Keep Film Alive

you ready to UP your game?

2011-08-08T17:38:00.001-07:00

Photographers, it's not too late to sign up!!! The T&T Dynamite Duo have two AWESOME workshops lined up for next week and there are still a few spots open each day!!! Join us for a little (ok, maybe a LOT) of "dork energy" and a TON of amazing ideas, information and inspiration that will help you UP your game!!!! woo-hoo!!! Register for both workshops and save $100!!!

"LIGHTWALK"

A VERY COOL 3/4 day workshop.

Learn to see the LIGHT! Bring your walking shoes and a smile. Tanja and Tia are going to share their expertise and passion for the use of raw, natural light! We are going to show you how to make the most out of any lighting situation WITHOUT the use of on or off camera flash. You will learn how and why we LOVE shooting at all times of the day, even HIGH NOON! We will help you develop your eye for scouring out the best possible light at any time of day. The sun is our friend!

Genesis 1:3 And God said, "Let there be LIGHT."

Because FLASH IS POOPIE!

Cost: Holy Cow, it's only $595
Past Attendees: $495*

Group Size: Up to 20 attendees

Tuesday August 16th, 2011

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"The Fine Line" - a boudoir workshop

A FULL DAY boudoir or as T&T like to call them "BOODIE-WAH" workshop!

The ART of beautiful BOUDOIR photography is not always easy! There is a "FINE LINE" between being sensual and sexy and being "overtly sexy" and sometimes "cheesy". Boudoir Photography is one of the more challenging genres. All too many times it goes "oh so wrong" in so many ways. Lighting, hair, makeup, ward-robing, posing, angles and post production are all so essential to beautiful boudoir photography. This workshop will focus on all of the above and more! "The Fine Line" boudoir workshop with T&T will force you to UP your game when it comes to creating beautiful, sensual, meaningful boudoir photographs.

Cost: $995 (includes lunch)
Past Attendees: $895*

Group Size: Up to 12 attendees
Thursday August 18th, 2011

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WE'VE BEEN [FRAMED]

2011-07-26T23:17:00.001-07:00

I've officially been [FRAMED]. What an honor it is for the [FRAMED] show to ask to feature me on their show. If you have not checked it out, the [FRAMED] show is an AMAZING resource for photographers to share and learn and be inspired!!! In this episode, Tia and I share our passion for shooting weddings on FILM!!!! What a huge blessing and honor to be featured and I wanted to say a BIG HUGE THANK YOU to Melissa Niu and the whole [FRAMED] crew, you guys were a blast to work with and every one of you so sweet and humble and brilliant!!!! LOVE LOVE LOVE. To View the whole [FRAMED] show post click {HERE}. This is also a great video clip to watch for brides who want to see some behind the scenes footage my team photographing a wedding. So much fun!!! Also a special thank you to {KODAK} and {RICHARD PHOTO LAB} for sponsoring me, what an amazing experience!

T&T DYNAMITE WORKSHOP DATES FOR AUGUST 2011!!!

2011-06-10T12:36:00.000-07:00

T&T have officially posted AUGUST workshop dates!! Yahoo!!!! For the this round, we have both {LIGHTWALK} the on Tues, AUGUST 16th 2011 and {THE FINE LINE} Boudior Workshop offered on the Thursday, AUGUST 18th, 2011.

{CHECK OUT WORKSHOPS HERE}

{REGISTER HERE}

Vegas...BABY...VEGAS...workshops...sign up now!

2011-02-15T17:36:00.000-08:00

Tia and I have been GIDDY all week preparing for our VEGAS...BABY...VEGAS workshops... can I just say, if you are going to be in VEGAS and you do not sign up for this round, you are really gonna miss out!!! T&T Dynamite are pulling out the big guns and throwing ourselves completely into PURE VEGAS MODE...these workshops are gonna be "OFF THE HOOK"...we still have seats available in for both days....trust us gals, you do NOT want to miss out on these....click on the images below for more info and to register!!!

LIGHTWALK will be held on Sunday February 20th, 2011 & ART OF DIRECTING will be held on Thursday February 24th, 2011 both in VEGAS BABY VEGAS!

for Art of Directing:

For Lightwalk:

HOPE TO SEE YOU THERE!!!!

My Ongoing Love Affair - TMZ by Robert Boyer

2011-02-13T18:13:00.000-08:00

My Ongoing Love Affair - TMZ
by Robert Boyer

I don’t know why, well I guess I really mean that I am not capable of explaining it in any rational way but I have loved Kodak TMAX 3200 since the day I tried it way way back in like the 1990’s. I have always found this particular film to be astoundingly beautiful. It seems to have a built in yellow filter, so skin is rendered well. It has grain the size of golf balls. Depending on the developer you use it is more like ISO 1000 in the shadows. It can be tricky to print shot at anything above ISO 1600. It is hideously expensive compared to other 35mm black and white film. It is one of the only black and white films that actually does expire - quickly. It’s list of flaws goes on and on and on but - I love it - I find that with the appropriate subjects it can be stunningly beautiful.

I am sure that you have seen it before but I thought I would share some photos using some of my more bizarre processing methods. I almost always use my Leica M cameras when I shoot TMZ and always with a 50, occasionally a 90. Usually wide open. If you haven’t tried or forgot about it - here are some experiments to take a look at. Nothing too too fancy just random stuff.

ISO 3200 in HC110 1+100

ISO 1600 PMK Pyro 1+2+100

ISO 3200 PMK Pyro 1+2+100

ISO 1600 HC110 1+50

ISO 1600 HC110 1+100

Yes you read that correctly KODAK TMAX 3200 processed in a pyro developer - I think that a few folks have recommended against this in the past - I am just one of those idiots that HAS to try things and make them work when others say you shouldn't. It's my stubborn, rebellious streak.

Isn't this awesome?

2011-01-17T03:26:00.000-08:00

Film for SALE!!!!!

2010-12-15T17:28:00.000-08:00

Hello Everyone!

My friend and fellow film shooter, Jose Villa, has a TON of film for sale (or trade). If any of you film lovers need some of these stocks, contact him here.

Hi Film Friends,

Im still shooting all these films, but I just have wayyyy too much of it..all are not expired until 2012.

Fuji 800z 35mm (450 rolls) - B&H price $5.60 ea. its yours for $4.50 a roll
Fuji 160s 220 - (100 rolls) - B&H price $7.95 ea. its yours for $6 a roll
Fuji 160 s 35mm - (200 rolls) - B&H price $4.99 its yours for $3.50 a roll
Fuji Reala 100 iso 120 - (400 rolls) B&H price $4.59 it's yours for $3.50 a roll
 
Im also willing to trade if you have any of that Fuji 400 H 220 stuff.. thats my fav.

Let me know if you might be interested.

xoxox
 
Jose Villa

T&T Dynamite Workshops in JULY!!!!

