JSMB - SLC
This is the back side of the Joseph Smith Memorial Building - historically known as Hotel Utah.
This was restored and remodeled, by the LDS Church in the 1980's to become an administration type building.
FFKR Architect's was hired for the original remodel and has since been involved in ongoing modifications.
YashicaMat124G - Kodak Ektar 100
SLC - Capitol
Shot at the South entrance steps of the SLC Capitol - with the F100 on HP5. As with all of my images - no crop.
BW is unforgiving
BW film or any film is always a bit of an event in discovering the result — and I guess that’s what keeps me coming back.
As I learned in my stats class years ago - there are some un-predictable parameters which don’t lend to a “sure thing” event.
I now see why, when those back in the day, shot film they were true artists of the time. There was no preview - no chimping - no spray and pray. A wedding photographer for hire had no choice but to get the shot - and I doubt any had “errors and omissions” insurance if they didn’t. And if you didn’t get it - then - a world of hurt your had to face with the client.
The capture is the easiest - film selection defined your style - and predicting exposure with limited frames determined your profits. And I haven’t even brought about the challenges of flash.
This is downtown SLC - a scene of the sun peaking during just the right time of the morning. BW with this golden light is a challenge - where color becomes dramatic and a no brainer - BW is unforgiving.
Nikon F100 - Ilford XP2 C-41, 80-200mm f2.8 AF-s
Umbrella in the Mist
I really like photos taken in the rain because it is a venue not very much captured -- and as luck would have it we had days and days of rain falling on a Saturday where I could take advantage to shoot. As I was driving downtown - and as if it was planned - here was a colorful umbrella traveling the sidewalk on South Temple Street.
As much as I could - I got head enough in the car in order to pull over to take some frames.
The scene really turned out well - as it was a serendipitous event all coming together. And as much as I hate to say it - photography is all about the Serendipity -- seriously -- If you have the camera you may just come away as being the Rockstar with the one and only image of the event - whatever that may be.
Nikon F100 - Kodak Ektar 100
Timeless without the Cars
Here's Lola again - with my wife Madeline. When Lola was around 10lbs.
I love this image - combined with the look of film this brings me to a "Madmen" type scene -- with the hat and film base it looks like something from the fabulous 1950's.
No lies here -- I don't know how fabulous the 50's really were as I wasn't born yet -- but I can't get over the nostalgia this image brings. Too bad the cars are in the background - else it would have been timeless.
This is Kodak's Portra 400. For its skin tone rendering - it has no peer.
Self developed with a C-41 Tetenal Kit - no crop.
Nikon F100 - 50mm f1.4 - Kodak Portra 400, Tetenal C-41 Kit
Make it so.
There is a difference between Digital and Film.
- Digital is freeing - liberating - no development cost - easy - instant - shoot all you want - all you can eat.
- Film is constraining - concerning - costs more - unknown - difficult - non instant - takes chemicals
Both aspects have their plusses - but man - the digital side sounds like Crack Cocaine - I'm being facetious of course. Don't do drugs.
If you are shooting film - I’ll let you decide why you do it - as based upon what I just outlined, well; I make it sound like film is dead: Hardly.
YashicaMat124G - Kodak Portra
Here’s what I’m getting at — this whole film thing is constraining me from shooting. I feel like I need have to have some kind of special image to shoot - like waiting for the Queen of England to walk by the house or something. I’m on the porch waiting; right now — as I type this…. just kidding, no really - I am !
Ok -- never mind - I just missed the shot.
So my goal these last few months of Summer - is to burn some frames — go hog wild on the mundane - the simple; Cracks on the concrete - street signs at head level - the sky - Lola the Bulldog letting one rip - a blurred selfie.
I need to shoot 1 frame a day. Make it so.
