Photography is a two-part process.
In the days of film, there was negative making (“shooting”) and printmaking (“printing”). With digital, nothing has changed, the image is captured/created, then processed into a final product.
This means that sometimes you can find an old image you weren’t fond of and re-imagine the processing to get something you do. This was shot on Ilford FP4+, scanned as a negative, and processed digitally. Call it whatever you want, but it’s just stage one from one process and stage two from the other.
Pentax K1000, Ilford FP4+ in Clayton F76+.
Another from my Provia roll this weekend. When I first ran these negatives through the scanner (I always check the “develop only” box now that I have a negative scanner, and Ritz still charges $4.50), I was disappointed. They had the graininess and sharpness that I like from my cross processed rolls, but the color shifts were minimal and the dynamic range was impossibly thin. I bracketed each shot, and in many cases one was underexposed and one had blown highlights all over. Is Provia a bad film for cross processing? A quick Flickr search suggested that this is definitely not the case.
So why did my film look funny? Turns out the automatic exposure software in my scanner doesn’t handle weird negatives very well (specifically the white point setting). Once I went back and set it manually, I got some very interesting results. Here’s one in color:
Minolta XD5, probably an old MC 50mm f/1.8 (it could have been the 28mm, and I really should be able to tell), Fuji Provia 400F expired September 2004 and cross processed at Ritz.
Look what I found.
Another old shot of an old truck, this one from some time around October when I was testing out my brand new (to me) K1000. I’m trying to get back to posting regularly, but it’s tough because none of the film I’ve been shooting is developed yet (a black and white roll and a roll of ancient cheap color film I found in my boss’s office). This isn’t one of my favorites, but it fits the theme.
Pentax K1000, SMC-M 50mm f/2, Fuji Superia X-tra 400.
I was looking through old scans and forgot about this one.
I’m pretty sure I know who this truck belongs to, and this picture of this truck seems a fair reflection of his personality.
“FYI- YASHICA CAMERA” arrived today, and was a miserable disappointment. The film advance isn’t really connected to anything, the mirror is stuck up, and the shutter won’t cock. These problems are probably all related, but the point is that the camera is definitely not usable. After all of that waiting and frustration, it is utterly worthless. Now begins the delicate eBay refund tapdance. Though my dealings with the seller so far aren’t exactly confidence-inspiring, I hope this one isn’t too painful. Moral of the story: Don’t be stupid like me- learn your lessons.
I loaded up my students’ cameras with Tri-X tonight, and they’re off into the world of hybrid black-and-white photography. Most have never handled a 35mm camera before, and none has used a manual camera before. One pair is using a KR-10 from my personal stash (actually, it’s borrowed) in place of the disappointing Yashica. I forgot that it has a light leak, so I’ll have to track them down tomorrow with some electrical tape.
It’s strange trying to explain exposure and film and metering to people who have never tried it before. It’s easy to forget how foreign these things feel at first, especially to those of us hailing from the digital age. There’s a difference between explaining and teaching, and I’m hoping this week of playing with the cameras will help take me from the first to the second. Only time will tell.
Probably my KR-5 Super II loaded with Plus-X. I should write these things down.
Sort of back.
I’ve been driving past this on my way to and from work for the last four weeks or so, and I finally dragged the gear out there today to make a stop on my way home. Here are the results (or, at least, a result).
Nikon D200, Nikkor 50mm f/1.8, Minolta strobe off camera.
Which literary character does this remind you of?
This is sort of a soul sister to “434” in subject matter and processing terms. It’s strange to buy new equipment in the middle of a photographer’s block- it forces you to revisit your surroundings (which you’ve photographed thousands of times) to try to find new angles and interpretations. One of these days I’ll get a new idea and I’ll be off like a greyhound again.
See it larger here.
Nikon D200, Nikkor 50mm f/1.8.
New equipment doesn’t provide new things to shoot at.
The sign on the door:
“KEEWAYDIN COMPUTERS and KEEWAYDIN AQUATICS We are undergoing an upgrade in our facilities and cannot operate our business here temporarily. Please call 237-5560 for further information. Deliveries remain here as usual.”
Nikon D200, Nikkor 50mm f/1.8 (which really is a razor at f/4).