2010-06-12T20:16:00.000-07:00

We had such an AMAZING turn out at both our LIGHTWALK and "ART OF DIRECTING" workshops and so many people emailed requesting new dates, SOOOOOO we decided to offer BOTH these workshops again in JULY for anyone who missed them!!! yahooey!!!!! DO NOT WAIT TO SIGN UP...last time, these workshops both sold out in LESS than 48 hours. CLICK ON IMAGES BELOW TO VIEW DATES AND MORE INFO:

FOR T&T LIGHTWALK WORKSHOP CLICK IMAGE LEFT.

FOR T&T "Art of Directing" Workshop CLICK BELOW:

The "Art of Directing" Workshop with T&T Dynamite!

2010-04-27T13:44:00.000-07:00

Join T&T Dynamite (Tanja Lippert & Tia Reagan) in a
FULL DAY AMAZING WORKSHOP!!!!!

Sign up NOW, there are only 12 spots per day!!! Two days ONLY!

click HERE OR, on image below for more information or to register

IN PRAISE OF JUNKY OLD LENSES

2010-04-04T18:19:00.000-07:00

IN PRAISE OF JUNKY OLD LENSES

article by Robert Boyer

One of the things I like about working with ﬁlm is that I can work with junky old cameras that will work with just about any lens you can jamb on the front. Just as good if not better - you can jamb any ﬁlm in the back as well. In fact you can jamb glass and japanned tin plates coated with homemade emulsion on the back to, but that is another article. The lens that I used for this sheet of ﬁlm was one of the oldest and junkiest that I own although I am always on the lookout. I don’t collect collector grade lenses - I buy them ratty - not pristine examples of the “genre”.

This one happens to be a Wollensak Velostigmat Triple Convertible from the 1920’s. Even if it was in pristine condition it has no coatings, strange and unique optical aberrations - the kind that computers design away today - and wonderful out of focus renditions. On top of that this one has a chip out of the front element and some of the interior elements are starting to separate to. I use it and other junky old lenses for the same reason I use ﬁlm. A unique rendering. Of course I can make “perfect” images on ﬁlm as well - I just use an appropriate ﬁlm and one of my “new” Rodenstock’s or Schneider’s on the front of the very same camera.

The image included is actually a crop of the full frame. Why? Because I print this stuff big I don’t shoot it so you can look at tiny samples on the web. Even though you cannot get a real sense of what the print looks like looking at a crappy scan on a backlit display that can only show 256 levels of grey on a good day here is what a section of the 4 FOOT TALL print looks like. I used the grainiest ﬁlm that I shoot as well for this image. Grainier than Kodak TRI-X. The ﬁlm was Efke PL100, an emulsion designed in the 1950’s and that was considered a “fast” ﬁlm back then. The TRI- X of the 50’s was probably grainier than this but it hasn’t been in decades processed normally in a normal developer. Don’t get me wrong - I love Kodak TRI-X and shoot both the 400 and the 320 varieties more than any other ﬁlm but if I want a bit of grain in a large format print I usually go for PL100 in a “grainy” developer.

Just some food for thought for all of you that might be lusting after that new wonderfully “perfect” lens.

TANJA LIPPERT- "LIGHT WALK WORKSHOP" - Sign up NOW!

2010-02-09T11:00:00.000-08:00

LIGHT WALK WORKSHOP
by FIlm Shooter, Tanja Lippert

This is one of my favorite POSTS! Scroll down and read and ENJOY!

Genesis 1:3 And God said, "Let there be LIGHT."

When? Tues March 16th, 2010 - 9AM to 2PM (this date is officially full)

Let us know if you are interested, we may open up Thursday March 18th as another day.

Where? Los Gatos, CA (secret workshop location, TBA)

Who? Hosted by Tanja Lippert & Tia Reagan (T&T Dynamite)

What? A VERY cool half- day workshop called "Lightwalk"

Why? Cause Flash is POOPIE!

How Much? $250 (includes lunch)

Holy Cow, How do I sign up? click HERE now!

As I was looking over images for this post, I came across some FASHION images from the past. I made this collage of random fashion images that Tia and I worked together to create. All of the images below were created in my first few years as a photographer, the newest ones being at least 5 years old. What I LOVE about them, is that they are still timeless to me and beautiful! Each one of these shoots brings back memories of AMAZING days spent with Tia and these amazing kids (well, mostly kids)....the adventures....the laughter.....the stories....the tears.....the fence hopping.....oh the joys and smiles of all these kamikaze style shoots! I wanted to share these images because, like MOST my favorite images, they were all created using NATURAL LIGHT. This was also in the years before I started shooting Medium Format, so all these images were created on 35mm Nikon F100 cameras (yes, of coarse FILM), most with old school, manual focus lenses. The other thing I really find interesting is that I shot these back in the days before I really knew what the heck I was doing in Photoshop. Most of these images were fairly raw, right out of the camera because back then, that's just how we rolled!

FASHION ARCHIVES ALL IMAGES CREATED BY TANJA LIPPERT & TIA REAGAN

Here's a little teaser video with T&T Dynamite Gals in Action!

Dorkiness = Sexiness. Really. from andrew msv on Vimeo.

Victor Ben Tzvi, Photographic Artist

2010-02-06T14:12:00.000-08:00

VICTOR BEN TZVI

article by:Robert Boyer

I have been drawn to documentary and journalistic photography since I was a kid. My very very ﬁrst camera was a crappy copy of a Leica rangeﬁnder. My second was a Nikon F2. I am not talking about the run of the mill journalistic photography that graces the pages of your local news paper. I am talking about documentary and journalistic photography that transcends the snapshot and ventures into art. In my humble opinion this is one of the purest forms of photographic art. Timing, contrast, light, reality, everything that a photograph is that a painting is not.

Earlier this week I had the opportunity to spend some time having a conversation with Israeli art photographer Victor Ben Tzvi. He has a couple of extremely interesting and beautiful projects published online that you can see on his web site. The web site is just the beginning. Victor is all about the print. He shoots traditional black and white ﬁlm. Develops it himself and then prints it on ﬁber based black and white paper for exhibition as well as smaller portfolio prints. The current projects that he has been working on have been shown worldwide and have received so much attention that he is photographing full time now on his projects and has a new project planned starting soon.

Victor has very effectively chosen a simple consistent approach for his projects so far sticking to one camera, one lens, and only a couple of ﬁlms for a consistent and cohesive look to bind the images in each project together not only from a subject matter point of view. but also from a visual and more subtle almost subconscious way as well. When we discussed his approach and his intent he said that his goal was to make images that were real. Real in the sense that the people, places, settings and scenes were “real” but they rose above just that person, or that scene and represented more of an archetype. Sort of art without the artiﬁce. In his words Victor says “I’m looking for the lines between authentic/real almost documentary, into the idealistic, narratives, almost allegoric... that is really the unique place for pure photographic expression, the realism of capture (and the motives that we want in terms of artistic merit.”

Of course as photographers we discussed equipment and materials that he had selected for his projects. For a camera he choose a Rolleiﬂex twin lens reﬂex. because in his words it was his favorite camera. For materials he consistently uses Fuji Neopan 400, Agfa APX100 but he also likes Fuji Acros 100 and Efke 50 as well. For ﬁlm development Victor uses Rodinal and D76. He choose these materials and this camera because they are simple, produce beautiful results, and they let him concentrate on the important part of photography - his subjects.