Kodak Ektar - YashicaMat 124G
Scanning film in the Digital age
EDIT: A friend of mine mentioned to me a few things about this post of which I've decided to clarify. And they are important enough to add this edit. My vision for how I process film is just one technique - wether that's scanning, choice of lab processing or developing at home. There are many who have used different techniques, equipment, flat bed scanners, and films of which the final outputs have been received without peer. It's never been my intent to offer the opinion of end/all, be/all - please keep that in mind.
Scanning film in the digital age
Coming at this as a newbie months ago, I really schooled myself about scanning services from labs: what they offer for resolution and pricing. None of which is standardized. And the idea of scanning my own developed film. Here's a quick distillation of my findings.
Scanning film becomes a confusing subject in this recent world of digital photography - as really the only purpose of the film scanning process is getting the best resolution possible.
The photographic / scanning labs aren't dumb either - after years of getting beat up by the influx of the digital camera eating into their survivability, they have now monetized the analog/digital aka "Hybrid" workflow with pricing tired services.
And I'll get to that in a moment.
There are a few components to the idea of scanning film. The first is the scanning; getting the resolution in-order to print something bigger than a postage stamp sized print (and I'm being a bit sarcastic of course).
The second is getting the scan to look like what would be expected when you would nakedly print. Meaning - the digital representation looks like the the original film stock, i.e. Kodak Portra, Kodak Ektar, Ilford HP5+, Ilford Delta, Koday Tri-X, etc. This can be tricky - and there are certain photoshop integrated pieces of software which keep the integrity of the "look" of the film you've scanned.
The third - is the price. That's were the monetization of services from the lab comes in. Bigger scan = more cost. Color vs. BW is a price difference there also. Color is easier to scan as the dust removal is more automated - BW scanning needs to be “spotted” manually which is more laborious.
So now I'm just touching the surface - and let's not forget shipping, i.e. getting it to the lab. Ugh. That’s a part of the expense also.
One would think that the scanning sizes per price paid would all be standardized.
But as you look around at which labs are worth considering you will see that scanning resolution sizes are not necessarily tied to price.
I might also add -- that if you are a lab and you are not scanning - then I don't even consider your services. But why -- why do you want a scan ?? --- Well that's a bit of another conversation but suffice to say - that wet printing is a bit of a diminishing return for how good ink jet and how capable large format ink jet has become.
Here's a taste of the confusion -- these numbers include Development and Scanning
theDarkroom.com 35mm BW
1024x1536 - $11
2048x3072 - $15
4492x6774 - $20
theFindLab.com
2285x3035 - $22
3042x4040 - $27
3647x5444 - $32
This is an example of what I mean -- Price and Resolution - you would think this would easily be your guide, but there is no correlation between the two. One doesn’t compliment the other - and here's another curve ball -- what's the secret sauce if there is a difference of price - what is theFindLab giving you for that extra $12 bucks on their top of the line scan compared to the theDarkroom ???
Is it better dust correction - do they care more - or is a scan a scan, especially when you are talking a high volume production shop ?
I've used these two labs as I’ve gotten started in the film hybrid workflow -- theDarkroom out of CA, and theFindLab out of UT., and I'm torn. TheFindLab is probably one of the most expensive in the country - yet I've never had to second guess with what they have provided me. The DarkRoom has great resolution, is sometimes a 1/3 cheaper but I've had to send some stuff back to be re-done, 5” prints to be exact.
So what's the future hold -- Well. As I get deeper into film I've started developing BW and color C-41 and scanning myself. I've secured a Nikon LS-8000 for MFormat film getting 4000dpi and a Minolta Dimage 5400 for 35mm at 5400 dpi.
Everything I’m doing is “cradle to grave”.
Both of these scanners will give me resolution competitive if not better than standard lab offerings - but the process for me will be a time hog. So either way you are paying -- in time or in money.
And here’s the rub - the scanners producing these outputs desirable aren’t made anymore. Yep - Nikon and Minolta scanners don’t exist as new - and services to repair them don’t exist either. Yet the frustrating part is that no one makes a comparable product - yes the technology of 2000 can’t be matched - Mind blower. Expect to pay at least $1000 for a Nikon first generation LS-8000 and expect to pay $500 for a Minolta Dimage I, used.
