F6 with Voigtlander 58mm f1.4 Nokton Lens

F6 with Voigtlander 58mm f1.4 Nokton Lens

This next post is a guest post from Michael Cox of Vancouver, B.C. Michael was gracious enough to supply the following information about the Voigtlander 58mm f1.4 Nokton Lens, with a few sample images. Take it away Michael…

Michael Cox:

Image © Copyright 2019 by Michael Cox. All rights reserved. Used with permission.

After owning a Nikon F3 (which I loved for its design and size) I had realized that if I was going to continue with using a film SLR, given that I wear bifocals, I’d need an autofocus camera, so I found a near-new F6 at B&H Photo a couple of years ago. But I’d also sold many of my Nikkor lenses. After using the F6 with an old  105 Ais, and seeing how great the viewfinder was, how easy it was to manually focus with the F6, I wanted to try one of the Voigtlander Nokton lenses. I was familiar with Voigtlander from years ago, and was confident I would like their Nikon F mount Nokton 58mm f/1.4 SLII. The version I got was the earlier one with a rubber cover on the focus ring, whereas the newer, second version has a ribbed metal ring. The great advantage to either of these lenses is they have a chip that will send aperture information to the camera, and allow auto exposure with the aperture set to f/16.

Image © Copyright 2019 by Michael Cox. All rights reserved. Used with permission.

It’s important to set the F6 up for the lens:  Menu:Non-CPU Lens. Press the INFO button to set the correct focal length and maximum aperture.

The camera could now be used in Aperture Priority using the front dial, rather than having to adjust the aperture ring; also it can be operated in Shutter and Program priority modes.

Image © Copyright 2019 by Michael Cox. All rights reserved. Used with permission.

The focus ring is smooth and well-damped, with just enough resistance. It’s difficult to describe the look: slightly creamy, I would put it: not soft, but with a filmic feel. It focuses as close as 1.5 ft (about 1/2 a meter). The results met my expectations. I’ve only shot three rolls since buying the lens and look forward to trying it out on portraits.

Image © Copyright 2019 by Michael Cox. All rights reserved. Used with permission.

Given that the viewfinder doesn’t have split image or microprism focusing aids, I had thought that would be an issue, but the ground glass is so bright one can focus using any part of the screen.

Image © Copyright 2019 by Michael Cox. All rights reserved. Used with permission.

Stephen Gandy’s CameraQuest site has details on the lens and the other Voigtlander Nikon F-mount lenses, some of which are unfortunately sold out (but available on eBay, or your favorite major photo store). https://cameraquest.com/Voigt_SL2.htm

These images were all shot with my F6 using a Voigtlander 58mm f/1.4 Nokton, Nikon mount, on Kodak Pro 100. The processing was done by the Canadian Film Lab, in the small town of Hope, B.C., where they also scanned the negs using a Fuji SP-3000 at 4547 x 3047 pixels (their medium res scan).
Michael Cox
Vancouver, BC
Michael, thanks very much for your article and images. Anyone wishing to contribute to the F6 Project is welcome, just please let me know. I’m  happy to feature new thoughts and ideas as they’re presented.
The Printmaker

The Printmaker

Recently I had the privilege of photographing my friend and artist Scott Lenaway on location. Scott, a talented printmaker here in Fort Collins, wanted portraits in his studio. Photographing artists doing their thing – is really my thing.

frame 05-Scott Lenaway-Artist, Fort Collins, Colorado (2018). Creatively, black and white film fit the assignment perfectly.

For those who don’t know – printmaking can be messy business (Scott always has ink on his hands when I see him). Given the nature and method of printmaking I envisioned deep, rich blacks and long tones –  making black and white film the perfect creative direction.

Print Maker at work-Artist Scott Lenaway, Fort Collins, Colorado (2018)

frame 08-Scott Lenaway-Artist, Fort Collins, Colorado (2018)

Because his studio is rather dark, bringing any light needed was required. Though the studio isn’t small – it is a little crowded with breakable objects – that are also messy and expensive if they smash on the floor. This made setting up the big Speedotron Black Lines impossible. Not enough space and too many obstacles to block the light path.

