I go over the shooting process for Greener Pastures and reflect on what I learned shooting it, technically and artistically. The first Feature I shot on my Pentax 6x7, and heavily using Fujifilm, specifically Pro 160NS and 400h, alongside Provia 100f. This project was based in Silverlake in Los Angeles.Read More
Most of the images from my recent trip home to Maine (Lewiston, Portland, and Cumberland) (and Boston) over the winter holidays. Cold. Misery. Photo shoots. Hanging out with a friend. All captured on the Minolta XD-11 and Pentax 6x7.Read More
Test Your Goddamn Film
Until early 2018,
I never took properly testing my film or developer too seriously. I picked a developer, cycled in between basically anything I could find and shoot, mostly just to shoot whatever I could find, and just stuck with whatever recipe the massive dev chart suggested, and hoped for the best. Honestly, it worked -- most of the time. That being said, over time, I’ve begun to desire more consistent results, to build a codified aesthetic, or voice if you will. I had a long period shooting Delta 100, in Kodak Xtol 1:1, but even then I’d go off and get distracted shooting Fomapan 100 for a week, or some bizarro expired neopan, without really digging into testing best practices for that core of Delta 100. While I may not have finally settled into a consistent aesthetic -- I’m still settling on my daily shooter/singular film stock -- I have learned or at least gained an appreciation for good testing and consistency. I think thorough testing is a necessity to the craft of black and white analogue photography, and to a lesser extent -- color photography.
Traditional Silver Black and White Negative film, and its developers, is the only film which requires extensive testing. There’s only one true “correct” developer for color negative still film, which is C-41 or whatever the company making it is calling it. Any color negative development, outside of that is cross-processing. Once you learn what an individual emulsion does, and how it reacts to light, and what it does when pushed or pulled or whatever other idiot processing decisions you want to subject it to it’s not going to deviate from that -- but even then, with rare exception, almost all C-41 film behaves the same way. As of writing this, there are over 100 different developers listed on the Massive Dev Chart. Given some (most) of them may not be in wide use. But even then, let’s say there are 10 “standard developers” (Rodinal, HC-110 or Ilfotec HC, D-76 or ID-11, DD-X, Xtol, Sprint, the Pyro Family, Ilfosol S, and Diafine), that’s still 9 more developers that are standard process than color film has. And each one of them has different dilutions which do different things, and act differently based on the relative temperature one develops at.
For my primary case study, I’d like to use Rodinal, because it’s such a universal developer. Let’s go over some standard assumptions -- Rodinal has three standard dilutions, 1:25, 1:50 -- the “standard” , 1:100 -- which sometimes is performed as a semi-stand development, and sometimes as a full stand for at least one hour. Rodinal does *not* play nicely at higher temperatures than the given 20ºC/68ºF, and tends to create heavy, heavy grain, as it is an Acutance developer, and most of its developing action comes from making grain larger rather than cutting away at the grain -- ie a solvent developer -- I’ll get to that soon. On top of that, because rodinal works at high dilutions, 1:50, 1:100, and those dilutions can take so much time, you can get compensation. Compensation is a bizarre phenomena which seems to allow one to get a more even rendition, along with sharper edges on their image subjects, but within certain limits, and only with certain developers. On top of that rodinal can be used to push, but because of the way the developer works, it’s typically not used as a push developer. Or at the very least, from my personal experience, one should not use additional time to push the film itself, to “gain” a stop, so much as they should use it to increase the negative thickness or the amount of contrast on the negatives. (NB: most of my info is pulled from Massive Dev, or Unblinking Eye -- they have a page specifically on Rodinal).
I don’t know if you’ve been keeping tally of all the variables and considerations in that last block of text, but that’s a lot of variables, with a lot of finicky and personal/preferential answers -- That’s three separate dilution choices, temperature volatility, speed volatility (ie how much grain the developer creates given the speed of the film, then also how much nominal speed the film loses in the developer), what kind of contrast you need, how much extra time you should be developing to compensate for a particularly dark or light scene. And those are just the developer variables, that’s not even taking into account how you rated the film you’re developing, or the water quality/mineral content of the water that you’re using for your dilutions.
