I'm a sucker for short-form documentaries and analog photography, so when I came across Filmmaker David Drill's "Master of Camera," I had to watch. It's a very well-done story of camera repairman, Gian Luigi Carminati, who's been repairing cameras for almost sixty years.
It's winter in the Northern hemisphere. Though it's only been winter for about week – at least if you go by the Old Farmer's Almanac, which I'm certain we all still read religiously – it's been cold for a while. For film photographers, summer is a happy season with enough light, with gorgeous colors, and little worry about malfunctioning equipment. If you're not hanging out in the wettest of jungles or the hottest of deserts, anyway. The cold is less kind to our equipment and our medium. Cameras are susceptible to malfunction, film becomes brittle.
Tim Heubeck, over at the Waste of Film channel on Youtube, has made a great video detailing the Film Toaster, a platform for using your DSLR to scan film. DSLR scanning has rapidly become a preferred way to capture negatives with a potentially higher quality than a traditional flatbed. The Film Toaster brings attempts to make this process easier, but with a $1699 price tag that may turn off potential investors.
Ansel Adams once said “you don’t take a photograph, you make it.” I have always thought that what he meant by this quote was the process involved in reaching the final image. It has never been about clicking a picture simply, but it involves the creativity the photographer pours into his image. And creativity and sensibility also are what transpire in the beautiful conceptual project of Finnish photograper Christoffer Relander, titled “Jarred & Displaced.”
Post-processing at the computer for hours on end often leaves me feeling nostalgic. Maybe there’s something tangible to film photography that I’m overlooking. After seeing a fellow landscape photographer working his 4x5 near a tree in the local dunes, his approach to our hobby had me contemplating my choice of hardware. There are so many analog-inspired pictures circling the web, that it’s obvious that I’m not the only one. Today, I want to share my thoughts on film photography with you.
I don't care what you say; film is cool. It's a great way to become a more technically apt photographer, it makes you carefully think through your creative impulses, it gives a unique look, and it's just fun to shoot. That's why I own film cameras that I regularly shoot with alongside my digital setup. And it's also why I'm so excited for Film Objektiv, a rental house for anyone looking to get into shooting film or for pros looking to augment their current setup.
If you've ever picked up an issue of Climbing or Outside Magazine, you are pretty much guaranteed to have seen Corey Rich's images on the cover. One of the biggest names in adventure photography, Corey has worked for everyone; from Nike and Adidas, to Apple and North Face. As a still photographer and director, his production company handles outdoor film projects in some of the most remote environments on the planet.
One of the best things about shooting film is that there are so many cameras to choose from! Of course, your wallet may disagree with me. The number of formats, combined with the different brands, form factors, lenses, and options make shooting with film almost impossible to get bored with. If you're at all familiar with my articles on Fstoppers, you know that I tend to focus on film and bringing it to a new audience. To that end, I've created a new video series profiling various film gear, some of it well known, some not so much! In my quest to learn about and use different systems, I hope you'll learn along with me. First up, a medium format rangefinder style camera from Fujifilm: the GF670.
Kirk Mastin and Mastin Labs are the creators of some of the better known (and more highly regarded) sets of develop presets for digital images to emulate the look of film. Kirk has been working on a mobile app to achieve similar results on the go for a while now, and that app has finally been released. Meet Filmborn.
Camera resolutions are soaring in recent years, with Canon unleashing a 50-megapixel DSLR and Phase One showing off the new XF 100MP back. The unending argument of why manufacturers bother with such resolution swirls around one thing: printing. Photographers argue that a higher resolution camera will produce a better print with more detail. Technically, that is absolutely true, but most photographers aren't printing much these days.
This one hurts. I don't think I've ever written a review for a product that I wanted to like more than this one. From its beginnings as a Kickstarter back in 2014, large format film photographers have been drooling about this camera. Finally, a low cost camera that, at about $300, would make 4x5 photography accessible to the masses. But, long story short, The Intrepid Camera just doesn't live up to its promise. Read on to find out why.
It happens almost every time I scan some film. I look at my developed film on the computer and think, "That's a pretty cool shot. I wonder what my settings were?" Shooting film is amazing, but sometimes it becomes a pain in the rump to remember what you were doing when you shot a specific photograph, since there are no digital markers to log your work for you. Enter: Photomemo. It's a small, lightweight logbook that's specifically tailored to be a film shooter's friend.
Sean Lotman photographs the people of Japan's streets and beaches. One of the main reasons he shoots film is because he shares a darkroom with his wife, Ariko Inaoka. For him the advantages of physically printing the images has it's advantages, he can lay them out on the floor, rearrange them and figure out what the project is about and where to take it. You can do the same with the digital photography workflow too, but I must say, it's something I have never done.