Portraits on Lomography Color 100

More portraits. More new film stock. 

I've kept hearing about how good Lomography Color 100 and 400 are but never had the right project to work with them on. I pulled the trigger for some content I'm creating for Unclaimed Baggage in Scottsboro, AL and couldn't be more pleased! This was all shot with Lomo Color 100 but I'm super eager to shoot Lomo Color 400 at 100 and process normally. I hear good things will come. Stay tuned for that.

The Film

Pros: It has a feel to it that fit perfectly with the vibe of the model (Ms. Chloe). Grain is great. Skin tones, amazing. Cost of the film AMAZINGER ($12.90 for 3 36 exposure rolls). 

Cons: Not really any. You'll see tonal changes image to image, but that's because those were shot outside on a somewhat cloudy day, so light changed. I also have Samuel Johnson assisting and would defuse a few shots. 

I've never really payed Lomography much attention becuase of the cheap plastic cameras they make. I figured the film they stocked was more for fun than professional work. I was wrong and have now used their color and black and white (Lady Grey 400). I'm hooked!

Meta:

  • Leica M7
  • Zeiss ZM 35mm
  • Lomography Color 100
  • Paul C. Buff Lighting
  • Scottsboro, AL

P.S. Home development for both B&W film and C-41 color film is absolutely a piece of cake to do. It is well worth your investment of the chemistry and scanner to start processing yourself. You have a blast doing it and be more proud of your work, owning the process from roll to scan. My next steps... enlarging. I can't wait.

Go to The Film Photography Project and start shopping around for all the items you need to get started! 

In the even't you just want to shoot and turn your film over to a new Huntsville, AL local lab for processing, look no further than Archival Dev. We'll take care of you. 

American Legion / Post 106

New film. New Places. 

I love moments when I'm driving and see a spot that demands my attention. This is American Legion | Post 106 in Georgia. I don't recall what backroad I took to find it on my way back from Chattanooga, TN, but it was an easy decision to stop and explore. I'd also recently decided to try out Lomography's Lady Grey 400. I'm definitely impressed with the film and will revisit using it down the road.  

Insider Scoop:

This was developed with Ilford's Ilfosol 3. "Matt, why would you use that crap"? Well, I'm still relatively new to the film developing game in house, and this was the most easily accessible developer to start with. It's extremely easy to use and give varying results. It works well with some BW film, not so much with others. If you're going to us Ilfosol 3, make sure to use slower films. I find that it doesn't have much room for higher grain films and the film will come out super grainy. Although I do love me some grain, I do not love me all the grain. 

Solution:

After researching some other developers like Kodak's HC-110 and Ilfords Ilfotec HC, I went with the Ilfotec HC. Matt Day recommended this developer with Ilfords HP5 I haven't shot HP5 in many moons so will see what I like and dislike about using this combo and will develop with Ilfotec HC on several other film stocks to see how it handles it. From what I can tell, Ilfotec HC and Kodak HC-110 are pretty similar. More on that as I develop more. 

Meta:

  • Leica M7
  • Zeiss ZM 35mm f/2.8
  • Lomography Lady Grey 
  • American Legion | Post 106

Portraits on Fuji Superia 400

Let's start out by celebrating in the fact that I've unlocked the power of color film development IN. HOME!! I can't be more excited about it and for the life of me understand what took me so damn long to do it. It's actually easier than black and white development in that I don't have to worry about development times. Development times are all the same for C-41 processing assuming I shoot the film at box speed. Big THANK YOU to the Film Photography Project for hosting a bad ass podcast and making home development so accessible. Much thanks!

Next step will be E-6, but let me celebrate C-41 for about 4 weeks and then tackle that. 

Ok... why are these portraits a big deal? I'll tell you. This is the first round of me using my newly acquired Leica M7 in studio. No, the M7 is not really a great studio camera since it only syncs at a staggery slow 1/50 of a second, BUT... for portraits it get the job done well. Is it my go to for film studio portraits? Ehh, not really, but I am in love with the results and working with the Leica name. It does feel dreamy for sure. 

As you can tell in these portraits, the color tone changes just a touch from one to the next. Not sure yet why that is. Could be the film, my developing, or something else I can't think of. It's not a bad change, just not consistent. If I really wanted too, I could color correct it a bit in post processing, but I'm in the film game to do that as little as possible. 

