A return to film...and the Bronica SQ

Another find on e-Bay has proved to be a little gem, for nearly nothing I managed to acquire a fully functional Bronica SQ-A with 120 back, a 80mm standard lens and waist level finder. 

A little later I have invested in a 50mm, grip and a metered prism. 

The square format is classical; and makes composition a joy - 

Shot on Ilford FP4.

Shot on Ilford FP4.

Shot on Kodak Porta 160 VC [really out of date…]

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A return to film...and the Bronica.

Digital photography has flourished and I shoot a great deal in digital, even digital based Infrared (IR) but I have continued to use film throughout: many people don't have any experience with film based photography. I do like digital as it can improve your photographic skills very quickly - I have learnt a lot as you can immediately review your shot and quickly solve any issues with it.

But, I'm not sure even with all the digital conveniences that are available you can get the digital image to look the same as if the image was taken on a negative or transparency film. 

There seems to be a thriving movement (if it ever dwindled) supporting film based photography. I have revisited a format of film photography which I haven't used for a couple of years - Medium Format. I have a Bronica ETRS which I bought a few years back. I have a collection of films for the camera in the 120 format which comprise of Fuji transparency film (Velvia) and the excellent Ilford HP5+ for those black and white shots. Additionally as shown in the shot below I have a shot a couple of rolls of Ilford Delta 3200, a fast black and white emulsion. 

You might just want to get hold of a secondhand film camera, there are a few out there, the Nikon F4, the Canon T90 (I owned one of these!) or even a the superb Contax RTS III and a host of other wonderful photographic tools. Grab a roll of film and shoot - then the wait and anticipation of what you shot appearing on small analogue pieces of heaven. 

Loch Lomond Tree shot on Ilford Delta 3200. 

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Adventures with the iconic LOMO LCA....(Lomo Kompakt Automat)

I managed to get my hands on a LC-A a while back, the one I found on e-Bay seemed to to be an original Russian model and not one of the Chinese copies. 

I did a bit of research online and found that original LOMO LC-A models would have cyrillic lettering, plus would have the motor winder connection on the bottom of the camera. Additionally the film speed is measured in GOST units instead of ISO/ASA and and has no “Lomo Guy” logo on the viewfinder cover. The viewfinder does have frame lines, and the two red LEDs, focus indicator and icons.

For reference, if you do stumble on one of these, (like I did and the instruction booklet that came with it was in Russian..) the film speed settings can be set as follows:

Print Film:

65 for 100 ASA

130 for 200 ASA

250 for 400 ASA

For slide film (I only use 100 ASA and cross process) set the GOST units to 130.

All images taken on a LOMO LCA. Shot on Kodak Ektar 100 ASA print film and processed normally (C41).

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Infra Red - More Adventures

The converted Nikon D1x has proved an excellent base model, the IR capture capabilities are great, the only downside to the camera is the battery life. 

I haven't been out with the camera for a while..the weather just hasn't been up to it. I took these images back in May 2012.

Both images taken with a Nikon D1x 1/250 @ f8 ISO 100. (18-55mm AF-S f3.5-5.6G ED DX)

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SX 70 The Original Instant

I had bought the Polaroid Supercolor 670AF primarily to explore the realms of instant photography after reading about the Impossible Projects ambitions to restart the production of the film for these camera types since Polaroid had ceased production some time ago.

After buying the 670AF and then seeing how Lo Fi these units were, the search for something more substantial started. During the trawls of eBay I had noticed the SX 70 in various shapes and forms. There were the plastic ‘80’s versions that used the SX 70 film but I was after the more aesthetically pleasing folding SX 70 versions of the ‘70’s.

The earlier SX 70 models employed a 4-element 116mm f/8 glass lens, with focusing via geared wheel at top of lens/shutter housing. An electronic shutter with programmed automatic exposure with shutter speeds ranging from >10 sec to 1/175 with an aperture range of f/8- f/22. These sounded slightly more adventurous than the plastic bodied 670AF that I had got. So, the eBay hunting started….

After watching a few Sonar auto focus models, and watching the prices range considerably I spotted a “Buy It Now” listed Polaroid SX 70 Land Camera Alpha 1 Model 2. It was sold as seen with the seller noting “it has an old film inside” and that it was in half decent condition; I watched the item for a number of days. After further sales of SX 70 models it became apparent that most were in the same condition or had small faults. At that point I took the plunge and pushed the buy it now button…

The camera arrived, and as promised it did have the old film inside, it had been stuck in upside down by the way it looked, so it was prised out with some difficulty. 

