Monday column; the another story... The learning process about digitalizing the first roll of developed film

Hello! I’m back again. It was busy for me lately, but here I’m. The last time I was talking about how I developed my first roll of b&w film. This story is about how a newbie digitalized his first roll of film.

I was describing in previous columns about how was my first contact with analogue photography. I quickly learned how to develop film on my own, but then I was left with developed roll of film with no clue what to do whit it. The enlarger and darkroom printing was for me still in clouds of, at that time, unknown future. At that time I have had no means of my own to view or scan the film, so the first move was that I went to the local quick lab, to scan my roll of film. Because unfortunately it was the nonstandard 120 format film, it could not be scanned on the fuji machine. But I was reassured that they could scan the film on the flatbed scanner. The result was disappointed for me. Not that I wanted or even that I could expect extreme quality from my first roll of film taken with Agfa Isola 1 and developed in the bathroom. 

 

I was not happy but I didn’t know any better. The next time I asked if they can scan the film in the best possible quality. I got this. 

 

Then I realized that the person who is scanning my film has no clue how to scan a film on a flatbed scanner. And for the results I was getting it was very expensive. I quickly made a calculation that a scanner will pay off in scanning only 20 of 120 format films.

After my first encounter with analogue photography I was beginning to shoot with cameras with more “standard” film format. This was scanned on the Fuji frontier scanner, and the workflow for doing that seemed that was more straightforward at that minilab. The results were better. 

 

But none the less, I made the decision to buy a flatbed scanner. I scanned again the disappointingly scanned film. The result speaks from themselves.

Matjaž

Cameras of Yesteryear: Yashica Dental Eye

What a funny name for a camera? Well, not really. In fact, its name says it all: the camera was primarily targeted to dentists but also to pathologists, forensics etc. who needed to do photo documentation of their work, patients and so on. More specifically, macro photographic documentation. A very peculiar, niche camera.  Being a specialistic camera, so it was its price-comparable or higher than a Contax SLR. There were three generations of this camera; the first one with a 55 mm lens, the other two with a 100 mm lens. The camera features a fixed macro lens with a built-in ring flash and capable of reproduction ratios between 1/10 and 1/1 (2/1 with additional diopter lens). The focusing ring doesn't tell you the distance, only the reproduction ratio. Almost everything is automatic, which is not necessarily a bad thing, as it turned out from my first tests: you can only select whether you activate the flash or use ambient light only (you can also set flash under/overexposure by 1 stop). But there is no flash TTL metering. Instead, it has a simple yet brilliant solution-the flash output remains constant while the aperture gets smaller as the reproduction ratio gets higher. Two problems are solved this way (may be even three, considering the high reflectance of teeth): the photos are always correctly exposed, regardless of shooting distance, and the compensation of the diminishing depth of field. Genial, isn't it?

Yashica Dental Eye II

I acquired this camera from Ebay for a very low sum (compared to the very cheapest pocket digicams), hoping to get it to use for macro work-not for me, but for a very special person, very fond of macro photography.  I must admit, I had no expectations at all regarding optical quality, but considering  the sell price...well, I could live with it. Nonetheless, this camera became very fashionable among lomographers, due to its ring flash (but lomographers cannot be defined as picky regarding lens quality...). Oh, how happy I was to be proven wrong: the lens' performance is simply outstanding-comparable to a Zeiss glass in terms of sharpness; however, the lens yields quite a  »hard« image, typical of most macro lenses. One of the amazing features of this camera is certainly its focusing screen-even though the lens is »only« f/4, I have never seen such a bright screen, not even in a Rollei. Even a half-blind person would be ableto focus, I am pretty sure. Simply put, you can get (almost) all you need for macro work in one piece on equipment, with no extra gear. And fortunately, the camera comes also with a synchro socket, for those who need and additional flash (e.g. for background illumination). For those (like me) who don't mind (or even prefer) to shoot on film, I can only say: go for it. It will cost you only a fraction of a macro lens (new or even used one) and it will deliver outstanding results and amaze you with ots ease of use and simplicity. Provided you find one.

 

Not only for macro, the camera is useful also for other closeup shots.

This shot probably best shows lens' clinical sharpness (pun intended).

A macro handheld shot. A tripod would help in having sharpness in the right spot. All shots made on Kodak Ektar.

Portfolio of the Week: Marc von Martial

Dear Readers,

This week we feature another German photographer from Bonn, Marc von Martial. Marc is a freelance graphic designer by profession. He, as many others, started with digital equipment (not counting the snapshots from the film era), but got »infected« soon with analog, starting with lomography, when he fell in love with the images made with a Holga. Now, he primarily shoots on film, and he also develops all the films by himself. He likes to experiment with film very much, including expired film. His main focus is on people/portrait photography, some landscape, and also some street photography. He is working on a few photographic series, developing them over time. He describes himself  mainly as a medium-format-and-polaroid kind of guy, since he mostly uses his beloved Pentacon Six TL, with the CZJ 80/2.8 and 180/2.8 lenses (the same lenses he uses also on his DSLR, by his own words better lenses than Canon L series lenses!) and the Polaroid Land 350 and SX-70 Alpha cameras. He also makes great use of various Holgas, yet he also has other cameras in his arsenal, among them a Hasselblad 500CM, various 35mm cameras, and some other plasti/toy cameras. Please, take also a look at his bio just below his photos. I think Marc makes a very good argumented description why film rules for him, even though he is tech junkie otherwise. Marc's work can be found on Flickr, Marc's blog and his webpage. Enjoy his work!