Thankfully, the Nikon designers took it upon themselves to include Creative Lighting System (CLS) circuitry in the F6, making off-camera flash a breeze. For those who don’t know – CLS is one of the most unique and powerful attributes of the F6 – but perhaps the least understood. The F6 is Nikon’s only film camera that includes this circuitry making it capable of creating unique images. This meant CLS and my suite of Nikon SB speed lights were the perfect solution for this assignment.

frame 02-Scott Lenaway-Artist, Fort Collins, Colorado (2018)

The brain behind CLS, the F6 is the only Nikon film camera with the circuitry to communicate with the SU-800.

The brain behind CLS, the F6 is the only Nikon film camera with the circuitry to communicate with the SU-800.

After conferring about goals for the session, the idea was to have Scott go through the process of making a real print and photographing him doing so along the way. There were three main stations used in his print making process, each station requiring a different lighting setup.

Using the digital camera and the SU-800 commander head as a ‘polaroid,’ I worked out light levels for each strobe, then transfered the SU-800, lens and desired settings to the F6 and confidently shot away.

When it came time for the next station we’d stop – move the lights – run a new set of digital proofs, then repeat the process. By the end of the 2+ hours we had 5 rolls and a few digitals to choose from.

frame 17-Scott Lenaway-Artist, Fort Collins, Colorado (2018)

Hanging the first two rolls to dry after developing in Ilford DDX.

Hanging the first two rolls to dry after developing in Ilford DDX.

Back in the darkroom I processed each film in Ilford DDX, two rolls at a time, then reviewed each frame on the computer screen as it came up from the scanner. The idea was to put together a contact sheet of selects for him to choose from, showing only the best frames. Acquiring focus was a challenge in the dark studio, as was the fact he was moving around quite a bit – but the F6 did a great job tracking and the percentage of usable shots was high.

The overall look and feel of the photographs is exactly what I had in mind when the decision was made to go with Ilford Delta 100 film (my favorite black and white film).

Ultimately we’ll print a few final images as wet silver prints on fiber paper, completing the analog process from beginning to end.

Having shot mostly film again for the past 8 years, my catalog of digitally-originated frames drops a little each year. But- using the digital camera as a tool to figure out lighting on the fly has immense value.

The Printmaker, Artist Scott Lenaway in his studio, Fort Collins, Colorado (2018)

frame 26-Scott Lenaway-Artist, Fort Collins, Colorado (2018)

Something worth mentioning: the idea that a photograph is created on film doesn’t preclude the necessity of editing. The image below is a good example. We all like to ‘get it right in camera.’ For the majority of shots I focused on the subject’s head, eyes and face. There were a few shots focused on hands and what they were holding – as in the shot below. Because of the very shallow depth of field to reduce the distracting background, there wasn’t much room in the focal plane. I wanted his hands to be the point of the shot, but to stop and relight everything to reduce brightness on his face would have been a waste of time and interrupted the flow of the shoot.

Instead I opted for a good base exposure, knowing I’d re-work values during print. So shooting film in a hybrid workflow is a great blend of bringing the best attributes of both film and digital together to create something unique.

frame 06-Scott Lenaway-Artist, Fort Collins, Colorado (2018)

frame 15-Scott Lenaway-Artist, Fort Collins, Colorado (2018)

Shooting digitally does provide a bit of a safety net because you know for certain what you have when you’re done. Admittedly this is comforting. Working without that feedback again takes a little getting used to. I’ll admit a smile crossed my face upon seeing dripping wet rolls of film unwind from the reels, dense and healthy with tone. Never a doubt.

The Print Maker-Artist Scott Lenaway, Fort Collins, Colorado (2018)

frame 04-Scott Lenaway-Artist, Fort Collins, Colorado (2018)

Do something different. Shoot film using Nikon’s Creative Lighting System and challenge yourself to make unique, creative photographs. Having a tool like the F6 that is able to respond to virtually any photographic situation is a true blessing.