Shot on a Polaroid SX 70 Land Camera Alpha 1 with the new First Flush PX100 Instant Film. 

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Further adventures in Infra Red

The Nikon D1X has been stored in the camera bag for the last few months due to the perpetual cold, and the constant dull overcast skies and rain. Finally the weather broke and the sun appeared. So with the battery charged I ventured out.

Since getting the camera and thoroughly reading the manual I figured out how to stop the aperture moving with the focal length, buried in the custom functions menu was the option to turn this feature off. Off it went.

As I have been shooting IR for a while now, I have picked up an invaluable piece of information that relates to how the images that the camera records will convert to give that IR effect during the processing of the images.

The key is setting the White balance [WB]. I have seen that some IR shooters leave the camera on “Auto” but I have found that setting the WB to custom then using the captured shot to set the WB the easiest way to get the foliage the ethereal “white”.

The best results are by using a green background to fill the frame, shooting this then using it as the reference to set the balance. This will set the WB to give better foliage reproduction in the processed image. I also shoot only in JPEG, I have read that some shoot in RAW but as the images don’t require the same degree of adjustment I tend to keep it simple. Processing the images is where the fun starts. I have read various workflows, which always seem to increase in complexity, I’m sure these are for people who have hours to spend stuck indoors. I’d rather be out with the camera. 

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A return to Analogue- PX600

After the breakthrough by the Impossible Project to enable instant analogue photography once again through the development of a new film type, releasing both Monochrome versions of the classic 600 film [PX600 Silver Shade] and then releasing the colour equivalent, has allowed the Supercolour to start making images once again.

I did manage to buy some of the last stocks of the 600 Polaroid film, from the Impossible Project online and whilst I was over in Berlin last year. As this was really the last stock of the 600 made by Polaroid: - and at the time the new IP films hadn’t yet been released, I used the film I had cautiously…. Then….

The new monochrome version of the 600 films was released, under the new name of PX600 Silver Shade, I got hold of some: This was the first flush edition. It was touted as an “Experimental” film as certain aspects of the emulsion were sensitive to light post exposure and also temperature, both could affect the performance of the film [The IP did point this out quite clearly]

Loading it into the Supercolour the darkslide was quickly ejected, that was an encouraging sign; I set off out and about to try out the new instant film. 

Shot on a Polaroid Supercolour 670 AF with the new First Flush PX600 Instant Film. 

Tenement flats around Glasgow can be found in all states of repair, these images represent the final stages before demolition. These are to be demolished to make way for the Commonwealth Games Athletes village which are to be held in Glasgow in 2014.

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Nikon and the IR conversion

So a while back in early August I finally got the D1x and figured out how it actually worked (still can’t figure out why in aperture priority mode the f value shifts with focal length!) and took it out for a few pre conversion shots. As I have never really used Nikon it was quite refreshing to use, it seemed a very nice photographic tool, and extremely easy to use. The fast shooting speed seemed strangely addictive.

It was time to get the camera boxed up and sent away to Protech Photographic again to perform the conversion, this time I had decided to have the 665nm conversion performed, which suits the false colour infra red photography better than the 720nm filter conversion. Once securely boxed up away it went.

It didn’t take long until the converted D1x returned. The only trouble seemed that the weather had yet again turned to the rainy season again – stifling any real opportunities to get out and try out the new shooter. After waiting a week or so, the weather finally broke and the sun appeared in the sky and brightened things up.

Heading back to one of my favourite local spots I managed to get some photographs using the converted D1x.  

Pollok House Gardens
Nikon D1x 1/200 @ f8 ISO 100. Shot at 18mm (18-55mm AF-S f3.5-5.6G ED DX)

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Filters and Waterfalls

After investing in rather expensive neutral density filter from B+W a few months ago I have spent a while experimenting with this rather special filter. Offering a ten-stop reduction it can be used to slow the mundane down to offer some interesting images. The filter used normally for industrial applications has been one of my favourite filters I have bought so far. 

So this weekend I ventured out to the beautiful location of Ingleton in the North Yorkshire dales. After some research online, one of the attractions of Ingleton was the cascade of waterfalls situated nearby. Enlisting one of my photographic cohorts we set off early on Saturday to get there in plenty of time to shoot.

Hitting the Ingleton Waterfall Trail early (we were one of the first to arrive!) we set off, the trail is 8km or 4 and half miles, and has eight falls along the way. The rain had been heavy in the previous couple of days so the falls were pretty fierce, plenty of spray to get on the front of the filter!

