From the recent film shooters meet-up in Toronto. Trying to remember why he closed his eyes at that moment.
Nikon N90s, Heliar 44/2 58mm/f2 lens
Ilford FP4+ developed as positive by DR5
Category: Alternative Processing
Getting the Expression
Every now and then a candid portrait clicks. 🙂 Taken at a recent meet-up of Toronto film shooters.
Nikon N90s, Helios 44/2 58mm/2 lens, adapted for Nikon
Ilford FP4 film, developed as positive by DR5
Two More From the Cemetery
Some more images from last Sunday at the cemetery. These are from a roll of what I thought was Rollei Retro 400s, but it turns out it was 80s, so I was two stops under-exposed. I decided to do a two hour stand-develop in Rodinal as a push, and a lot of the roll turned out to be quite usable :-). All taken with my Mamiya RZ67, and 65mm/3.8 lens with 25A red filter
Timeless
Yesterday I got together with my friends Maria and Coner for a shoot using my 4×5 Speed Graphic and my 1860’s Brass Petzval lens. The result below (shot on Ilford FP4+ film) just might be my favourite couples portrait I’ve ever shot :-). Love and film photography: both are timeless.
Another Album Cover!
Today, “In the Beginning” by George “Saint Vybz” Chapman was released. I did the photography for this recording last year, and the cover image was taken using Fuji FP-3000b instant black and white film (recently discontinued by Fuji, boo!) with my Mamiya Universal Press Camera. I used the negative scanning technique for a nice gritty look. 🙂 It was a lot of fun working with George, and my good friend “Stevie Z” at Badly Bent Records for this project! People who read my blog on a regular basis and/or check out my Flickr stream might be able to figure out the location 🙂
Red Scale
Today;s image was shot recently using the redscale technique. For this technique, you use regular C-41 colour negative film, but wound backwards in the film cassette, so you are shooting through the back of the film. The light hits the red emulsion layer first, resulting in the deep red and orange tones in the resulting images. I love the effect; it makes me feel like I am on Ray Bradbury’s version of Mars.
(Pentax K1000, 28mm/2.8 Pentax lens, C-41 ISO 400 no-name expired colour film, wound backwards)
Faded
One final image from the shoot with Arnika last weekend, and again this is one of the reclaimed negatives from a Fuji FP-100C instant print.
Scanning these negatives is a challenge — they don’t have the orange background mask that conventional C-41 negatives do, and film scanners invariably get confused. It took a couple of tries, but I ended up with this tonality tha I really like, faded in a retro kind of way that reminds me a bit of the Autochrome process from a century ago.
Out of Control
Another from my Guild Wood shoot with Arnika this past Sunday. This time, I used the negative from a Fuji FP-100C instant colour print. the black backing is removed with bleach, and the developer “goop” from the emulsion side is gently cleaned off with lukewarm water. I like the colours this process gives me: retro, but with a raw intensity, not even pretending to be accurate.
Dangerous and Domestic
Last Sunday I had a great time on a shoot with Mallory: the concept was combining the dangerous/sexy look of the motorcycle with symbols of domesticity: in this image Mallory is holding an old-fashioned egg-beater, one of my favourites from my prop collection.
Mallory is a great actress, and was easily able to create a character that made the concept come alive!
True Colours
This is my second hand-tinted print where the colours are somewhat surrealistic. It is model Keira, taken in Kensington Market, where the colours are already a bit surrealistic, to my eye.
My Third Eye 