Victor is passionate about the ﬁnal product - his prints. The prints are produced by hand on Foma Variant 111 paper. He feels that black and white is a medium in and unto itself. A medium that is best represented by traditional ﬁlms, processes, and papers. The results speak for themselves. I think that he has perfectly achieved his goals for his projects so far and cannot wait to see his next project. Check them out for yourself at his site - http://web.mac.com/victorbt. Better yet if possible go see the exhibitions. He also has a book in the works that he will be concentrating on as soon as the projects are ﬁnished this year.

Victor’s work has received numerous international awards as well as being exhibited and published such as prix de la photographie paris, burn magazine, burn.gallery. and show NYC His work is supported and sponsored by the Lottery Council for the Arts and Culture, and the JewishNationalFund.

Sarah Moon Inspires

2010-01-28T23:49:00.000-08:00

My friend Richard Isreal sent me a link to this video. I swear here and there- I thought, how does she know me that well? Definately worth a few minutes of your time.

Introducing Keep Film Alive Writer, Robert Boyer

2010-01-17T13:38:00.000-08:00

This blog is getting so much appreciation amongst film photographers and those photographers interested in film photography! I certainly want to see it grow into a place where photographers will want to come and visit again and again. Being the fact that I am definately not a writer AND that my life is already crazy enough with TWO full time businesses and two growing kids at home, I really needed to find some help in creating YUMMY FILMY information to post here on the blog. A big THANK YOU! to Robert Boyer, who piped up and volunteered his time to help KEEP FILM ALIVE by offering to interview, provide content and interesting FILMY articles for our readers! THANK YOU ROBERT!!! Robert is a black and white film photographer of all formats (large format, medium format and 35mm). He specializes in portraiture of women and children and delivers handcrafted silver, platinum and alternative process prints Semi-retired. Robert is an Ex Physicist, Ex Fortune 5 Bank Executive and Ex Commercial Photographer (both film and digital).

He occasionally holds workshops on lighting techniques for fashion, beauty, glamour and portraiture as well as digital asset management using Aperture and Lightroom. You can view some of his work and learn more about him on his blog (which is says is a little funky right now :0) Click HERE for his Blog.

Film Photographer Maestro Jose Villa

2010-01-17T12:45:00.000-08:00

PROFILE: JOSE VILLA

written by Robert Boyer

I have written this brief proﬁle and re-written it a couple of times. The problem I was having is that I was far too “gushy” over Jose’s images, his business practices, his philosophy, and his warmth and approachability. I planned on talking with Jose for maybe thirty minutes but I think we spoke for like two hours during which time he ran into former clients while we were talking. I could not tell the difference based on the background conversations and hugs between former clients and family. So let me get the gushing out of the way real quick and then focus on the “ﬁlmy-ness”.

If Jose decided to make his images with crayons on old newsprint I am certain they would be fantastic. I am also certain that he would have the same elite clientele lining up for him to shoot or even draw their weddings. Jose is not just one of the who’s who of ﬁne art wedding photographers but also the photographer that the other who’s who’s seek out to photograph their own weddings. His images speak for themselves but it is not just his vision, technique, and dedication. It is his warmth and sincere caring about his clients that has made him so successful. Okay - gushing over - not too bad I limited it to one paragraph.

So what does this caliber of wedding photographer choose for his medium? Someone that could literally shoot with any equipment and any material he chooses and probably get a sponsorship or ﬁve by doing so? He shoots ﬁlm. For the most part Jose chooses to shoot ﬁlm because it delivers exactly the color and aesthetic that he demands. This is a young guy, not some old curmudgeon like me - a guy that “grew up” with both ﬁlm and the digital “revolution”. One of the things that struck me during our conversation that I think we both continued to comeback to without ever really articulating it exactly was that shooting ﬁlm and getting the look and quality that Jose demands is not “harder”, it’s actually easier.

Let me explain that a little bit. Jose likes to use Fuji color negative stock as his main ﬁlm in medium format. He generally over-exposes it by a stop or so compared to “box speed” from what I gleaned in our conversation. This ensures that he gets fantastically detailed shadows without any need to worry too much about highlights. Color negative ﬁlm can go for miles and miles and miles in the highlights without ever “blowing” them. It also pops the color and contrast a little bit while delivering unmatched gradation. More importantly than all of that is allowing Jose to focus on the image - it’s the image dummy - not futzing with color temps or histograms.

Moving on to color - Jose has a very close relationship with the Pro lab that he uses and they know exactly how he likes his color. No need to do that yourself or even hire professionals to do it for you - your lab can do it for you. Jose would rather be shooting and using his staff for much more productive endeavors than futzing around with color on every shot. With ﬁlm this is easy once you have a great working relationship with your lab.

Want to know more about how Jose works, why he works that way, and probably get some priceless information you can’t get anywhere else? That is easy enough - just ask him. He shoots a ton of weddings every year. So many that I could not imagine that kind of workload for myself. Even so he somehow ﬁnds time to conduct a limited number of workshops where he shares his knowledge and talent with others. There is one catch - you have to sign up early - just about everyone wants to get at this guy for even a little bit of time. If you do this kind of work - no matter what your chosen medium I cannot imagine a better way to spend a day or two than with Jose. I will bet you will learn more and gain more inspiration for your images and your business than 100 workshops focused on the technology or the latest torture that you can exact on your digital images.

Here is a sampling of Jose's beautiful work. To view more of his work and learn more about his workshops, check out his sites below.

wesbite
blog
workshops

Digital VRS Analog by Brandon and Brian Wright

2010-01-06T03:10:00.000-08:00

When I saw the article of Digital vrs. Analog that Brandon and Brian Wright wrote, I knew it had to be blogged here on Keep Film Alive! I really enjoyed their article as I am sure you will too.