When You’re Really Trying…

When You’re Really Trying…

Sunset, Badlands National Park, South Dakota (2018)

OK, so maybe I jumped the gun a little. Maybe I still do have something to say regarding the F6. Allow me to explain.

Over the past several years I’ve enjoyed shooting with a variety of cameras, including all the Nikon single-digits F-series, as well as a few medium format Mamiyas. Anyone who has more than one or two cameras can surely identify with the conundrum of which camera to grab when you’re heading out the door. You can only carry and shoot so much in any given outing, so you need to make some decisions. Whether the decisions are made at home before heading out – or – while standing at the back of the car on site plowing through all your junk (because you wouldn’t or couldn’t make that decision at home). So in a very democratic way I decided to use them all for a while, just to spread the love.

Badlands National Park, South Dakota (2018)

Badlands National Park, South Dakota (2018)

I’ve also been shooting a good bit of black and white over the past several years – for reasons previously laid out here, and enjoying the heck out of it. Process your own film, printing in the darkroom, working with filters, the smell of fixer on your fingers… all wonderful stuff. Because of that – I’ve grown accustomed to, let’s say – alternative metering solutions to what the F6 employs. Sunny 16, early Nikon center-weighted metering heads, iPhone app’s, totally winging it see how close I can guess… anything goes. After all, with film, as long as you’re within a stop or so things are pretty flexible. And until you have comparison data points, it’s sometimes tough to evaluate just how well something else performs.

Badlands National Park, South Dakota (2018)

Badlands National Park, South Dakota (2018)

So last month I was heading home from Illinois to Colorado the long way, through South Dakota. Before leaving for this trip a few weeks prior I was disciplined enough to make decisions regarding kit. It would be all F6, with a new F3T thrown in for some black and white work. I gathered the remaining rolls of Velvia 50 from the fridge along with a smattering of C-41 and called it good. I’d always wanted to visit Badlands National Park and hoped timing allowed on the return leg. If so I’d be prepared.

Badlands National Park, South Dakota (2018)

Badlands National Park, South Dakota (2018)

As things worked out, by the time I hit Badlands Junction, South Dakota the day was shaping up nicely for some photography. Light was superb after a bit of recent rain refreshed and cleared the sky. Autumn grasses were bright green and played nicely against the ochres and crimsons of natural Badlands coloring. There was an active sky – plenty of cloud cover mixed with plenty of a beautiful cobalt blue. When the time came to shoot I loaded one of the few remaining rolls of Velvia in the F6. The reason this is important is because at nearly $17 a roll, Velvia is pretty pricey stuff, as is the new Kodak Ektachrome at $13/roll. But more importantly, the opportunity before me wasn’t something that came along every day: a beautiful location I’m visiting for the first time (there’s nothing that can match the thrill of discovering a place for the first time), perfect conditions, plenty of time to explore… rolling the dice when it comes time to make the most out of each shutter release isn’t a good approach. Here’s where the F6 really proves superior over all its (charming, old) predecessors. Specifically, it’s metering, features and reliability. No way I’d trust my (wonderful) old cameras to shoot chrome films in changing light on this rare opportunity.

Badlands National Park, South Dakota (2018)

Badlands National Park, South Dakota (2018)

I almost always use a tripod for work like this. I know some people don’t, but honestly – aside from laziness – can’t understand why one would approach shooting anything they’re really trying to get the most from any other way. Slow film in fading light at f8-f11 means shutter speeds hovering around the 1/2 second mark or slower. A tripod, Mirror-Up and the MC-30 cable release, turning off VR on your lens, even using the DR-5 to aid focusing are standard operating procedure.

Badlands National Park, South Dakota (2018)

Badlands National Park, South Dakota (2018)

I won’t drag this out – hoping you get the idea. All these other cameras are wonderful, really. Each has its own personality and allure and I’m happy to have them. But when the time comes to shoot; to really try to get the most from each frame – the Nikon F6 has no equal. As much as I appreciate my other F’s – the F6 is King of the Hill.