Setting up proved a task; the trail is a rather narrow footpath, in places quite a squeeze- throw in slippery rocks and mud and you have an interesting combination…

With the filter in place and the camera firmly on the tripod the exposures began, most needed at least a 30 second exposure on bulb, shooting at f8 with the ISO dropped to 50. Being in a shady gorge the exposures were all over the place, the brief passages of light from the sun penetrating the moody sky helped out in exposing the dark corners of the shot. With exposures varying depending on the light breaking through, bracketing widely helped.

Moving around the trail, the light got better as the day progressed, by mid afternoon the sun had broken through the early overcast sky.

After a couple of hours out on the trail, we headed back to the car park to get the car and head home. Definitely a place I would return to, I think in the winter with a blend of snow and ice the place would be pretty impressive to shoot. 

Ingleton Waterfalls Trail

Beezley Falls
Canon EOS 1Ds 55s @ f8 ISO 50. Shot at 28mm (EF 24-105 f4L)

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An Infrared Conversion 665nm – and a suitable Nikon.

After having the Canon EOS 10D converted last year using the 720nm filter, I had seen at the time the alternative conversion using the 665nm filter. This one gives the strange colour infrared effects that, as the black and white images produced by the 720nm conversion are just as ethereal and wonderful.

Having managed to get hold of the Canon on e-bay for next to nothing getting another one might be difficult. After a few months of looking nothing really was being offered, most sold as seen with none descript faults or just plain broken. It’s amazing how many cameras’ are crushed or dropped in the sea.

I would have kept looking but had seen that the early Nikon digitals were being converted using the 665nm filter; indeed the initial conversion I had seen was for a Nikon. I had read some where on my web travels that the Nikon sensor was based on a Sony manufactured unit which had been present in some of the early compacts that had started the digital infrared interest.

Back to e-Bay and weekly trawls soon indicated that early Nikons of the D series were also hard to come by, and getting one was looking difficult. Luckily for me I managed to find a D1X body, with charger and two spare batteries, that was on sale for a decent price; and it helps that no one else bids, the only down side was that I’d need to find a lens for the camera. Now these are pretty decent digital shooters, from what I’ve read on a few of the well know review sites, so I was looking forward to getting it and taking it out for a pre conversion check.

Well it got here last week, I managed to borrow a 28-80mm off one of my Nikon friends and have a quick play about.

Well, it’s a great camera; it’s solid and looks the part, not being familiar with the whole Nikon chic it was a bit of a learning curve to get the thing fired up and doing what I wanted.

After a weekend of shooting I managed to pretty much figure it out, I should receive a nice 18-55mm AF-S f3.5-5.6G ED DX in the post in the week too.

D1X Review

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Analogue Returns....

I never really gave much though to instant photography, I remember using a Polaroid of some description in the eighties as a child, other than that I hadn't had any real interest. (Now I know it was a Polaroid 1000, that used SX 70 film)

Then suddenly after browsing the internet - again looking for other avenues of photography to discover, came across the Impossible Project.

For me the awareness that the instant film made by Polaroid had ceased production was not something that I had been aware of, at this point the value of what this team of individuals was in the process of trying to do caught my attention. 

But you still had Fuji, making the FP series of instant film and the slightly lomoesque Instax series of films. 

But Polaroid? The inventors of the instant film? No longer manufacturing instant film? Edwin H. Land would not be impressed. 

http://www.the-impossible-project.com/

Shot on a Polaroid Supercolour 670 AF with the last of the original Polaroid 600 Instant Film. Part of the Impossible Projects final stocks of the film issued as the Paul Giambarba Edition. 

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Lomographs

I had previously used a Lubitel medium format camera a good few years back, and didn't really have much fun with it. The plastic body and the fact that is wasn't light tight made it pretty tricky to use. Having to seal it with electrical tape lost its appeal pretty early on. It finally got thrown in the bin after many years of sitting redundantly in the cupboard. 

That though was before the Lo-Fi photography movement that is Lomography came along and the characteristics of the eastern block cameras were seen as pretty cool. 

After seeing the growing number of LOMO type cameras popping up (E- Bay and the high street Urban Outfitters) and the images taken with these appearing on various web sites, the subject of Lomography came up whilst visiting friends. Always looking for alternatives to straight forward photography and the march of the digital takeover, my friends thought that a LOMO LC-A was gathering dust in a cupboard - pretty much the same as the Lubitel languished unloved under my stairs. 