That being said: most film, or at least any film made by a decently large manufacturer, or of “professional quality,” typically comes with its own datasheet, which should either be right on the film’s own box, or available from the manufacturer, online. Kodak is really great about this, as is Ilford, given the number of different films they manufacture. I even have a data sheet from the now defunct AGFA, for the batch of APX100 I shot (which actually confirms their loose recommendation of 17 minutes, in Rodinal 1:50.) These sheets typically give best practice for the film, and the best possible starting point. That being said, they’re not long on examples, just pure data on “how much contrast do you want vs. how thick your negative will be (gamma), and this is what the light response curve is.” Which is great, but not really a good substitute for figuring out what you actually need out of a film, which, unless you can perfectly read all those charts, and intuitively know what the film will look like, you still have to go and shoot film yourself to find out what the compensation is like, the amount of grain is in a given developer, or even how a developer will render the film given the scene. And this isn’t even taking into account all the variables that go along with developing, aside from time. All of this is a good starting point, but at the end of the day, you should still conduct your own tests.
Testing your film is important. Thorough testing allows one to get exactly the look, feel, and density one requires out of their film, without having to worry too much, or spend an excess amount of time correcting or photoshopping, once a desired benchmark is set. Once you sets your benchmark, you end up saving much more time in the long run despite the initial timesink of having to do all the research and testing in the first place. To make this personally relevant, this process of testing, in detail, is why I won’t review a film, unless I can shoot at least 20 rolls of it (if not more), because without that thoroughness, or exposure to multiple developers, conditions, etc, I feel it paints a relatively incomplete picture of what a given film is capable of. Admittedly, I was inspired to do or start testing thoroughly or sticking with a single film (per usage) at a time by Johnny Patience’s Article on the death of the zone system, which is also definitely worth a read.
Anyway, to sum all of this up: If you want the best most consistent results, test your goddamn film.
If you’ve enjoyed this content, buy a zine in the shop, so I can continue to produce it, and host it here on the website. -- Thanks!
A loose guide to expired film, and some unusual experiments to do with it.Read More
A thorough review and overview of one of the last batch of Agfapan APX100 in 35mm. Tested primarily with the Minolta XD-11, and Rokkor MC-PG 50mm 1.4 lens, and to a lesser extent the Minoltina AL-s. Primary Developers used were Kodak Xtol, and Rodinal.Read More
First Major Drive, then revisited six months later.
35mm and 120 for the first outing of the year here on the blog.
Provia 100f, Fuji Pro 160NS, Ilford Delta 100, Kodak Gold 200, Kodak Ultramax 400, and Kodak Portra.Read More
The 35mm shots from my first big trip with someone else to Big Sur/California’s Central coast.
35mm Film, Minolta XD 11, mostly 24mm MD f 2.8.Read More
I’m gonna switch topics from film to cameras and lenses here for the next couple weeks while I wrap up my 2 100ft rolls of Agfapan APX 100. (I’m at #17/36 as of posting this)
I have pretty much all the gear I could want or reasonably need. I have a full shooting set of lenses (and a few extras) in Minolta SR (the actual name of the mount, not MC/MD -- so help me god if I hear one more person call it that...), and in Pentax 6x7 for medium format.
Over the last five years I’ve shot a Minolta XD-series (XD, 11, and 7) camera with near slavish devotion. I’ll test out a new camera now and again --mainly an SRT 102 (seriously underrated), and the Minoltina Al-s (also critically underrated).
I may switch to a compact rangefinder (say a CLE with Rokkor 40/2) now that I tote a Pentax 6x7 around for most of my “serious” work, and use 35mm as a bts/quick journal camera, but I’ll never get rid of my workhorse(s). Also if I end up doing more portraiture or editorial work, and it wasn’t on Medium Format, I’d happily shoot it on my XD.
Let me put a few things out there right now:
I love these cameras so much, when I had all four break on me, I nearly got their serial numbers tattooed onto my ribs (I didn’t -- a friend pointed out that that was kinda Holocaust-ey, and maybe I should avoid that -- thanks Jake.)