Now, for the moment we have all been waiting for... Drum roll please? This is the real deal! The match of the century! The grand pumbah of showdowns! This is digital vs. analog... Digital Sensors vs. Silver Halide or From Raw to Riches! So after talking about it for a long time and continually having no time, suffering from habitual laziness and a desire to spend as little time at a computer as possible, we have finally gotten around to doing a no holds barred comparison of film versus digital on as level a playing field as possible. So many people have naive misconceptions about film and digital and what they have to offer to photography. Almost every comparison online shows unfair samples of digital captures with full control in RAW, against inferior scans or prints from inferior film stocks. And any editorial publication has a vested interest to sell the product that is lining the pockets of the manufacturers financing their distribution, but we don't have time to get into the politics here. So we felt obliged to balance the scales, to show a controlled study focusing on the suppressed advantages of analog capture. But before we get started with our study, a little background if you please... I have myself been a die hard film fanatic ever since I started photography, despite the opposition from others, and up until about a year ago I wouldn't even think of picking up a digital camera. Despite what people were saying and showing us concerning the capabilities of digital, we knew what we were getting on film was superiorly suited to fulfill our needs. For over the past year now I have been shooting with a Nikon D300 at my church. It is the church's camera and if I had never started working there I would most likely had never taken the plunge into digital in the first place without more comprehensive technological developments. I'm just too thrilled and in love with film! Don't get me wrong here... I have been experienced in digital for the past few years. We use a hybrid work flow utilizing the benefits of both analog capture and digital finishing. Not unlike that which Hollywood uses for motion pictures. We know Photoshop and color management and we have experimented with excessive post-production on our work. Brian also worked with many local professionals at at lab between the transitional years of 2001-2006, and aided many of them down the slippery slope as they degraded their work to digital. Many pitfalls were avoided, but some casualties were unavoidable. But what it comes down to is, as you will see for yourselves, film has qualities that digital simply cannot touch. Since I started shooting with the D300 I have experimented way, way too much! I've tried so many different methods of RAW processing using a variety of different programs. I have reached out to the world of digital imaging for ways to get my digital photos to look like my film and have found some really impressive stuff. Recently a lot the digital world has given their attention to film emulator software and Photoshop actions that attempt to create the feel of film digitally. I find it curious how the same people who hold that digital is so much better than film are the ones buying all of these filters, analog emulators and pretend film borders. The fact is most of their work is better now for it! But why bother with all the fuss? Why not go with just what you're looking for? "Well, digital has such high resolution and the 24 megapixel..." Blah Blah blah. You will see that nearly anything digital claims to have over film is either illusory or trite or just plain made up! I will show you. Am I saying digital has no application in the professional world today? I am not that naive. I have found many applications for digital to excel; from product photography in the sterile studio to daily news photojournalism requiring immediate turnaround. Or even in portraiture; weather it's school photos or big budget editorial shoots with equipment lists pushing six figure price tags. Digital seems to have become the only option for these jobs (even though some photographers still shoot these jobs on film today). But film is the only true fine art giving absolute creative control and ability, and it is the only truly archival process. Film can be left in storage (e.g. archived) for 200 years and still be scanned with whatever the current technology is at the time. With digital you must keep updating the file format, degrading the image quality and risking file corruption. So without further adieu... Analog vs. Digital To start off, I will explain my process so that you can make sense of the images. As mentioned before I decided to use the Nikon D300 camera body. I also decided to pair it up with the 17-35mm f/2.8D ED-IF AF-S lens so that I could best match the focal length of the film camera I would be using. That setup would cost you roughly $3,400 new. Quite a lot of film! Our film camera here is the fabulous Fuji GS645s 6x4.5 Rangefinder Camera with it's fixed Fujinon W 60mm f/4 lens which is roughly equal in focal length to 28mm on the D300. This camera cost me a whopping $289 on eBay! But it does say professional on it so lets assume it's a worthy contender against the more expensive D300. For film I used one roll of Fuji Reala 120 ISO-100 print film. I am not using slide film because this is a study on the flexibility and simplicity of capture. And to be honest I think negative film has become the only way to shoot as far as quality and flexibility these days. Slides, like digital, must be used only in controlled lighting. Impossible for a wedding or travel photography. So... I matched the ISO and shutter speeds on the D300 to be correspond to the film captures for each exposure. Each scene I made 3 exposures; one correct, one -2 stops and the third overexposed +2. This was because when you are shooting moments, which is what the majority of photography is, it is often impossiable to recreate that moment because the lighting changed and you had to look at your histogram to know it. I shot all the photos at f/8 from a tripod to make sure they would all be sharp. Processing for the digital was as follows: 1. Capture Digitally 2. Remove memory card 3. Transfer RAW files onto my iMac's hard drive at home 4. Open images in Photoshop RAW 5. Adjust Exposure, Brightness, Temperature, Contrast and Saturation for optimal image quality preserving as much highlight detail as possible 6. Open into Photoshop 7. Adjust Levels to match film scans 8. Adjust Color Balance to match film 9. Save file to desired location 10. Repeat steps 4 through 9 for each image 11. Backup all raw and processed files to external hard drive These digital files haven't been processed extensively to look their absolute best but neither have the film files. Post-processing styles vary greatly from photographer to photographer. These were merely processed to somewhat match the film and to maintain as much dynamic range detail as possible. Same is true for the film scans. Density(film)/exposure(RAW) was adjusted for the over and underexposed shots to match the correct exposure. Processing for film is as follows: 1. Capture Analog 2. Remove film 3. Drop off at (or ship to) local photo lab 4. Pick up (or receive by mail) scans and processed film 5. Open files from CD in Photoshop And that's it! No further adjustments necessary! But you can go from there and do whatever your heart desires. :) My film is already backed up on negatives which are analog, low tech and archival to last 200 plus years! Now which process seems like the more efficient use of a professional's time? Hmmm... I know very few professionals who are comfortable farming out their post-processing work to someone else. A digital professional's "style" is usually shaped by their unique approach to post-processing. I.E. Trever Heone. The film scans were done on a Fuji Frontier scanner with no variable contrast setting, and no enhancements whatsoever. The only control was exactly what control you have when printing color in the darkroom: + or - density, R or C, G or M, B or Y color adjustments, and that's it. So are you all ready to see the results? Well you asked for it! Let's start with an easy one shall we? The back-lit