I hope you enjoy Ms. Lauren Cantrell's portrait set. I enjoyed taking them and developing AT HOME that very day.

Cheers to progression.

META:

  • Film: Fuji Superia 400
  • Camera: Leica M7
  • Lens: Zeiss ZM 35mm f2.8
  • Lighting: Paul C. Buff

Deserted Salvation

After a few hours of sleep on the first night we stayed in Terlingua, TX, Kyle Brent and I woke up at 0530 and drove into Big Bend National Park. When we arrived into Terlingua the day prior I saw Santa Elana Canyon in the distance and said, "What the F*CK is that".

Keeping my brain shut off as much as possible during this trip, and one of the many reasons I only shot 35mm film, I had no clue this big Thor like hatchet carved canyon in the distance was the location of the day.

As we get into the park in Kyle's Prius, he says "there's a scenic road, wanna take that?" Brent and I half awake respond with, heck yeah. So we go down this road that no Prius should ever go down, but we make it work nonetheless. About halfway down the yellow brick road... I look over at Kyle and quietly say, "I have to get that" so we get out in dusk light with a small color gradient slowly rising with the sun. I grab my Feisol tripod, put my Voigtlander Bessa R2A on it and Kyle and I run out into the desert from the road. "Kyle, stand still", he does and away I click a 1 second or so exposure with Santa Elena Canyon in the background that sent the tone for what the morning had in store.  

We get to the parking lot and prepare for the hike. Sunscreen applied, bandanas securely fastened, water supply in check, we head out into Santa Elena. The morning was still at a tolerable temperature with zero humidity which made it nice. Captain long legs (aka Kyle) was about 100 feet ahead of us and eager to get into the canyon before the sun was full blow up. Brent and I couldn't get away from this drop dead gorgeous intro into the canyon. We were stopped in our tracks and breathed it in. 

In the distance I hear, "hey, y'all coming" from Kyle as he's already stepped around the cracked candy flats to the ant filled sand hill we had to hands and feet crawl through to get to the bamboo forest and onto the concrete paved path into Santa Elena. It was like a damn children's board game irl.

We get through all that and slowly approach the canyon. The sun is up slightly and we approach the section of canyon where it's time to separate shoes from feet and slow trek it through the shallow waters. We do and walk as if we're in slow motion physically and mentally, soaking in the mesmerizing landscape we have just immersed ourselves into.

It was spiritual. It was quiet. It changed me.

We continue into the canyon and work up a sweat. The only sound we hear is the sloshing of our feet and the angelic sound of birds singing to us directly. I liked to imagine they were in place to serenade us specifically, but that's just wacky, but probably true....

Kyle, Brent and I find a wonderful little beach about 2/3rds of the way in and set our gear down, get birthday suit status, and proceed to immerse ourselves in the Rio Grande to cool off and soak in everything that was happening around us. It was a meditative pure world separation moment that put me into a universal mindset. I felt as if I was a part of all God's creation, in unison with it. I got emotional.

Personal Note:  

I believe it's difficult for privileged society to find God's truth in today's rat race. 

It's not because he isn't there, it's because we've made him so easy to overlook. Similarly to how light pollution blocks the beauty of the Milky Way, so do we block truth with digital noise, new purchases, always being reactionary, lacking introspection and self awareness. 

Separate from society and position yourself in a place of seclusion from human life and be filled with deserted nature. God is waiting. Calling for you to experience the true him. You may not accept God as a creator but you will experience something you may not be able to define, yet.

For me, this was life changing and the first time in my 35 years that I can say I experienced God in this way. It was life changing. 

We spend about 30 minutes in silence and soaking up pure serenity. Make our way back into our gear and continue up the canyon. At this point the soft sandy gravel we'd been walking on started turning into large pebbles and stones that killed our feet. After walking through pure pain about a quarter of a mile, we turned around and head back for the car. Still unwilling to let it all go, we climb up to a cliff peak and watch as the desert death rays slowly overtook the canyon. 

Here's a 35mm representation of what I experienced.

META:

  • Voigtlander Bessa R2A
  • Fujifilm Superia 400
  • Zeiss ZM 35mm f/2.8
  • Santa Elena Canyon, Big Bend, TX

Random Encounters on Kentmere 400

The most entertaining impromptu photo session to date. 

