Natural Light

Color Film With Morning Light

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Waking up incredibly early in the morning for the sake of a photo session always has its rewards. This is especially true when the plan is to rely completely on natural light. I was itching to work with some color film after a long stint of exposing only black and white film and I wanted to capture that subtle warm light that starts peaking up over the horizon at around six o’clock in the morning.

Photographed with a Hasselblad 500c/m and Kodak Portra 400 medium format film.

I scheduled a session with Devi while she was traveling through Portland and made it a point to find a space with east facing windows. We armed ourselves with coffee to go, my Hasselblad, and about five rolls of Kodak Portra 400. It wasn’t the first time we had worked together so getting into the groove of a photo session only took a few minutes and about two frames of film to break the ice a bit. Devi has always been one of those models that gets into “photo mode” very quickly, something I really appreciate when we work together.

Photographed with a Hasselblad 500c/m and Kodak Portra 400 medium format film.

Even though I was working with ISO 400 speed film, the light was subdued enough to make hand holding difficult. I had a tripod with me, but the space was quite small and generally speaking I’m not a big fan of of using a tripod. So instead I decided to risk it and photographed the scene at about 1/30th of a second and wide open at f/2.8. My hands are still steady enough that I can get away with handholding the Hasselblad at relatively slow shutter speeds. There are a few frames from this session that are a bit too fuzzy to get away with calling “artistic” but for the most part the gamble paid off just fine.

Photographed with a Hasselblad 500c/m and Kodak Portra 400 medium format film.

I’ve been really craving the experience of working with color film lately and posting these images just makes that desire even stronger. Working with Kodak Portra 400 was the right choice for these images (it was low light after all), Portra has never been my favorite color film stock. I much prefer the bold saturated look of Kodak Ektar and I’ve had some great experiences using the new Kodak Gold 200 in medium format. I’ve also seen rumors that Ilford/Harman is going to be releasing their Phoenix 200 stock in medium format soon. I hope so….

Photography Really Is Painting With Light

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One of the first things any photography student learns is that the word Photography literally means 'drawing with light', which derives from the Greek photo, meaning light and graph, meaning to draw. I think it is important sometimes as an artist to remember that. We can often get caught up with the technical details of the craft, thinking about megapixels and camera specs, but really the most important part of an image is what is in front of us in the scene, not the tool we hold in our hand. It’s all about the characteristics of the light.

Photographed with a Mamiya C330 TLR and Ilford HP5 120 film.

The light was really something special when this series of photographs was made. In fact, I had no plans to even make photographs on this particular day. The model and I were planning on going outdoors the following day and she was using my spare bedroom as a landing pad while passing through town. When we both noticed this incredibly intense, yet somehow soft and ethereal light coming through my living room windows during the final minutes before the sun dipped below the mountains west of Portland, we both jumped to attention and decided to harness it on film.

Photographed with a Mamiya C330 TLR and Ilford HP5 120 film.

The scene looked more like a mermaid swimming through the ocean than it did playing with the light of a westward facing window. A golden transparent ocean full of warmth and dancing waves. I exposed twelve frames in a matter of about ten minutes without thinking too hard about it. There wasn’t time. The light was changing too rapidly to worry about complicated exposure measurements. I exposed a roll of Ilford HP5 at box speed (ISO 400) and just crossed my fingers that the contrast wouldn’t be so high as to wash out all the lovely details.

Photographed with a Mamiya C330 TLR and Ilford HP5 120 film.

Sometimes these are my favorite kind of photo sessions. The ones that you don’t plan at all. They just happen at a moments notice like a firecracker and before you even have time to think about it they’re over. Little miracles that result in a short series like this feel like pure instinct and there is something great about that.

One Light In Time

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I’ve never been a photographer that gets incredibly fancy with my lighting setups. Sure, when I was in college taking advanced level photography classes I learned a few complicated lighting setups. I’m familiar with strobes, and light boxes, and beauty dishes, and barn doors, etc. etc. But for some reason the more complicated my lighting setup becomes, the more inauthentic the final photograph begins to feel.

I suppose my philosophy would be different if I were a commercial photographer, but I’m not. Photography has always been a practice that I do for myself and only myself.

Photographed with a Hasselblad 500c/m and Kodak Tmax 400 speed medium format film.

All of that being said, I’m really proud of myself for the fact that I managed to keep a lot of details in the shadows of this image, despite the fact that there was only one single light source directly at the model’s back coming in from the window. I honestly didn’t expect this image to turn out great at all but through a combination of careful metering and some handy stand development with Rodinal the exact opposite happened.

It was tempting to pull out some artificial lighting and give some illumination either facing the back wall or facing directly toward the model. I’m really glad I followed my instincts and just relied on the natural light available to me.