landscape. FILM Exposure (Left to Right): 1/500s, 1/125s, 1/30s @ f/8 DIGITAL Here both film and digital didn't do too bad with the over and underexposed frames. But film clearly has more pleasing tonal value and color separation. It would take some work to get those colors in the digital. Digital looses nearly all gradient in the sky at +2 but Film just gets a bit creamier. Mmmm... I could use a good cappuccino right about now. ;) Now let's look closer! FILM...DIGITAL If you didn't notice the film shot was a bit wider than the digital shot. I slightly misjudged the angle of view for the Fuji. It worked out well though because the film scans were just under 17mp in size while the D300 shoots at only 12.3mp. Like that is what matters! :) So at 100% both images show the same scale of the image. You'd think this would play to D300's advantage right? We'll not enough apparently. Look at the detail in the branches and in the house chimneys on the film! There is a little grain but it's better than the fuzzy interpolation the digital capture gets. I like grain actually. It makes it feel more three dimensional. And the color rendition! The greens and blues are so much clearer on film! And lets not forget the bleeding highlights! Now lets step it up a notch. I was feeling saucy so I went ahead and shot directly into the sun. FILM Exposure (Left to Right): 1/500s, 1/125s, 1/30s @ f/8 DIGITAL Stunning! I really don't know what else to say... The color, the continuity, and OMG the highlight detail! You can see the sun on film! Even at +2! A little round circle in the sky with a soft gradient moving outward. I dare anyone to shoot directly into the sun with any digital camera out there, and give me tonality and detail from the shadows all the way to the the surface of the sun. I have yet to see it done on any digital. It happens on film everyday. And detail? FILM...DIGITAL What the heck is with digital forgetting to record the hill on the skyline? All these detail shots are taken from the accurate exposures by the way. But even if I process the -2 digital the hill still is nowhere to be found! Film does have a color cast when overexposed. But digital has nothing so the point is moot. I could clean out the color cast without too much effort if I scanned these at home or just in Photoshop. And digital is more neutral but it is also less dimensional when it comes to color. Film gives you HDR in one exposure while digital requires multiple and extra time in post production. Let's move on to something a bit different now shall we? Hows about a portrait? Say split lighting using the sun in an open field. FILM Exposure (Left to Right): 1/500s, 1/125s, 1/30s @ f/8 DIGITAL And for the close up? FILM...DIGITAL The difference isn't too hard to see here. Especially at +2. Color is sooo much better in the Reala! The Digital could definitely be improved in Photoshop but with the same amount of time you could really dial in and some have fun with the film. And personally I'd rather be hanging out with friends or shooting more photos than spending hours in a cave editing digital files in curves and with film emulation filters. Next we can look at a portrait with a bit more desirable lighting. Window light in an open foyer. FILM Exposure (Left to Right): 1/30s, 1/8s, 1/2s @ f/4 (had to open up a stop here) DIGITAL Can we stop now? This is getting redundant! "It's round four and film with the consistent advantage in this match deals a heavy blow once again to digital!" Really, which of these looks the most natural? FILM...DIGITAL With such soft light you would think that digital would perform better. But with the white shirt you have clipping highlights in all 3 exposures. On film you can see definition in his arm hairs! I really could stop here for mercy but the fight must go on! For our last example we have a motorcycle in the DMV parking lot. FILM Exposure (Left to Right): 1/500s, 1/125s, 1/30s @ f/8 DIGITAL At first glance I like the film better because of the color among other subtle differences. But the digital doesn't look awful. Right? Well with exception to the +2 exposure the digital could pass for acceptable at this size. But if you were to even print it at 4x6 there would be a much more obvious difference. FILM...DIGITAL Color in the shadows is so much more vibrant, yet the highlights are far from lost. Spectral highlights made from the sun like these are only preserved in film. From one end of the spectrum to the other the color and detail is several steps above digital. Some people don't care about washed out highlights. And that's fine if you want to turn background completely white or print an image on high contrast paper but I believe that should be your choice and not the camera's. Especially while shooting the splendidly serendipitous moments of a wedding, you don't want to worry about if the exposure is within 1/3 of a stop of the general scene. And any digital photographer will tell you that if you have to look at a shot on the back of a camera you didn't get it. A photographer knows when they "have the shot" the millisecond before the shutter is released, and chimping can only help a photographer to miss the moment they really wanted. When you shoot a wedding and the bride is walking from shadows to sunlight during the ceremony you don't have time to "chimp" the screen. You'll miss the moment. Same applies for street photography and and many other areas of photography. If we displayed 5 stops of forgiveness here with film, and still are getting workable exposures, why not shoot film? With digital you might have the ideal exposure and still lose a part of the scene due to it's inferior dynamic range. With film you can try to get within a couple of stops of the ideal exposure and be just fine. Now you're left to your real job; finding the light in each moment and capturing the composition artfully and in it's entirety on analog film. When all light is available for capture, you're left to simply find the right light to captivate. Though the majority of professionals are shooting digital now that is no measurement of what is better. It's merely a sign of the times and of what is popular today. The best of the best and nearly all of the fine art world still use film! Those of us who do not want to compromise for the sake of the trends still shoot film. Only film gives you complete access to all the information captured from highlights to shadows and still retain snappy contrast and color to boot. Only film will stand the test of time, lasting centuries longer than any of the ever changing file formats and storage devices. Only film gives you the freedom to shoot and forget about buying a cushy desk chair or failing eyesight from staring at a computer monitor all day long. Only film can make me smile! :) POST SCRIPT/FINAL NOTES Other References: Previous "Teaser" Post Paul Gero - A Digital Photographer's Reasons for Shooting Film Ken Rockwell's Digital vs. Film Essay Ken's Megapixel Myth Inside The Heads of Film And Digital Photographers Ken's Answer to "Why Film?" Wedding Photographer on Film vs. Digital Why the D300 and not the D3 or D700? Ken Rockwell's comparison of the D300, D700 & D3 captures What about digital's performance at high ISO? I didn't have time to get into the high ISO stuff. In my experience though I prefer 800z with it's grain over digital. Anything over ISO 800 I would shoot B&W. But if I wanted color above 800 digital would be the way to go. Couldn't these digital files look better? Here are a few examples of the more enhanced digital files vs. the film. Color looks better in these but not a huge difference. Some great professional photographers who still choose film: COMMERCIAL Kevin Westenberg Anton Corbijn Mark Seliger Autumn De Wilde Danny Clinch Matthew Turley Pamela Littky Michael Wilson James Minchin WEDDING Tanja Lippert Jose Villa Richard Israel Riccis Vallarares Jonathan Canlas Some photographers who really know how to get the most out of digital capture: Jeremy Cowart Trever Heone Joseph Llanes Ben Chrisman David Sacks Nick Onken Our film photography work can also be found on these two web sites: COMMERCIAL BAND/MUSIC PHOTOGRAPHY - TheBrothersWright.com FILM WEDDING PHOTOGRAPHY - BwrightPhoto.com

