. Processed in Ilford DDX at 71° for 12 minutes.
353 North Clark, Chicago, Illinois Part of the Chicago at Night Series from December, 2016. Images made hand-held pushing Ilford HP5+ to ISO1600. Developed in Ilford DDX.
353 North Clark, Chicago, Illinois
The only thing really notable working with the F6 for these shots was taking advantage of the ENORMOUS viewfinder. To this day I’ve never seen anything like it.* It’s huge and bright, allowing easy composition in poorly lit situations. One of the other benefits of the F6 covered in another post is Custom Setting B5, Extended Shutter Speeds. Though shutter speeds were high enough for this roll to hand-hold, I always have Custom Setting B5 enabled on the F6.
House of Blues, Chicago, Illinois Part of the Chicago at Night Series from December, 2016. Images made hand-held pushing Ilford HP5+ to ISO1600. Developed in Ilford DDX.
The creative liberty of shooting film, then processing your own film to desired tastes, is what film photography is all about. With what seems to be a true resurgence interest in film, there’s no better time to dive in. With a camera like the F6 that is flexible, dependable and durable for the rest of your natural life – it’ll be a robust adventure attempting to exceed its creative capabilities.
*A big thank you to Chris, our Canadian F6 Project reader, for pointing out he felt the Olympus OM-2 and Pentax ME Super actually have larger, brighter viewfinders than the F6. What a great time to be a film photographer, with so many wonderful tools accessible to work with.
~ Desert Rat ~
(lyrics by Michael Martin Murphy)
Valley of the Gods National Monument, Utah (2016). Nikon F6 + AF-S NIKKOR 17-35mm 1:2.8D ED + Ilford PanF50+ at ISO50. Developed in Ilford DDX @ 1:4 for 8 minutes. Scanned with Nikon Super CoolScan 5000ED.
She sits on the front porch
(Of) the old house that stands scorched
Under the sun stroke of a desert day that choked
Her old man who fell in the sun.
Valley of the Gods National Monument, Utah (2016). Nikon F6 + AF-S NIKKOR 70-200mm 1:2.8G ED + Green filter + Ilford PanF50+ at ISO125. Developed in Ilford DDX @ 1:4 for 8 minutes. Scanned with Nikon Super CoolScan 5000ED. /em>
With rattle snakes and keep sakes
Old boxes of Corn Flakes
Grammar phones and gem stones
And three unclaimed door frames
And bleached bones and rocks by the ton.
Valley of the Gods National Monument, Utah (2016). Nikon F6 + AF-S NIKKOR 28-70mm 1:2.8D ED + Ilford PanF50+ at ISO50. Developed in Ilford DDX @ 1:4 for 8 minutes. Scanned with Nikon Super CoolScan 5000ED.
Good by ol’ desert rat
Ya half crazy wild cat
You knew where it was at
What life’s all about.
Valley of the Gods National Monument, Utah (2016). Nikon F6 + AF-S NIKKOR 28-70mm 1:2.8D ED + Ilford PanF50+ at ISO50. Developed in Ilford DDX @ 1:4 for 8 minutes. Scanned with Nikon Super CoolScan 5000ED. Color in the top 4 images is not a faux sepia tone – it’s what happens when the scanning software scans black and white films as color. My fixer was getting a little old so there’s a slight cast to the negatives. I left it for these top images thinking it added something to the overall feel.
Ya saver of catalogs, king of the prairie dogs
Success is survival and you toughed it out,
You toughed it out.
Old Bridge and San Juan River, Mexican Hat, Utah (2016). Nikon F6 + AF-S NIKKOR 28-70mm 1:2.8D ED + Ilford FP4+ at ISO125. Developed in Ilford DDX @ 1:4 for 10 minutes. Scanned with Nikon Super CoolScan 5000ED.
The old loud mouth rock hound
He kept the kids spellbound
Half crazy and sun baked
Ya eared your own grubstake
By breakin’ your back all day long
San Juan Trading Post, Mexican Hat, Utah (2016). Nikon F6 + AF-S NIKKOR 28-70mm 1:2.8D ED + Ilford FP4+ at ISO125. Developed in Ilford DDX @ 1:4 for 10 minutes. Scanned with Nikon Super CoolScan 5000ED.
With junk art and dunk carts
Old Model T parts, frustrated, outdated and uneducated
At eighty you still wrote good songs.
Montezuma Creek, Utah (2016). Niikon F6 + AF-S NIKKOR 28-70mm 1:2.8D ED + Ilford FP4+ at ISO125. Developed in Ilford DDX @ 1:4 for 10 minutes. Scanned with Nikon Super CoolScan 5000ED.