After a rummage the pretty much unused LC-A was produced. Original and with its plastic presentation box it looked a decent point and shoot. My friends told me that it hadn't really been used, and most probably saw the light of day back in the early 1990s. 

A quick review of the web indicated that this one was probably a early Russian one, and not one of the current Chinese impersonators. Getting the basic instructions from the web, I set out to try to get some images. The first roll of film through it was an expired Fuji Reala. To really try to emphasise the characteristics of the LC-A, I wanted to get the film cross processed, alas the outfit who I use locally stopped E6 processing (Huh?) so regular processing was performed. I was pretty impressed with the images from the camera. The automatic shutter speed performed well, everything seemed exposed correctly with the characteristic overexposed centre and dark edges. The focus of the shots were hit and miss, with selection of the estimated distance from your subject selector used with liberal disregard for any real image sharpness. Most of the time it was left at infinity. The images on the film were spaced almost evenly, the small guide sprocket made of pure plastic in the internals of the camera did a good job to advance the film frame by frame. 

So what happens when you load one of these cameras up and just shoot, forget the usual rules. Shoot anything? Factor in out of date film and cross processing and you might be in for a surprise....

Cross processed Agfa CT Precisa 100 - This film expired in June 2006. 

Cross processed Kodak BW400CN - This film expired in September 2007

Cross processed Fuji Reala 100 - This expired at least 3 years ago….

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December Snow

The recent snowfall across the UK and the freezing temperatures have thrown up a few decent opportunities to get out and about to shoot with the snow and frost. 


This was shot at the nearby parkland.

Canon EOS 1Ds @ f8 ISO 100. Shot at 173mm (EF 100-300 f5.6L)

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Loch Tulla

As you drive up the A82 towards Glencoe and the north you'll pass Loch Tulla. A recent early trip out caught the Loch crystal clear, the low morning cloud still drifting along the edges. 

Canon EOS 30D. Shot at 13mm (EF-S 10-22 f3.5-4.5)

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Autumn Falls

On a recent visit to the Falls of Falloch on the River Falloch, I thought I'd get a a few shots of the impressive waterfall, alas the recent heavy rain had again made the falls very heavy. The spray was too fine, and blowing off the falls which meant getting a decent image was going to be difficult. 

Having no luck with the larger falls I took a walk and found a smaller burn providing a decent opportunity. During a break in the rain, I got a quick shot. 

I like this type of slow shutter work, the water looks so much better slowed down than at the regular flow rate. I have just found what could lead to a interesting photo project, the ND filter offering a 10 stop reduction. Think about that...

Mine's on order. I'll be experimenting as soon as it arrives, but other than slowing water down it should open up a few other possibilities. I have read it's almost opaque and tricky to use. Should be fun...

Update December '09: Well I had the filter on order, but alas the supplier had encountered problems with supply from B+W so I had to find an alternative. I finally found one who had them in stock for immediate dispatch. It arrived on Tuesday, so it looks like a photo opportunity ahead!

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Conversion to IR

After a couple of months using the G2 the IR shooting was progressing. Whilst on E-Bay looking for second hand Digital SLR's I came across a listing for a IR conversion of a Nikon D60. I took a look. I had come across these conversions before but had considered them as a expensive luxury, and that I'd just persevere with the filters I already had. 

It didn't take too long before I thought I'd get the conversion. There was one slight problem though, the listing was for a Nikon. I knew that there were a few places out there that did these conversions for Canon DSLR's, as the web was starting to highlight the increase in IR shooting using converted DSLR's. So I contacted the shop that was listing on E-Bay to enquire if they would convert a Canon. 

They did. And it was a similar price to the Nikon conversion.

Now for the tricky bit: Convert my EOS 30D? or look for a cheaper older model of the EOS DSLR range. I had used a EOS 10D before, so I started to see if I could pick one up for a decent price. The 10D is one of the more IR sensitive models, so this seemed a good option. 

I found one pretty easily on E-Bay. It was basically being given away. It had the Err99 fault. This is where the power of the internet helps. A lot. A quick look into the fault code threw up a few possibilities of what it could be, the easiest being dirty lens contacts. I took the chance and bought the faulty 10D. 

It took all of 5 minutes to get it working. Always have a pencil with an eraser on the end handy.