For more information about Brandon and Brian Wright, visit their website at:
www.thebrotherswright.com

To hear about their findings on Analog Radio click here.

In his own words, Josh Moates

2009-10-15T00:15:00.000-07:00

In his own words, Josh Moates shares how he found not only photography, but his way back to film photography!! Thank you, so much Josh for sharing and inspiring us, we are really excited to hear you have whipped out the RB67 for your wedding work. Josh is one half of a photography team in Pratville, Alabama called Kim Box Photography. Josh and his partner, Kim shoot everything from weddings, to portraits, to musicians and commercial work. He believes there is definately a place in his business for digital capture, but when he is shooting weddings and anything fine art- it's all about the film baby!!!!!!

This is a picture of Josh:

In his own words:

"Drawing... Painting.....Film Photography...Music....Digital Photography... Film Photography (my life in short) I'm not a writer, I'm a talker... so I apologize in advance I would say I have a very standard photography story... so here it is.... In high school I was in AP art, painting and drawing faces for my concentration and non of my friends would stand still enough for me to use them as models... so, my mom gave me her fujica 35mm camera with the standard 50mm lens so I could take photographs of my friends and then paint and draw them. Well the paintings were ok and the drawings were a little better... but I liked the photographs better than both. Few years later, I took a class in college on photography. I learned developing and darkroom, and it was a blast. It was a start but I was also in a band and all my attention was devoted to being on MTV. No joke.... So when our band needed photos.. I pulled out the fujica and the 50mm and we shot photos... they were cool.. I had a tripod and a timer... and that is how I did it.. so FF>> a few years later my band 2002 (TRUSTcompany) gets a record contract with Geffen records and I travel the US and Europe for the next 3 years... Meet everyone from Vanillia Ice to Alicia Keys..and it hit me, WOW I need a dang camera to document this journey... so I researched and got a Canon 10D it think this was early 03 late 02 ... man I was stoked... I shot Everything from our drummer in the studio to random things in L.A. ...other bands wanted me to shoot their stuff.. I actually got one band pic in Guitar magazine.. it was only 3 inches tall.. but I was freakin out.. my band members were like .. "dude, our band has full spreads in like 5 magazines, why are you freaking out about a little pic like that".. I said " but, that is MY PHOTOGRAPHY" .. it was really cool... anyway.. on tour, I met a model that was just starting out and I told her I would love to shoot her just for fun... and we did, all day... 9 hrs of 6 mega pixel fun.. most of the photos sucked.. but the ones that were good, I was happy with and she was too .. so it was a success... maybe 10 shots out of 1200 were good... we have all been there and its a beautiful thing... FF>> few years later I decide to quit the band and start my own photography biz 04'... and I meet a local photographer "KIM" she also shot digital and I met with her and asked if she wanted a partner and being that she had already shot weddings for a year, but didnt know Photoshop at all, and I have been using Photoshop since college.. it was a good team... so Kim Box Photography was born..... and we began to grow like crazy.. 30 weddings a year each... In the meantime, I move into a new house and when moving found a box of old film stuff from college... and was like "woah.. these look cool"... something fresh and new but old.. weird.. I was fascinated ... so I researched again and I bought an rz67 a fellow photog gave me a whole bag of 120 kodak NC ... and I started to shoot film again.. not a weddings, yet.. but for fun...art stuff.. just kinda testing the waters... and when I got the first roll of 120 back scanned... I was like WOAH... this is AMAZING... now I knew I couldnt shoot little babies and fast running kids with this beast.. but my fine art stuff will be 100% rz! and it has been.. I also shot some magazine stuff with it and all band stuff with it.... and its great... I started to incorporate the rz in weddings a few years back,..and it has been awesome... it slows me down and inspires me, makes me think about every shot.. instead of CLICK CLICK CLICK... and the results are worth it... now I shoot weddings with a 5d, rz and with a Contax 645 with the 80mm 2.0 for that shallow DOF... that camera is so amazing, especially when I finally found a lab that knows whats up... like Richard photo lab... thanks for the great color guys... now when I get my film back its like christmas for real... but Digital has its place.. I still shoot Digital for seniors and babies .. i think it has the sharpness they want.. and it works for that.. there is something about film at weddings that just is romantic, organic and raw... I compare Film and Digital to listening to a Record and a CD.... CDs are Perfect and for some recordings that is what you want.. but throw on a record and listen ..I put on Pink Floyd.. Dark Side of the Moon .. record.. its just different... beautiful...."

Here are some of Josh's beautiful images all shot on Film!!! If you would like to see more of Josh's images, go to their website at http://www.kimboxphotography.com.

okay, there are a few more lovely filmy images to add, but I will have to add them in the next day or two, as there are errors in the files, more to come, soon!!!

Interview with Gina Leigh

2009-09-24T14:26:00.000-07:00

After a few emails back and forth with former digital photographer, now FILM SHOOTER, Gina Leigh, I realized, it was important to share her story! After asking Gina to write up why she made the transition back to film, she said (in her own words)....

Thanks again so much for asking me to be a part of Keep Film Alive. Such an honor! So, let's see...my transition back to film? I'm not sure where to start....

I suppose that this transition really started with my admiration for film photographers such as Jose Villa, Elizabeth Messina, and yourself, Tanja. I remember about a year ago sitting on the couch with my little brother, pouring over Jose's website, and envying his jaw dropping work. The more that I began to look at the work of film photographers, the more I realized that there is intrinsically a soft and natural quality to film that I have a great affection for.

I also began to covet the workflow of film photographers. As I would sit in front of my monitor for hours and hours and hours editing my digital photographs while my young boys played outside in the backyard, I found myself "falling out of love" with my work. As much as I loved shooting, and loved the excitement and delight of capturing the most special day of my clients' lives, I longed to be outside playing with my boys. I guess my heart just ached a little to think that they were growing up so quickly, and I didn't want to miss out on all of the important moments.

Last February of this year, I sat in a my car with a fellow photographer at one o'clock in the morning after shooting an all day wedding. We were sharing our goals and dreams, and I suppose I was just tired enough that I actually said it out loud. "I want to shoot film. 100% film."

Looking back on that moment now, it doesn't seem like such a crazy thing to say. At the time though, it was really just a dream...nothing I thought I would really do. The predominant thought in my mind was "Who in their right mind transitions back to film?"

Nonetheless, saying those words out loud changed things. I realized that if this was really my goal, if it was really what I wanted to do, I needed to start making it a reality. I began to seriously evaluate how this would change my business if I really wanted to do it. I knew film was expensive. I knew that I would want to have the film processed by the best lab I could find, which would also be expensive. I was also very aware of the learning curve. It was very easy to quickly switch ISO's on my D300 when moving from outdoor light to a dimly lit reception room. Could I handle those transitions with film? I knew I would need to invest in more equipment - several more 35mm bodies, and I really wanted to learn to shoot medium format too. I began to research the cost of all of this, and it was substantial. Truthfully, my goal felt further away from reality than before.

Two months later, in April, I sat with my husband in Starbucks. We were talking about our kids, life at church, blah, blah, blah. I don't really know what prompted me to say it, but I did. "I want to shoot film, and I'd like to buy a Contax 645."

I expected to see raised eyebrows. Instead, my husband simply asked "You really love film, don't you?"

Then he said "Well, let's do it."

And so, I did it! Just like that. I went home, called KEH.com, and bought a Contax 645. I called Jose Villa, and he was very kind to spend a few moments on the phone with me giving me some recommendations for film to purchase. I went to the uniquephoto.com website and bought a ton of Fuji 400H, Fuji 800Z, Neopan 400, and Ilford 3200 film.

When I received my Contax, I read the owner's manual cover to cover, figured out how to load the film, and started shooting. I shot through about four or five testrolls, and sent them to Richard Photo Lab. Once I received the test rolls back, my decision felt tangible. I can't even begin to say how helpful RFL has been. Since then, I have called and emailed Bill Pyne from RFL too many times, and yet he still graciously answers my questions.

I began to introduce film into my wedding photography. I intended to start slowly...just a few rolls at a time. The transition happened quicker than I expected though. The most difficult thing for me was anticipating what was coming next, and having the right type of film loaded in advance. I purchased two more 35mm bodies, and eventually left my digital body in my camera bag. It felt awkward at first to leave the comfort of my D300, but this was when I began to experience success in anticipating and preparing for what was coming next. I had to slow down my pace and shoot less. This forced me to shoot correctly, which was almost exhilarating!

I'm now pretty much 100% film. I'm still figuring out when I like to shoot with my Contax, and when I prefer the fast focusing Nikon lenses on my 35mm's. I find that I am mentally exhausted after shooting a wedding. I'm thinking really intensely the whole day! But, I feel a tremendous sense of accomplishment and creative energy, unlike anything I've experienced while shooting digitally.

