NEW YORK NEW YORK – A film gallery today. I’m shooting with a late Leica M3 – I plan on pursuing film with a Leica M3. I also have an early model M3 that is in for an overhaul – I’ll sell one of these cameras when the early model comes back, depending on which I like best.
Today I’m shooting a very high acutance, essentially grainless, film called Adox. The results are remarkable – the downside is that it’s rated at ISO 20 but is closer to ISO 12, so it’s full sunlight or a tripod. The clear base also has a nasty curl, making it a challenge to scan.
Anyway, here’s a gallery of film shots.
Day 2,966 of one photograph every day for the rest of my life.
NEW YORK NEW YORK – I had a “Rosebud” experience today. Elsewhere on this site there is a short biography in which I discuss my earliest photographic experience shooting my mother’s Kodak. The camera was actually called at Kodak 35, which was made in a couple of variants from 1946 through 1949 or so. I found a working model on eBay and bought it for $35. It arrived today so I cleaned the grim off of it, put a roll of film in and took it for a test drive. It was long obsolete by the time I borrowed it from my mother. The version that I bought has a rangefinder but it’s so funky to use as to be non-functional. I’ll post a picture of the camera as tomorrow’s photo. Today’s images are typical test exposures.
Day 2,958 of one photograph every day for the rest of my life.
NEW YORK, NEW YORK – Another day with film. I’m mastering the mechanics of the Linhof film back so I had fewer ruined double exposures. Here’s a view of 23rd Street taken with my Alpa TC, a 36mm Schneider APO lens on Ilford XP-2 film. I’ve always considered the gray scale rendering of chromogenic films to be slightly odd for landscape – there is a slight infrared quality to it. This image illustrates this effect.
Take a look back at the post for February 9. The vertical line up the middle of the picture is actually a scratch on the negative. Very irritating. Another issue with film. I’m reposting the image here with the scratch repaired and minor edits. Film helps make this image appealing because its response curve has a “shoulder” that prevents the windows from blowing out entirely, and “halation” (light diffusing through the film’s base) add a glow around the windows. On the other hand the scratch illustrates one of the key hazards with film. Overall I spent 20 minutes or so spotting the scanned negative in Photoshop.
On this day one year ago: Lexington Avenue at night. Not one of my more popular images – probably because the reflections (which was the appeal of the situation for me) are confusing.
NEW YORK, NEW YORK – My second day shooting film. I’ve put a Linhof 120 film magazine on my Arca TC body. It makes an 6 cm x 7 cm negative. The film magazine is heavy and quirky – the film advance leaver is two stroke and there’s no interlock to prevent double exposures, so I made a fair number of double exposures. Here’s one shooting straight up from the Park Avenue island: Another view of the Seagrams building.
NEW YORK NEW YORK – Here’s a surprise for you. One of the reasons that I’ve gotten behind in writing these – I’m actually writing this on February 18 – is that I’m experimenting with . . . . film. You read that correctly. The F*** word. My plan was to shoot film for three or four days. There’s a couple of days turn around on processing, and then whatever time it takes to edit and scan. Taken with my Alpa TC and a 36mm Alpa APO Switar lens. Shot on 120 size Ilford XP-2 film, a “chromogenic” black and white film that is processed with the normal C-41 color negative process.