I’ve always been a “Minolta guy,” my first camera, at age 15 was an XG-M, the repair guys at my local repair shop Walter’s Camera Repair -- http://www.walterscamerarepairs.com/ -- Call me “the minolta guy.” (not a paid endorsement, seriously, if you’re in LA and need honest repairs done at a fair price and pretty quickly, they can probably help you out.)
Either by gross overfamiliarity or closemindedness, I really don’t like most of the other 35mm camera brands’ SLR’s from the pre-autofocus era. I hate the Canon AE-1, I think it’s a bad camera with a backwards meter, honestly Canon SLR’s on the whole before AF are just straight garbage. Most of the Nikons are nice but badly designed, clunky, or flat out backwards -- good lenses though. I guess Pentax is okay (for 35mm -- Medium Format is a whole different story). I don’t know shit about Olympus -- people who shoot them seem to really like them.
I think most reviews of this camera kinda miss the point of it. Or at least haven’t run give or take 400 rolls through the the thing. It’s always “Leica this, Minolta that.”
My complaints on reliability are a little bullshit. I probably ran +/- 75 rolls through the damn thing this year. I don’t think most people run that much through their cameras or tend to flat out abuse or over-carry their equipment the way I tend to. I’ll probably keep stricter track next year.
After nearly a page of disclosures and complaints here we go:
Here’s why I love this camera:
It feels really nice in the hand. -- It’s a relatively compact design, but all metal, and it’s weighted really evenly with the 50 1.4 MC, which is the lens I use most as of writing this. I realize this is probably a dumb thing to vaunt as it’s best feature, but it makes it much more enjoyable to use regularly.
It has a quasi-mechanical vertical shutter. While it lacks a really fast sync speed -- like a Contax g2 or a leaf shutter camera -- it can do 1/100th of a second, mechanically. I can shoot any lens I regularly use with it, safely, and mechanically if I have a battery failure. Also 1/100th of a second is fast enough for *most* uses. I know HSS is a hot commodity, but 1/100th is usably fast for me. Also, for an SLR, assuming you get a good copy of the camera, it’s really quiet.
It has three modes in order of usefulness, Manual, Aperture Priority, and Shutter Priority. It’s not easy to accidentally switch between the modes, and they’re all pretty reliable --- the camera actually has a hidden program mode which double-checks your exposure and fixes it -- steplessly.
The meter is good down to EV 1 -- Which basically has you covered in most situations you’ll ever run into, unless you’re a hardcore night photographer, or shoot mostly backlit.
Kind of a no-brainer, which is why it’s #5 on my list, but Rokkor lenses.
It’s a hard camera to fix. My normal shop can do a bunch of fixes on it, but they can’t fix everything -- apparently the circuit board is kinda janky, or not an easy one to fix because of how early-primitive it is in its technology.
It’s not nearly as reliable as a standard mechanical camera. I put way too many rolls through my camera, but I still probably have to send it out once a year for maintenance.
People have started to get in on the camera, and the price of them keeps climbing. Also the number of Black Minolta XD’s keeps shrinking. And if you’ve seen the black finish, you know how great it is. The silver is fine, but the black finish is just better.
What’ve I learned shooting it?
I’ve had one (of four) basically since I showed up in Los Angeles five years ago.
Basically, with the XD-11, I’ve used it to shoot everything: friends, the city, my drive across America, my first fashion editorial --- which I’m pretty sure never got released --- and every project I’ve done in 35mm. If you look at my instagram or any 35mm feature or story on here, it was most likely shot on the XD11.
It also showed me what I like and dislike in a camera, and it’s now what I bench my expectations around.
Anyway -- Thanks for reading! If you’ve enjoyed this -- please consider buying a zine in the shop. It helps me keep the lights on here.
Overview of a year with Ilford Delta 100 Film, in 35mm. Shot on the Minolta XD11.Read More
Written overview of “Sundown at Apocalypse Gulch”Read More