The F6 shooting Devils Tower, Wyoming (2018). S.O.P. when I’m really trying to get the most out of a frame of 35mm film. (Nikon F3T, 35mm f1.4 AI-S + Velvia 100).

Stand Developing with Rodinal

Stand Developing with Rodinal

One of the great joys of shooting and developing one’s own film is the ability to tweak and experiment. While it’s true one needs to be prepared to have experiments fail – it’s also true that when they succeed, it can introduce a new component to your shooting, furthering your unique creative vision.

Nikon F6, Nikkor 24mm 1:2.8 Ai-S, Nikkor Y48 yellow filter, Mirror-Up, cable release, 1/15 @ ƒ22. Stand developed in Rodinal for 2 hours.

Behind Bellvue, Colorado. Nikon F6, Nikkor 24mm 1:2.8 Ai-S, Nikkor Y48 yellow filter, Mirror-Up, cable release, 1/15 @ ƒ22. Stand developed in Rodinal for 2 hours.

Initially I thought of this last roll of my favored Delta 100 as a bit of a toss-away roll. Having spent the first half of the roll playing, around frame 25 I found subject matter that may actually make a nice photograph.

When it came time to develop I decided to try Stand developing with Rodinal again. I’d done so a few times before with medium format film and it turned out well. Images are extremely sharp and contrasty, and a bit on the grainy side. This was my first attempt with 35mm.

From what I’ve read and what little I’ve learned thus far from personal experimentation – it sounds like slight underexposure is the rule. Without getting technical about Stand developing (again, limited experience), you essentially dilute the developer (not all developers are suitable) more than usual, then let it “stand” for a longer period of time, like hour(s), not minutes – with very limited agitation. Temperature isn’t as important either.

The idea is the developer that’s in contact with the film tires, and because of this – works more slowly to bring up shadow detail than it otherwise would when agitating-which puts fresh developer in contact with the film every minute or so. This ‘tired’ developer works slowly to bring up the dark areas of the neg and because it’s so diluted, in theory – avoids blowing your highlights. If you’re a Stand development expert and I just totally butchered the description please forgive the radical condensing and feel free to correct me.

I picked up a great e-book (Iridescent Light, TheArt of Stand Development by Michael Axel)  a while back explaining Stand developing and was immediately intrigued. I thought this would be a good roll to have another go at it because I didn’t think there would be many (any) frames worthwhile.

Nikon F6, Nikkor 135mm 1:2.8 Pre-Ai, Nikkor Y48 yellow filter, Mirror-Up, cable release, 1/60 @ ƒ11. Stand developed in Rodinal for 2 hours.

Behind Bellvue, Colorado. Nikon F6, Nikkor 135mm 1:2.8 Pre-Ai, Nikkor Y48 yellow filter, Mirror-Up, cable release, 1/60 @ ƒ11. Stand developed in Rodinal for 2 hours.

From one point of view, Stand development is easy. It requires little intervention once the process has begun. After the diluted chemical is poured into the tank you agitate as normal. After 5-10 minutes, agitate again. After that, set the timer on your iPhone and go find something to do for a while. It’s the “for a while” part that’s the unknown, and where the book really helps explain the variables. I had a lawn to fertilize and wanted to watch the news so I set my timer for 2 hours.

When the timer went off I poured, stopped, rinsed as usual. This roll began the practice of PermaWashing after a water rinse, and also saw me switching over from Ilford Ilfotol wetting agent (couldn’t find it anymore) to Kodak PhotoFlow.

As I always do when I hang my films to dry, I hold a light up to the strip and visually inspect all the way down. What I saw was a healthy, thick neg down the line. Encouraged, I knew I’d have something to work with in scanning and ultimately wet printing.

Pick up some Rodinal and give Stand developing a try. I guaranty you’ll learn something. Viva la F6, Viva la film.