In closing -- the only way to see how a lab treats your negs., is to try them - util you come to the point of wanting to create your own work flow.
While I’m at it — let’s keep this conversation going — what happened to the “Flatbed option” ? Good question.
Ok — if your are planning to use a flat bed — Epson 600, 650, 700, 750, 800, 850 then you will hit the wall of real resolution vs. interpolated resolution. Meaning - the flat beds really don’t resolve past 2400 dpi. And, if you are a purest in all sense of the term then that just won’t be good enough for your artwork. There are many internet posts on this subject to be searched - and this was quite an eye-opener upon researching it - as I had no idea about this aspect.
On another note, and this is the biggest reason I’m not flatbedding - the flat beds can’t adjust and focus on the film image - so you may not get the sharpness you are entitled too. The flatbeds have an arbitrary focusing point - it’s either good out of the box, or horrible.
Whew — ok — so you got all of that ?
the Lola - she's not a showgirl
The English Bulldog who joined us mid April. She's been a ball of fun - farts a lot and can let out a belch after drinking a bowl of water which would make a Frat House proud.
She's now twice this size of 10lbs.
You go Girl !!!
Nikon F100 - 50mm f1.4 - Kodak Portra
Ilford Delta 3200
Here's a shot from my first roll of this 3200 -- an experiment with the Bokeh. Not much contrast in this developed roll I must say.
Ilford Delta 3200 - Nikon F100
the Violet
Nikon F100 - Ilford HP5+
Pakaloha is my BFF
I didn't get it -- till looked it up. Once again -- and image from Maui.
Nikon F100 - 50mm f1.4 - Ilford HP5+
NW Maui
A paradise in and of itself -- let alone when you are carrying a camera. Taken from the beach of the house we were fortunate to be renting for the week. Can't wait to go back. This is Ilford Pan-F 50. I'm not a big fan as the sharpness seems a bit lacking - It was a an experiment of sorts - I'm now sticking to Ilford's Delta series. Either 100 or 400.
YashicaMat 124 G - Ilford Pan-F 50
Smoke Tones
A cedar plank salmon smoking, is a back yard favorite - and on a whim I shot the event and the captured tones blew me away.
The smoke tones, during this evening really gave way to the power of the monochrome - and this became a good learning moment of trying to recognize what BW can really capture.
Formica Color Chips
This was a grab shot - and a bit of a surprise at how well it turned out. I couldn't have imagined this result. Geometric patterns are difficult to come by, recognize, and then capture.
Ilford Delta 400
Nikon F100 - Ilford Delta 400
Abstract BW
Nikon F100 - Ilford HP5+
Nikon F100 - 85mm f1.4
Starbucks in the Drivethru
Shark Teeth or Island Style
The awning says it all - below it are the shops which reflects such, of which I didn't notice.
Holgamods 612 Pan
I’ve been off the net for a while. Last weekend, always an emotional event (see my March 28th post, been there done that), and i picked up a new camera and that had my attention also.
Since shooting film I’ve been fascinated with going with a bigger negative. But - with that comes economies of scale and I haven’t wanted to quite approach that subject. Instead I decided to pursue staying with 120 - and that means going wider.
Enter the Holga Holgamod 612 Pan. Developed by Randy Smith of www.holgamods.com - he takes a HolgaPan and mounts a large format 90mm f6.8 lens and all you have a stunning capable panoramic camera shooting a 6cm x 12cm negative.
Here’s a test image - on Ilford HP5+ @f32 - and a video I put together of the camera.
Back to the roots.
Months ago - testing the nature of film and how it works against architecture. Film is so foreign - its like putting on blinders and walking out side. Digital allows you to confirm the capture - film says, "screw you" -- I'll give it up when I want too. And that's the truth.
For a paying gig - well - that's a bit unnerving.
This is at the University of Utah. When the light is right - there are some striking areas to shoot.
YashicaMat124G - Fuji 400H