Silver regards

Mitja

 All photos copyright: Marc von Martial

Marc's Bio

Since a year I focus on people and portrait photography, something that really satisfies me. I enjoy communicating with my models to develop ideas and make them feel to be part of the process. Many of my sessions go a very spontaneous route. I never try to force my models in a certain direction. If I feel they get bored or uncomfortable or it simply does not work, then I do not push it, I take my time. I think that’s an important part of getting believable portrait. The slower way of taking photos with film also helps to set a more relaxed mood. Many of my models did not take part in analog sessions before and I often hear how much they like the slower flow and that it is not necessary to take hundreds of photos to get that “one” great shot you aim for. Of course I understand that for commercial jobs this does not always work, although my approach helped me a lot in the past getting jobs done in a very satisfying way. I love to play with available light and this is also why I love film. Film “feels” light. It embraces and touches it. Combine that with a large format print on the wall and you know why you are in love with film photography. Photos need to be printed, even if you put them in a box after that. Nothing beats holding a print in your hands. And no, I’m not anti iPad/iPhone or digital, I’m a tech nerd actually.

I take my inspiration from the large Flickr community, photo books and blogs I read. I adore the photography of Rüdiger Beckmann, Jan Scholz, Hengki Koentjoro, Jochen Abitz, Jan Bishop, Magda Andrzejewska and the artistic perfection of Vernon Trent. There’s many more and I did not mention masters of the past on purpose. I have to say though  that the “analog” friends I made in the last two years influence and inspire me a lot too, not always through their photography but trough the mix of styles they bring together. Thanks guys!

My plans for the future are getting into large format photography now, I recently acquired a Graflex Speed Graphic, starting “small” 4x5 and combine art and photography way more with some alternative print and development processes. I guess that is also the graphic artist and that unstoppable curiosity in me that wants to do this :) We will see, maybe a small exhibition too, for now I’m super flattened by all the positive feedback I got this year.

Marc von Martial

Random Quote

"A photo no longer tells the truth. It suggests just one possibility." Anonymous

Monday Column: About Not Reinventing the Wheel, Giving the Due Credit, Digital helping the Analog Etc.

Dear Readers,

Our Monday columnist Matjaž has been quite busy lately, so please forgive me if I took the role of the "surrogate columnist" this week. A while ago, our contributor Alessandro kindly reminded me that it would be very nice if we would discuss the reclamation of Fuji FP instant film negatives on the blog. So true, and I am very grateful to him. Fact is also that I only lately began to play with the instant material. Though a bit more expensive and having a more limited color palette, I find instant film very pleasing with its own aesthethics. Instant film also fits perfectly into our rushy lifestyles-you can shot and get quickly a few photos having all their analog beauty and then set your camera into standby mode till next time. Yet you can still get a negative from your shots. The specific aesthetics of these negatives comes also from the fact that the negative is actually a superposition of a color and a BW negative, therefore the colors get quite muted. Fortunately, there are many many useful tutorials how to obtain a usable negative from Fuji FP film by just using common household bleach, that seemed to me pointless and unfair to make yet another tutorial about this very topic. It would be really just reinventing the wheel. But it's nice to remind about this hidden potential of instant film once in a while. Below, I included a video tutorial made by Sebek (YouTube user baldipl) which seems to me simple and concise to comprehend. And I thank him for his contribution to our community.

Sharing the information, photos or videos among the web is another issue and it just happens too often people just forget to give the proper credits when posting something on their own sites. It's not only unethical-we all know that-it doesn't pay you back such a misbehavoir. You can only lose on your own credibility, that's it. And makes someone else (the proper author) angry. Be nice and fair to others and others will be nice and fair to you.

Coming back to reclaimed negatives-I thought it would be a good point anyway to show how important is to NOT allow the bleach to come in contact with the emulsion side-it will bleach your image too, and you'll get a "nice" magenta cast in the negative (green in the positive image). Below is my very first bleached negative and the inverted image (without corrections).

Reclaimed negative shot on the light table. Bleach leaked underneath on the emulsion edge and also spilled near the truck's front end. The result are green stains (magenta in the negative).

Last but not least, I must confess-the negative on the light table has been shot using my small and handy Philips HD camera. Yes, I have some "digital sins", I confess :) I bought it because is water and shockproof, portable like a cell phone and makes videos of acceptable quality, for example instructional videos. The photo quality leaves much to be desired, but for descriptional purposes only is good enough. I think it will be a good tool helping me with the blog. And paid it only about 110 €. I just try to be conservative with the digital gear. If I'd be a bit more conservative with the analog gear, probably it wouldn't hurt, too. But that's another story.

Mitja

Film Matter: Kodak, what's next?

We have already became accustomed to various news from Kodak. Some time ago, they stated film manufacturing is one of the few remaining profitable sectors. Then, they said they will discontinue slide film production, but will keep the remaining film product line alive. Then the last news is they intend to sell the film business simply because they need to clear their 660M$ debts. I think Kodak behaves much like a ship without compass. How much of this misbehavior is due to Antonio Perez' leadership is another question and not the most crucial one. But it is very sad if we should witness the final decay of such a glorious brand and more importantly, their excellent line of film products! In case they sell the film line, we can only hope they sell it to a responsible owner, taking care and advantage of their glorious emulsions like TriX, Ektar, TMax and others! And the bottomline question: are you ready for the next news from Kodak?