After resolving the fault I send the camera off for the conversion. 

http://www.protechrepairs.co.uk/

These guys are good. I had the 772nm filter conversion performed, which removes the IR blocking filter over the sensor and replaces it with the IR filter. 

And this is what happens after the conversion:

Canon EOS 10D IR 1/45 second @ f8 ISO 100. Shot at 24mm (EF 20-35 f2.8L)

Update: Since posting, the converted 10D has been out on a few trips. The results are inspiring after some basic post shoot processing. As the winter months are now on us, the chance to use the camera may be limited but that doesn't mean it isn't going to make an appearance..

Canon EOS 10D IR 1/125 second @ f8 ISO 200. Shot at 20mm (EF 20-35 f2.8L)

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Beyond the Visible....

A few years ago I found a film called Kodak HIE. It came in a yellow and black box. To load it into the camera you needed to hide in the dark, and when processing it do the same. It was pretty difficult to use too, you had to guess your exposures and assume a ISO rating, which I have now forgot. 

The images if you just got it right were superb. The ethereal world of the Infra Red image was enough to inspire you to put aside the difficulties of using the film and head out as soon as the sun emerged from behind the clouds. For anyone wanting to delve deeper into the film side then I'd recommend the book "Infrared Photography Handbook" by Laurie White (Amherst Media, Inc). I think that the Kodak Film is now discontinued, but I might be wrong, I'd check that out if you were keen to try it.

So bringing us right into the age of digital photography, after looking around on the web it transpired that the digital camera could take beautiful IR images. Having previously dabbled with the concept years earlier I thought I'd try it out.

This is where it got interesting. So you've got a digital camera? My first attempts based on the details gathered from evenings browsing the web were slightly disappointing. Something was wrong. I've got the filter (they cost a fair amount too), stuck it on the camera and cranked the exposure. Huh? Something was not quite right. 

Further research seemed to point the finger in the direction of the sensitivity of the sensor to IR wavelengths (there's a lot of Science here too, not for the fainthearted...) I had managed to buy a pretty impervious beast to the good intentions of the IR wavelengths. As well as that the dreaded white balance crept in. Red images! Not good. 

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Out in the Wild

Living in Glasgow you can drive less than 100 miles north west and arrive in some of the most beautifully breathtaking scenery in the UK. 

Living here all year round gives endless possibilities to shoot the same scene throughout the changing seasons. I seem to have been drawn to a impressive landmark. In Gaelic it means Red Peak (Big Shepherd of Glen Etive), or Stob Dearg. From the A82 it looms. It is a Munro which asks to be photographed, and I have obliged. 

I plan to visit it again now the Autumn is upon us, hopefully the snow which tops the peak will be back later in the year. Definitely one to capture. 

This was taken in December 2008, it had been pretty dry and not much snow had fallen only (we want more snow!) the light dusting you can see in the shot which was still clinging to the craggy hillside. This image was shot low from the moor using the trusty wide angle lens, this time the 20-35mm f2.8L. This one captured the crispness to the day, the way the water had frozen in the pool added to the overall shot.

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Paris

On visiting Paris last year, it was immediately apparent that the city was a photographers dream, over the few days we were there I managed to shoot a few iconic scenes, as this shot of the Eiffel Tower shows.

A return trip is on the cards, hopefully later this year. We were there in early February so the crisp weather helped in making some atmospheric shots, this shot of the tower was taken in-between some heavy cloud breaking and the weak winter sun shining through. Taken from below and looking up gives the tower the best backdrop against the moody sky.

The wide angle lens is a favourite of mine, I pretty much use it exclusively. This was taken on the Canon EFS 10-22mm (it's the equivalent of 16-35mm in 35mm format) wide open at the 16mm end. If your looking for a wide angle for your Canon, then this is the one to get if you have the crop factor of the EOS digital range.

As mentioned in the FAQ's I still use film. It has the intrigue of waiting during the processing stage - to see what the images you have captured will look like. Paris is a film city, I think. 

The couple weren't there when I started to compose this shot, I looked up and there they were - beautifully apt for the most romantic city in the world. Fuji Neopan 400CN was used to capture this shot, my trusty Canon EOS 3 did the rest. The Neopan is a chromogenic film, so it can be processed in the same chemicals as colour film, so it makes it really easy to use.  

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Copyright

Unless otherwise stated all photographs are by me. If you would like to use any of my pictures on your blog please do so with a credit and a link.

If you would like to purchase a copy of any of the images you see here, I'd be more than happy to sort you out with a beautiful print please contact me to arrange.

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