Scanning with Nikon LS-5000 Time Machine

Scanning with Nikon LS-5000 Time Machine

Champs Elysees, France 1957

For the past few months I’ve been working on scanning/archiving slides for my family. It’s a big job – many hundreds of a mixture of very old (late 1950’s) to just sort of old – made in the last few decades.

Gornergrat, Switzerland 1957

Several reoccurring thoughts travel my mind as I sit before the screen, inserting slides, waiting for focus, scanning the slides, and naming them in some orderly fashion so we’re actually able to find them once scanned.

Place de la Concorde, Paris, 1957

One is, I’m sure glad we have these images. They are the closest thing to a time machine I’m aware of. The other night I was looking at photographs of the Zurmatt Curling Club in Switzerland, circa 1957. Wow… talk about a blast from the past. My father took a trip to Europe after getting out of the army in the late 50’s. He and his Kodak Retina documented the countryside well and now, 60 years later, I’m seeing what he saw. That’s pretty cool.

Goat Cart and Children, Paris, 1957

Another is, as I inspect each slide, many are made on Ektachrome and carry a rather red bias. Thank goodness for the sophisticated software we have available today to bring the very best out of even these ancient (by photographic terms) slides.

Madeline Church, Paris, 1957

I wonder how much longer the film will continue to carry an image? The slides have been stored properly and meticulously labeled providing ample information to name and describe them. Though these images have remained intact for many years, there will come a time they’ll fade away to nothing. Everything has a life span and nothing lasts forever. Digitally archiving them while they’re still viable is a good use of time and energy.

View of Paris from Arc de Triomphe, 1957

View of Paris from Arc de Triomphe, 1957

I’m grateful for on-line sharing services like zenfolio, of which I’ve been a part of since 2007, allowing such easy archiving and custom, private sharing of these and other images with select audiences. Sharing these images with family members across the globe with a few clicks is easy, cost-effective and painless. And the delight it brings those is real.

Horses and Sleigh, Zermatt, Switzerland, 1957

I think about how there are really no shortcuts. To get the most out of each frame, the image needs to be scanned, optimized, color adjusted and cropped at a decent enough resolution to cover what might be asked of them in the future. I’ve decided on a modest resolution of about 2,700 px on the longest dimension, rather than the full 5,000+ to save some time – and also predicting not many (if any) images will ever be enlarged great than 8″ x 10″.

Arc de Triomphe, France, 1957

I purchased my Nikon Super CoolScan 5000 some time around 2008. I remember driving to Denver in a snow storm and buying – new – the last one on the shelf at Wolf Camera for something like $1,000. The kids in the store looked at me like I was nuts. “Don’t you know about digital cameras?” their smirking eyes said as I walked out the door with my prize. I’ve seen LS-5000’s at auction for upwards of $2K. It’s a great scanner – providing you use the right software with it. But that’s another post.

Subway Poster, Paris, 1957

I’m grateful for this moment in time where we as photographers have the ability to choose from the affordable overabundance of such exquisite high-end picture making gear what tools to work with. I’m grateful for the advanced technology available today to get the absolute most out of every frame shot – from scanning software to post-processing editing tools,  Digital Asset Management tools and on-line sharing tools. I’m grateful for long-stored analog film in the freezer as well as all-new emulsions rolling off the production lines of Kodak and others.

Lowe Pro Commercial AW loaded and ready to roll. Having everything in one bag that can just be grabbed when it's time to go ensures you'll have what you need when the time comes.

Asked and answered: moving forward, the F6 is king.

With the question of what camera to trust finally settled on once and for all, I’m grateful for my F6, which I fully expect to be clicking away many years from now, its corners and rubber grip worn, with a roll-count well into the thousands.

Statue of Liberty, NY on Kodachrome. Date unknown.

Statue of Liberty, NY on Kodachrome. Date unknown.

The attributes of film endure, providing us with the ability to – 60 years from now – look at the world through the lens at this great time to be a film photographer.