I took off work for a day filled with Atlanta, GA exploration with my son, Isaac. Tiffany, my wife, was in a tax seminar all day (super fun... for her maybe, but it helps this machine to keep working) and we ended up at Ponce City Market that evening for some food and general walking around. Tiffany is enjoying wine and pasta with a friend so Isaac and I get to exploring. We go to the second floor into Citizen Supply and see some folks working the photo studio they have built into the retail space. To me, it looks like the group of 3 are actually working. I approach them and ask if they are working a photoshoot for the store. They aren't, just capturing some snaps for the Gram. Having my Leica M7 on hand with Kentmere 400 loaded knowing the sun is going down and I wanted to pop in the Ilford Delta 3200 I picked up from Professional Photo Resources earlier in the day, I asked if they would be interested in a mini shoot. An instant "YES" came out with a few energetic giggles and away I went directing and shooting. Now... not every shot taken turned out so hot, but there are a couple in here that kill. In a perfect world, I would have been working with Kodak Trix, but the world isn't perfect and the results from Kentmere came through correct. 

On the B&W film testing topic, I've just finished up using 3 films I've never shot before, Kentmere / Fomapan / Lomo Lady Grey. Each has a fun unique characteristic but I have to say that Fomapan takes all the cake. More on that later.

I hope you enjoy. Click to view full image. 

The AMC AMX

Sometimes you walk and walk and walk until you find a beautiful cherry red AMC AMX. The owner of this beautiful machine was working underneath while his sons watched and assisted with the tools needed. I slowly passed by and asked if I could take a few photos. The son asks "Hey dad, there's a guy here that wants to take some photos. is that ok?" Not seeing the father working (at the time), I immediately felt horrible. Knowing my work flow, nothing makes me for annoyed than being interrupted while deep in the process. I do my best to politely back out of my photo request, valuing focus and empathizing with the dad. That dad responds "heck, I don't care, go for it". I'm still hesitant, but the dad crawls from under the car, shakes my hand, and precedes to tell me all about this beautiful machine. 

I love moments like this and one of the many reasons I don't give up on walking the same streets day after day. Something new my not present itself for months on end, but when it does, it's a great story to capture. 

Framing The Lost

You see it. You pass it. You tell yourself it would be cool to capture. You pass it and don't look back.

STOP. SHOOT IT. YOU'LL BE GLAD YOU DID.

Meta:

  • Voigtlander Bessa R2A
  • Zeiss ZM 35mm f/2.8
  • Kodak Portra 800
  • Side of the road Alabama

Click to Enlarge

Wasteland Playground

When you get a roll of Kodak Tri-X just in the nick of time to capture an abundant wasteland. Perfect roll for the perfect location. 

Believe in Film

Meta:

  • Voigtlander Bessa R2A
  • Zeiss ZM 35mm f/2.8
  • Kodak Tri-X 400
  • Scottsboro, AL

click to enlarge

Studio Portraits with Kodak Portra 800

Studio Portraits with Kodak Portra 800

Let me start out by expressing how pumped I am to branch back out into color film with Kodak Portra 800. I couldn't be more pleased with the results and happy to call this my color film of choice for the next several months. 

"Why 800 speed film?"

I've found that 800 speed film is my "do all" film speed. During bright daylight I throw a -2 Stop ND filter on and hit the streets running at around a beatiful f/8-11 range that I've fallen in love with using the Voigtlander Bessa R2A and Zeiss ZM 35mm lens. When dusk comes around or I find that next dark destructed building, pop off the ND filter and fly around at a comfortable f/5.6 or so. I'm over shooting wide open but will dive into it when absolutely necessary. Enjoying the beauty of film with crystal clear focus and detail of Zeiss lens' will always kill. 

To be honest, I was very hesitant jumping back into color film. I've fallen in love with Kodak TMax 400 (pushed to 800) and even more so with developing in house. It's a beautiful thing that has really opened my eyes to the quality film can provide. 

"But wait, I thought you had a local lab in your town (Huntsville, AL), why not just reach out to them and develop your color film?"

Great question. I would continue to use them but have realized... they suck. Like bad. And I'm over it on all levels. To be fair, they are pretty ok at developing pharmacy film and mediocre at scanning that in. I'm overly negative with this topic because I'm passionate. I have no clue how a company that focuses heavily on film developing sucks so bad at their craft. It's almost as if they don't want film to come back at a better quality than digital. Like they want it to fade out of their business so some other highly passionate film shooters can open their own lab and kill the game for North Alabama..................