One of the best parts about shooting film is the day I receive the photos back from the lab. The colors and natural grain are so beautiful! And better than anything else, is the extra time I have to relax by the pool with my hubby and watch my two little boys race their sailboats in the water.

I primarily shoot weddings, focusing on romantic and natural images, beautiful details, and unexpected moments mixed in. I also enjoy photographing children and babies from time to time, always with natural light.

Here are some of my favorite shots:

I love the colors in this photo - the beautiful greens and all the soft shades of white and ivory. Nikon F100, 50mm 1.8, Fuji 400H, rated at 200.

This one was shot with my Contax 645, Neopan 400 film, ISO rated at 200. I love the variation in the darks and lights. I also like the sharp details in the mother's dress next to the slight movement of their hands together.

This one was also shot with the Contax, 400 Neopan, rated at 200. Love the lines and detail in this shot. Plus the groomsmen were a fun bunch to work with!

This shot of the couple's hands was taken with my Nikon F100, 80-200 f2.8, Neopan 1600, rated at 800. Love the soft grain.

What a fun moment! Shot with Nikon F100, 50mm, on Fuji 800Z rated at 400.

I love details! Shot with Contax, Fuji 800Z, rated at 400.

Hmmm....love strong backlighting! Nikon F100, 35-70mm f2.8 lens (which I dropped and broke 5 minutes later...grrr), Fuji 800Z, rated at 400.

Love the soft colors and depth of field in this shot. Nikon F100, 50mm, Fuji 400H, rated at 200.

Shot with Contax, Fuji 400H, rated at 200. Isn't she lovely?

What gorgeous color! Shot with Contax, Fuji 800Z, rated at 400.

Here is a photograph of me:

and of few of my two darlin' boys, Joshua and Andrew, all shot with film recently:

to learn more about Gina Leigh and view more of her beautiful work visit her website or blog.

Thank you so much, Gina, for taking the time to share with us your experience with switching to film!!! I am sure it will inspire many photographers!

Richard Israel- Returned to Film, and will not look back!

2009-05-15T08:05:00.000-07:00

Richard Israel had made the switch from film to digital along with the masses. Something was missing!! One day, he came across some old fiber prints from his days of shooting film and he found that he really connected to these images and realized what was missing now- FILM!!!!

I think you will really enjoy Richard's Interview below on why he made the switch back to film and how it has affected his photography and his business. I find his film images to be soooooo breathtaking. Thank you, Richard for sharing all this with us!!

all images copyright by Richard Israel

Q: Richard, Where are you from and where is your studio based, what do you shoot?

A. I’m from London, England and have been living in Charlotte, NC for 20 years, working mainly in the southeast and lots in Charleston, SC.
I have a studio in my home.
I shoot wedding, portraits and some commercial work. I’ve also stared an Etsy.com store for my art photography. I shot fashion and beauty for a good part of my career.
I love movement, mood and texture.

Q. What is your main equipment set up? What are your favorite films?

A. I shoot Nikon F100’s with the 85 1.4 and 35 2.0 lenses, for medium format I use a Mamiya 645 AFD, with 80mm 1.9, and 150mm lens and a Rolleiflex.

I love to experiment with lots of different films but my mainstays are, Fujicolor 400H, Fujicolor 800Z. For black and white, Kodak 400CNBW, Tri-X, and Ilford Delta 3200.

Q. Tell us what made you decide to switch back to film from digital; what motivated you to make the switch back?

A. I was browsing through some of my old darkroom fiber based prints and saw the light. The depth, tonality, texture and the pure organic rawness of film is what initially turned me on in my photography and in my opinion can never be replicated by digital imaging ever. I have always been totally passionate about my work, but now it’s off the chart.

Q. How did making the choice to switch back to film change your workflow? How did it change your lifestyle?

A. My workflow has been reduced to approximately 1 ½ hours for weddings and 30 minutes for portraits, I’ve got my life back, I spend more time with my family and spend time growing my business instead of spending 80% of my life in front of the computer.

Q. What advice would you give to digital photographers who are thinking of trying or switching to film?

A. Take it slow, test shoot, get comfortable with shooting without chimping, take time to discover the different characteristics of the many different films available. At each wedding shoot a couple of rolls and build up to shooting more as your comfort level grows. Check out keh.com for amazing deals on Canon and Nikon 35mm cameras as well as killer medium format gear.

Q. What have the advantages been that have resulted from your switch back?

A. A renewed passion for my work, I feel like I’ve come out of the (digital) wilderness. I’m now an anomaly in my market and separated from the pack, I am a niche.

Q. What have the disadvantages been for you?

A. The only challenge has been the extra expense of film and processing. As of now I’ve raised my prices to cover the extra cost involved so next year all will be good!
I would suggest using the best lab possible, I’ve used local labs and would highly recommend a true pro lab such as Richard Labs in LA.
unless you want to trade all the saved post processing time for hours of dust spotting in Photoshop. Yikes!!!

Q. Where can we see more of your beautiful work and find out more about you?

A. Website
Blog
I love Film blog

all images copyright by Richard Israel

Tanja Lippert Inside Analog interview with Scott Sheppard

2009-05-04T01:27:00.000-07:00

Inside Analog Photo presents a variety of radio and tv programs geared towards traditional photographic processes for enthusiasts and professionals. Inside Analog Photo content includes the latest news, in-depth interviews, product reviews, event coverage, and tips featuring special guests representing the industry’s best traditional photography experts. Hear it and see it with Inside Analog Photo, the only traditional photographic radio and tv program available today.

I love Scott Sheppard's Inside Analog Podcast! It's a great resource for photographers, especially photographers interested in FILM photography! Scott Shepard asked me to participate in his program and just released our Podcast this week. Click on the link below to hear the podcast interview. Also, for more information on Scott's Inside Analog Program go to: http://www.insideanalogphoto.com/

Click on the link below to listen to my podcast interview with Scott Shepard!

Tanja Lippert Interview

WPPI FILM BUZZ

2009-02-27T21:36:00.000-08:00

Okay, it was official. While at the WPPI photography convention in Las Vegas last week, I felt the BUZZ of film all around me. It was my top priority to go to presentations given by my fellow film shooters; Elizabeth Messina, Leah McCormick and Jonathon Canlas. It was great to be in one place where so many photographers are just as addicted to film as I am. I heard from the guys at the Fuji Booth that the BUZZ of film was pretty darn strong all week......and people were talking about film making it's comback right and left. This is really great news to me! I seems to me that the photographers that I have spoken with who are still using film have a lot in common, but the one thing that really stands out to me is this: they are all in it for the LOVE of the look of film. They LOVE the look and all agree that it cannot be replicated in digital. The other thing that really stands out to me is this: They all are REALLY PASSIONATE about THE IMAGES film creates. I did not hear one of the film photographers I spoke with say things like "you can make more money if you......... or, I can sell my brides $$$......." NOPE...not a one.....oh, the contrary......I feel that one thing that really unites film photographers is the LOVE OF THE ART OF PHOTOGRAPHY! For me, shooting film makes me FEEL good, it makes me proud of my images.....because at the end of the day, it's the IMAGES that speak to us and make us fall in love with the art of photography!!!