Extreme Light In The Studio

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It’s been an incredibly hot and bright summer here in the Pacific Northwest. To spare myself, and the people I work with, the pain of dealing with extreme heat I’ve been booking work in local studios instead. This has been rather fun for me as I don’t work indoors all that often and exploring the slow pace and creative freedom of being indoors has been nice.

Photographed with a Sony A7c and Zeiss 55mm f/1.8 lens.

For this particular session I booked the studio at 8am thinking I should get some nice soft morning light to work with. I was quite wrong!! Despite the early morning hour the light was harsh, bright, hot, and incredibly intense coming in through the studio windows. So really I had no choice but to try and embrace it and use it to my creative advantage.

Photographed with a Sony A7c and a Zeiss 55mm f/1.8 lens.

I exposed a few rolls of film for this scene, but to cover my bases I also figured I would expose some frames with the digital camera. I haven’t developed the rolls of film yet but I do think these digital “test shots” came out pretty cool.

Photographed with a Sony A7c and Zeiss 5mm f/1.8 lens.

There are times when I’m really impressed with the dynamic range digital cameras are capable of these days. Naturally I photographed these images in RAW format and brought up the shadow details just slightly in PhotoShop. They didn’t take much editing though which is good. Sitting on my laptop with PhotoShop opened up for hours on end is never going to be my thing.

Film Review: Film Ferrania P30 In 35mm

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After what seems like an eternity of paused availability (no doubt due to COVID) I recently received the welcome news that Film Ferrania is once again ramping up their production of P30 film stock in 35mm format. I became aware of Film Ferrania a number of years back when a sales rep at my local camera shop recommended it and I liked the film immediately, though I wasn’t totally happy with the images I made with it. That was of no fault to the film but more my skills as a photographer. By the time I got around to picking up some more stock became low and I was forced to go back to my standby films like Ilford and Rollei.

Photographed with a Minolta SRT-101 and Film Ferrania P30 35mm film.

P30 has a box speed of ISO 80. Since these are the first rolls of P30 I’ve worked with in a long time I decided I better not get fancy and just metered everything at ISO 80 with a hand held meter. Often it is best to see what a film stock is capable of at the manufacturer’s recommendation even if your lighting situation is a bit on the tricky side. I would have preferred to put my test rolls through the paces on a more overcast day with even lighting, but alas, summer decided to come out in full force this past week. As such, there was a huge range in light values coming through the studio windows, sometimes as much as four or five stops between light and shadow.

Made in Italy, Film Ferrania markets their film stock as being similar in look to the stock used by Italian film makers such as Roberto Fellini. If you’ve ever seen classics like 8 1/2 or La Dolca Vita you’ll know the look they are talking about. Normally I would consider lines like this from a film manufacturer to be a bit of a gimmick (I’m looking at you Lomography!!) but with Film Ferrania I can see where they are coming from. P30 has a punchy and contrasty look to it but manages to easily keep detail in both the highlights and the shadows. It also has very minimal and very soft grain, especially considering the fact that I developed these images in Rodinal, a developer known to produce sharp and pronounced grain structure.

Photographed with a Minolta SRT-101 and Film Ferrania P30 35mm film.

Speaking of Rodinal, P30 seems to be a perfect candidate for stand development. For the images on this post I metered areas where dark shadow and bright light came together and developed at 1:100 for exactly 60 minutes. Agitation was for fifteen seconds at the beginning and five more agitations at 30 minutes. Normally with stand development I get a lot of highlight effects where dark areas of the final image transition to more neutral gray. Sometimes I like this effect and sometimes I don’t. With P30 I don’t seem to get any of that, which isn’t necessarily good or bad, but is an interesting characteristic of the film. Every single frame on two rolls of film came out well exposed with plenty of gradation from white to black.

Photographed with a Minolta SRT-101 and Film Ferrania P30 35mm film.

Right now Ferrania P30 is only available in 35mm. That’s all well and good and the world needs as many 35mm film stocks as we can get. However, I can’t help but feel excited at the prospect of P30 perhaps being available one day in medium format (120) or heck, even larger formats like 4x5. I also think P30 would look great in a smaller format like 16mm or even 8mm but I know the market for smaller formats like that are limited and a release is unlikely.

Now with all that being said, if you are going to work with a film stock that is slower than ISO 100 I suppose 35mm is the one you want. Why you might ask? Well, the answer is pretty simple. 35mm cameras tend to have faster lenses which means you can open up the aperture and let in more light, keeping your shutter speeds up, and negating the use of a tripod. The 50mm lens on my Minolta SRT-101 opens up to f/1.4 and I did the majority of the images in this review from f/2 to about f/5.6. I’m always thankful when I can avoid a tripod and at ISO 80 that wouldn’t necessarily be the case with slower medium format lenses.

Photographed with a Minolta SRT-101 and Film Ferrania P30 35mm film.

You can read more about Film Ferrania on their website HERE including where to purchase over the coming months. I imagine it will still take some time before they are in full swing, but if you get a chance to pick up some P30 I definitely recommend it.