I digress. I love my community. I love North Alabama. I'm a passionate person and that can bring out my most positive and negative sides. I heart you Southerlands Photo. 

Here is the photo set from my studio session shooting with:

  • Body: Voigtlander Bessa R2A
  • Lens: Zeiss ZM 35mm f/2.8
  • Film: Kodak Portra 800
  • Light:  Paul C. Buff Einstein 640 lights with beauty dish & PLM
  • Model: Samantha Hood

Click to Enlarge

Wasteland

Wasteland

Why is this open? What happened here? Right on the side of the highway and left to be forgotten. No "no trespassing" signs. Could this really be open to the public? Such a waste.

Things said to myself as I was pulled deeper into this wasted building.

I love finding it. I love telling it's story.  

Meta:

  • Voigtlander Bessa R2A
  • Zeiss ZM 35mm f/2.8
  • Kodak TMax 400 @ 800
  • Guntersville, AL

click to enlarge

Golden Decay

Golden Decay

So many beautifully decaying classics in one location. This type of spot is a perfect storm for me to shoot through a roll or two. 

Meta:

  • Voigtlander Bessa R2A
  • Zeiss ZM 35mm 2.8
  • Kodak TMax 400
  • Florence, Alabama

Abandoned Fireworks

Abandoned Fireworks

I took some time to go explore Florence, AL and came across this abandoned fireworks facility. Not pictured is the small add on to the far end of the building that serves as a Mexican restaurant. I found it odd and interesting so I walked around to see what I could see. 

It never ceases to impress me what man lets go of. I'm sure abandoned buildings like this get to where they are because of money or the lack there of, but what a waste of space. I come across quite a homeless people when I explore and I think about how facilities like this could have been donated to a charity that could be an outreach for people in need.

Shot with:

  • Voigtlander Bessa R2A
  • Zeiss ZM 35mm f/2.8
  • Kodak TMax 400 pushed to 800 

Portraits on Kodak TMax 400

Portraits on Kodak TMax 400

It's a done deal y'all. I've committed to shooting 100% on film for personal projects. But not just any film, Kodak TMax to be specific. I love everything about this film and SUPER pumped to have Kodak's re-released TMax P3200 on my side. I now have every ISO range needed to capture it in black and white AND develop and scan myself. Nothing has satisfied me creatively as much as owning this process from start to finish. To note, I shoot all street and portraits on my Voigtlander Bessa R2A. It's definitely a great tool for the job with the Zeiss ZM 35mm and 50mm lenses. With that said, I'm currently shopping around for a medium formate camera that I can really leverage for my film portraits. 

Some of these shots were captured with the Paul C. Buff Einsteins and white beauty dish. It's really a match made in heaven. I hope you enjoy. 

 
 

Seattle Muscle

Seattle Muscle 

I don't have a lot to say about this amazing muscle car other than that when I found it... I said out loud "you've got to be kidding me". I was walking through the hills of Seattle trying to find a solid vantage point to get a photo of the skyline and this slapped me in the face. It's actually an absolutly beautiful canary yellow with black top. It was stunning to say the least. 

Portraits on the Streets of Chattanooga

Portraits on the Streets of Chattanooga

As I'm sure you've noticed on my gram... I've been diving back into 35mm film full speed ahead, but there are times that call for digital. Some would argue that film can conquer all styles of shooting (me being one of them), but when going for a specific look in a short amount of time, sometimes you have to choose a quicker tool to capture the vibe.

As you all are aware, we live in an instant gratification/no education/no experience/point & shoot/skill-less world of endless "photographers" across our great nation. Yes, at the risk of being overly negative... I'm calling all of you out that don't even know the simple principles of the exposure triangle. Go on with yer bad selves and keep dumbing down photography for the rest of the world... (as you can tell, I'm a bit passionate on this topic).

Disclaimer: This isn't directed at the new shooters to the game, and if anyone has any questions about photography, both digital or film, please don't hesitate to get in touch. I'd love to geek out with you. 

With that said... I head out to Chattanooga, TN to capture photos of Ciscily Crislip for a Spring ad I'm putting together for Unclaimed Baggage. It was completely impromptu and we had a blast!! 

Gear Used:

  • Canon 5D Mark IV
  • Canon 70-200mm Lens
  • Paul C. Buff Einstein 640 x2
  • Paul C. Buff 64" PLM x 2
  • Paul C. Buff Vagabond
  • Pocket Wizard Triggers