Interview with Film Shooter, Bryan Johnson

2009-02-16T02:44:00.000-08:00

Bryan Johnson of A Brian Photo, is an avid film shooter with a BEAUTIFUL portfolio of images. I met Bryan last year at WPPI (which we happen to be at now) at the Richard Photo Lab party. When Bryan contacted me, wanting to find out how he can support this blog community, I jumped at the chance to pick his brain about why he chooses to work with film. You should definitely spend some time, touring his really unique website and viewing his amazing work and the work of his team. I especially like the Bryan Boom Box on his blog, way too cool...I gotta get me one of those :0)

Q- Bryan, why in this digital generation, do you choose to remain faithful to shooting film?

A- I remain faithful to film first and foremost because of the look. Life on film is so remarkable and beautiful. Digital tends to be more literal than film. I love that film captures more of a feeling. Shooting film also forces me to trust my instincts and engage with my subjects not with the back of a camera.

Q- What film cameras do you use faithfully and why?

A- I'm currently most faithful to the Rolleiflex and the Lomo LC+A. I LOVE the glass on the Rollei, so rich and romantic. Plus when you walk into a room with one around your neck, my brides automatically know that this experience is going to be different than most. The Lomo also has an amazing lens, but it carries with it a bit of an X factor. You have to guess your focus which always means you are in for a surprise when you get the film back. When you nail, the exposure and focus on a Lomo image, there is nothing more beautiful.

Q- What are your films of choice for weddings and why?

A- I shoot Kodak NC 160 for color ( and a little 400) and Kodak 400 CN for my Black and White. I shoot Ilford 3200 (rated at 1200) in low light situations. I use these because I love the colors and tones I get, especially in the B&W. And of course, Richard Photo Lab is largely responsible for this! Best lab in the world!

Q- what are the advantages and disadvantages of shooting film at weddings?

A- Film is great for its limitations. Since I shoot alot of 120 Rollei, I have only 12 frames per roll. This forces me to trust my instincts all the more and get the image right in camera. Film is also great because you don't have to "work" your images in photoshop to get them to look cool. They naturally look cool. You don't have to spend time applying a Lomo filter, when you are actually shooting with a Lomo.
Its definitely has its disadvantages. Its very pricey. This forces us to charge a premium for our service. It also takes time. We try and use this to our advantage by creating an environment that feels relaxed and not rushed for our clients. If I'm reloading every 12 frames, there is gonna be some down time. I personally like it because it forces me to breathe, connect with my subject and surroundings, and hopefully spark a connection with the subject through conversation.

Q- what advice can you give to new photographers who are considering film as part of their service of offerings?

A- Advice to a new photographer? Remember that being engaged with your art is so important. Do things that will keep you excited. The minute you get bored looking at your own images you are in trouble. You should be the number one fan of your own work! Push yourself and create work you are proud of and connect with.

Q- Can you share with us a few of your favorite film images and tell us why they stand out as your favorites?

A- Here are a few personal faves.

I have recently had a renewed love for 3200. Here's one of my favorite shots from my last wedding.

Here's a recent groomsmen shot I really like. I love the depth I get with medium format. This is shot on Mamiya RZ 67.

I love the energy of this shot. Dancing through the streets of charleston, being led by a gospel choir. So freakin' southern.

Here is a shot from the Lomo. It really gives such an interesting perspective. I love Lomo's motto, "Don't think, just shoot."

Who wants to remember the literal when you can remember how it felt instead?

Southern. Simple. Beautiful.

What is Film?

2009-01-30T16:42:00.001-08:00

Photographic film is a sheet of plastic (polyester, nitrocellulose or cellulose acetate) coated with an emulsion containing light-sensitive silver halide salts (bonded by gelatin) with variable crystal sizes that determine the sensitivity, contrast and resolution of the film. When the emulsion is sufficiently exposed to light (or other forms of electromagnetic radiation such as X-rays), it forms a latent (invisible) image. Chemical processes can then be applied to the film to create a visible image, in a process called film developing.

In black-and-white photographic film there is usually one layer of silver salts. When the exposed grains are developed, the silver salts are converted to metallic silver, which block light and appear as the black part of the film negative.

Color film uses at least three layers. Dyes, which adsorb to the surface of the silver salts, make the crystals sensitive to different colors. Typically the blue-sensitive layer is on top, followed by the green and red layers. During development, the exposed silver salts are converted to metallic silver, just as with black and white film. But in a color film, the by-products of the development reaction simultaneously combine with chemicals known as color couplers that are included either in the film itself or in the developer solution to form colored dyes. Because the by-products are created in direct proportion to the amount of exposure and development, the dye clouds formed are also in proportion to the exposure and development. Following development, the silver is converted back to silver salts in the bleach step. It is removed from the film in the fix step. This leaves behind only the formed color dyes, which combine to make up the colored visible image.

Newer color films, like Kodacolor II, have as many as 12 emulsion layers, with upwards of 20 different chemicals in each layer.

Because photographic film is widespread in the production of motion pictures, or movies, these are also known as films.

Hurter and Driffield began pioneering work on the light sensitivity of film in 1876 onwards. Their work enabled the first quantitative measure of film speed to be devised.

Early photography in the form of daguerreotypes did not use film at all. Eastman Kodak developed the first flexible photographic film in 1885. This original "film" was coated on paper. The first transparent plastic film was produced in 1889. Before this, glass photographic plates were used, which were far more expensive and cumbersome, albeit also of better quality. The first photographic film was made from highly flammable nitrocellulose with camphor as a plasticizer (celluloid). Beginning in the 1920s, nitrate film was replaced with cellulose acetate or "safety film". This changeover was not completed until 1933 for X-ray films (where its flammability hazard was most acute) and for motion picture film until 1951.

Instant photography, as popularised by Polaroid, uses a special type of camera and film that automates and integrates development, without the need of further equipment or chemicals. This process is carried out immediately after exposure, as opposed to regular film, which is developed afterwards and requires additional chemicals. See instant film.

Films can be made to record non-visible ultraviolet (UV) and infrared (IR) radiation. These films generally require special equipment; for example, most photographic lenses are made of glass and will therefore filter out most ultraviolet light. Instead, expensive lenses made of quartz must be used. Infrared films may be shot in standard cameras using an infrared band- or long-pass filter, although the infrared focal point must be compensated for.

Exposure and focusing are difficult when using UV or IR film with a camera and lens designed for visible light. The ISO standard for film speed only applies to visible light, so visual-spectrum light meters are nearly useless. Film manufacturers can supply suggested equivalent film speeds under different conditions, and recommend heavy bracketing. e.g. with a certain filter, assume ISO 25 under daylight and ISO 64 under tungsten lighting. This allows a light meter to be used to estimate an exposure. The focal point for IR is slightly farther away from the camera than visible light, and UV slightly closer; this must be compensated for when focussing. Apochromatic lenses are sometimes recommended due to their improved focusing across the spectrum.

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