So goodbye of Ol’ Desert Rat
Ya half crazy wild cat
You knew where it was at
What life’s all about.
San Juan Trading Post, Mexican Hat, Utah (2016). Nikon F6 + AF-S NIKKOR 28-70mm 1:2.8D ED + Ilford FP4+ at ISO125. Developed in Ilford DDX @ 1:4 for 8 minutes. Scanned with Nikon Super CoolScan 5000ED.
All ya savers of “Whole Earth” catalogs
Kings of the prairie dogs
Success is survival
We’ll all tough it out
San Juan Trading Post, Mexican Hat, Utah (2016). Nikon F6 + AF-S NIKKOR 28-70mm 1:2.8D ED + Ilford FP4+ at ISO125. Developed in Ilford DDX @ 1:4 for 10 minutes Scanned with Nikon Super CoolScan 5000ED.
Yes, we’ll all tough it out.
Old Bridge Bar and Grille, Mexican Hat, Utah. iPhone 6 panorama.
This map shows the route of our fall trip. The photographs on this page were made within the white circle. Google maps.
A few weeks ago I did something I’ve been meaning to do for years: began developing my own black and white film again. After a 30+ year hiatus, the time had finally come.
Developer, Stop and Fixer in amber flasks, ready for action.
Up until last year I’d been fortunate enough to have one of the best pro film labs in the country only minutes away. I’d always told myself when they shut down, I’d begin. Due to a variety of unfortunate circumstances that time came last year, but I held on, continuing to search for a suitable alternative for the next several months. A few weeks ago I finally said Uncle and put in an order to B&H.
I suppose there are reasons that seem suitable at the time why we do things like wait… and it’s easy to second guess decisions in hind-site. But I’ll say this: I wish I’d done this a long time ago. Today’s film processing is essentially the same as 30 years ago, with a few key differences. Patterson tanks and reels are one of those differences. The last time I tried to wind a roll of film onto the old, stainless spiral reel it was a catastrophe. The Patterson reels are easy as can be. Another reason is the lack of dark room. A nice, big changing bag took care of that. The chemicals and process are all pretty much the same – and now it’s actually fun – especially when compared to the alternative -sending it out, waiting for at least a week. And there’s the cost. Dramatically less developing yourself, even after gearing up with fresh, new supplies.
Ilford Delta 100 developed in Ilford DDX.
Then there’s the creative control you have over your films. For whatever reason the ILFORD Delta family of emulsions has always resonated with me. I shoot other films too – but gravitate back to the ILFORD films when the fridge is empty and it’s time to reorder. It’s simply not a feasible request; asking a commercial lab to custom develop your film with different developers than they’ve standardized on. With that, I’ve always wondered just what qualities in the film I’m missing out on by not experimenting with different developers and simply accepting the lab’s standard. Now I know, and will never go back.
Recently I’ve been considering something else I haven’t completely thought through, but will give it a go here. There seems to be many who become interested in photography – using the digital camera as a gateway. This can be a great thing. The digital camera’s immediate feedback provides invaluable tools for learning about light, composition, exposure, etc.
Moraine Park, RMNP (ILFORD Delta, Red R60 Filter)
About 10 years ago I was amongst this group. I’d been involved in photography for many (many) years prior, and to be honest, had just grown a little bored with it. There were times I’d go on a trip, shoot lots of film, then simply leave it undeveloped in my file cabinet – sometimes for years. Along came the digital camera and immediately I was enthralled. The curtain was pulled back on the seemingly long, mysterious process of going from the snap of the shutter to viewing the final image. There it was on the camera back; no more mystery. No more anticipation. What seems to happen with people who become newly interested in photography through digital cameras is – they grow bored with it. It turns out for me that mystery and anticipation were actually some of the benefits of the process, not detractors -as I think it might be for those who get a digital camera and have a “perfect” image handed to them milliseconds after its exposure. Once the novelty wears off it becomes less interesting. This isn’t always the case, but I have seen this pattern repeat itself.
The beginnings of rebuilding a humble darkroom.
My stint with digital lasted about 3 years before migrating back to film. Now I enjoy both digital and film, but admittedly leave my digital camera home unless there’s a specific reason to bring it. Now, developing film again has deepened my commitment to film and made me even more focused. It’s such a treat to shoot and develop a roll yourself within the span of days rather than weeks or months. The quite satisfying feeling of actually making something with your hands returns.
I’ll encourage anyone who’s ever thought about developing film passingly but deemed it too complicated or expensive – to think again. It has been said to me and I agree; if you can bake a cake you can process your own film. Take additional comfort in this: I don’t believe I’ve ever successfully baked a cake of any kind – but my film turns out fantastic every time. Give it a try.