Through the rain.
Three in a row from my last Holga roll. This was the first roll I shot without the 6×6 mask, so there’s some nice bleedover onto the edges of the film. Interesting to note that the exposures are so different. The sun was going down, so hypothetically they should get darker from left to right. Since the Holga shutter mechanism is a disc with a hole and a spring, it’s not really surprising that these are all over the place.
Holga, Fuji Pro 800Z.
It’s a cipher.
This is another from my first-ever Holga roll. In addition to setting the counter to 645 (vertical rectangles 6×4.5cm) instead of 6×6 and therefore overlapping exposures, this one was accidentally set to bulb, resulting in blurring and overexposure. I think the effect is interesting, though unintentional. Isn’t that the point?
(Possessive, not plural).
“Be sure the fortune that you seek / is the fortune that you need.”
I finally got back the first roll of film from my Holga. I always order my film “develop only,” then scan my negatives and see what’s worth printing. Since I very rarely print anything, it saves me a lot of money. As I detailed in my previous post, I managed to do an extremely good job of messing up the film by overlapping all of the exposures. I was hoping that at least one of the overlapped images would be something at least interesting, and I think it worked out. I tried to take the same shot twice, first using the “f/11” setting and then using the “f/8.” Because of my winding error, it didn’t really work out as planned. I do still think it’s interesting, though.
The first time I scanned this image, I didn’t bother to change the scan resolution. I had left it set at 2800 dpi, which produced scans from 35mm frames in the neighborhood of 10 megapixels, which was a good compromise between giant files and printable resolution. When I scanned this frame at 2800 dpi (which is somewhat cropped from the original), I ended up with a 92 megapixel image (or, to be exact, 92,390,540 pixels). While this is wonderful in theory, it meant a file of more than 227 MB, so unwieldy that it crashed Lightroom on my Macbook Pro (1536 MB RAM and a dual-core 2.0 ghz processor) when I tried to spot correct a bit of dust. It is also utterly pointless, as the Holga lens is in no way capable of resolving the level of detail that would reward this level of resolution. In spite of this, I plan on bragging about this regularly. The next time someone shooting with a D300s and an 18-55 kit lens takes a break from toggling through the auto modes to ask me about my camera, I can just say it’s 92 megapixels. (Or I can be nice – I’m not as mean as I claim to be).
Holga 120N overlapping exposure, Ilford XP2 Super.
I need to do more shooting, and I think I’m going to try cross-processing more slide film. Among other things, I have some Provia 400F on my desk (expired September 2004) which should be interesting. This is from another roll of the same film.
Minolta XD5, Fuji Provia 400F (exp. 2004).
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+.
I think this is a nice example of what my cross-processed Provia is doing to skies. Pretty neat, isn’t it?
Minolta XD5, MC 50mm f/1.8, Provia 400F (expired September 2004) cross-processed (C41).
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.
Like it or not, here I come.
I suppose I can officially call off my hiatus from shooting (which was really more of a period of abject laziness). On Monday, I will teach my first session of hybrid black and white, in which students will use a menagerie of 35mm SLRs (from an all-manual stop-down metering M42 mount Vivitar 400/SL to a fully-automatic autofocus Minolta Maxxum QTsi). Unfortunately, my program’s limited budget meant that eBay was the place to go for these, and this has already generated problems. When I purchased the last camera four days ago, I expected it to have arrived by now. Unfortunately, I received this message today:
FYI- YASHICA CAMERA WAS SHIPPED OUT TODAY VIA USPS.
I was instantly reminded why I hate eBay. People who don’t feel the need to bother with written English make me nervous, and people who sit around for four days before shipping something make me even more nervous. I guess we’ll see what happens on Monday.
The good news is that I have no choice but to shoot if I’m going to effectively teach this class, so there are likely some 35mm black and whites on the way.
Ironically enough, the passage that formerly appeared on ethics here has been removed. For ethical reasons. Great.