Thursday, January 19, 2012

Everything old is new again...again

Funny thing about reusing titles. I've never had to do it... until now. There are certain things that apply well to a title. To give the article context and intent, all while generating interest with only a single sentence. So re-using such an apt name for this post is quitecentially what it will be about.

There was a time in my life, where I lusted after everything new and shiny. Canon was bringing out a new L lens? I must have it I thought. The funny thing was however I never considered the context in which it was to be used. Perhaps I was too young, too much a novice in the realm of photography. But imagining that 70-200 2.8 on my Digital Rebel XT was almost more than I could bare. Never mind the fact that it was a telephoto, I wanted it. I suppose now it is a better thing that I have spent so much buying random cameras for my collection. Although they are not all used on a regular basis, they pointed me in a direction that I would one day realize I wanted to go.

I look at it like getting a new suit. You try on the jacket, make sure it fits right in the right spots. Then the pants, and do the same thing. Take it off, try on a different size or get it adjusted to you. This was how I was with cameras. trying new ones out all the time, getting the right fit for me. Did I want pinstripes? Navy? Perhaps I wanted to get a courdory jacket with the patches on the sleeves (full disclosure I have two of those). But in the end I didn't realize the exact suit I wanted, no did I have one that fit correctly. But it worked well enough for the one time out of the year that I would use it.

So then the problem came of what to do with my old suit? I didn't wear it much anymore, it was starting to get dated. And I had the opportunity to get a fine tailored one. These were the questions I began to ask myself about 3 weeks ago. When details of the Fuji Xpro-1 first started to emerge. it looked to be a wonderful camera. One that might actually get me to use my digital more. It had the right form factor, a nice new set of electronics thanks to new technology. And if it was priced right I would be very interested. The problem was prices started to pop up. And they were much more than I expected. But here I was with the mindset that I was finally ready to let go of my Canon dSLR gear. And nowhere to go with it. So my mind wandered, and came back to the same question I was asking myself a year ago?

What if I went all film?

I had pondered it a lot, at the time I was already shooting mostly film. But part of me just couldn't let it go. It was my only real camera that was a serious investment. I had scrimped and saved to get enough pennies to build myself a somewhat respectable kit of gear. But that gear sat and sat and sat. During 2011 I used it (other than snapshots) one time. Once. No matter what it is if you only use it one time during the year, it may be best to let it go.

This mentality finally hit me hard when earlier this week I wandered into Pro Photo Supply here in Portland Oregon. Although I feel as though many of my tales posted here start this way, this one has a happy ending. Sitting inside the case were 4 cameras that had caught my eye. 4 Leica cameras, an M3, M4, and two M6s. I had always lusted over the M6, especially in black. It was the camera that I thought I would never be able to look at in person. Let alone touch. The kind of camera that dreams are made of, and when a 17 year old kid is developing his first roll of film in a high school photo class... It is the camera he is thinking "someday, someday maybe I will be able to own a tool like that". And then here I was, staring two of them right in the face, and all I had to do was ask to hold them.

But even after doing that. It still felt like a pipe dream, on the drive home I thought could I really do it? This would be a large tradition for me. Really committing to the art and going the direction I had wanted to go inside, but still felt as if I needed the digital to get work and advance as a photographer. But I had one more stop to make on the way home. A smaller camera store in Beaverton called Advance Camera. I cannot speak highly enough of these guys, their work is truly fantastic. I've mentioned them before in the blog but it never hurts to bring them up again. As I walked in I gazed, checked out the Leica M2 that they have had for some time now, and talked it up with Jordan behind the counter.

We had often chatted about what we were doing photographically. I mentioned my prior thoughts and asked him off the cuff if they would be interested in my digital gear. He threw a price at me I thought was fair, so I took it home and sat on it.

It was then that curiosity got the best of me. I watched videos, read reviews, looked at pictures (both of and from the camera) and lusted over a fine crafted piece of machinery such as this. I walked up, went to my closet, grabbed all my digital gear and boxed it up ready to go back to the store then and there. But I didn't, I sat back down and looked at it again. This was going to be harder than I thought.

The next morning arrived and it was still sitting beside my desk. I glared at it as if the gear itself was the problem. Not my inability to make a decision. I went back into my usual slouch, thinking to myself of all the good times I had with digital. Shooting family portraits, taking quick snapshots of my photography gear. Geeking out over the latest sensor specs. But I looked at the digital display sitting before me and realized it had nothing of what I wanted, or do want to get from photography. Because it is about passion, and passion is what drives you to work better, longer and harder. Improving yourself as you go along. I use film to improve, using the digital would be taking steps backwards. It was sad, but time for it to go.

Fast forward to today. A nice black Leica M6 classic is en route to my house. I also grabbed a Jupiter 12 lens to throw on it in the meantime. I know I'm not getting the best out of the camera by using a nice lens, but it will have to suffice. Besides, I have other things to get me along. I just published my first book through blurb, a photographic journey shot on film through 3 short days in Boston, MA. I used one camera, because that was all I had. Next month I will be going to Seattle, WA for 3 days and intend to do the same thing. Use one camera with one lens, not because it is all I have. But because it is all I want to use.

Monday, January 16, 2012

The Marathon Camera

I said in a previous blog that I wasn't much a fan of Lomography cameras. I should rephrase that. I'm not much a fan of Lomography cameras... unless they do something really quite interesting. Now that isn't to say they aren't all interesting in one way or another. Lomography has done a fairly good job at putting out one camera with one specific purpose. So when a camera came out who's sole job was to go wide. My interest was piqued.

I'm a late comer to this camera. I understand that. It isn't that I had intentions of jumping right on this either. There were more important things to buy. I mean when you can pick up a QL17 Giii for $15 (more on those cameras in another blog) it is hard to say no. However the Christmas season came around and I found myself wondering what I could want for Christmas. My film fridge was already packed to the brim, and my camera closet was close to topped off. I could fit one more in, one small guy. The Lomography La Sardina camera.
Image courtesy of Lomography.com 2011


For those living under a rock I'll fill you in with some knowledge juice. The La Sardina is a camera from Lomography. Released in June of 2011, it features a wide angle 2
2mm lens. Fixed f/stop of around 8, and a fixed shutter speed of 1/100th of a second. Pretty standard fare for Lomography. It also comes in 10 different color schemes. You read that correctly, 10. Could you imagine of Canon or Nikon did the same thing? Why that would be almost as crazy as... well Pentax. They started with 4 colors, all based on sardine cans and featuring fish of some sort. Then they added the brass editions. Two cameras made of... you guessed it. Brass. And most recently the pattern edition cameras. Same camera, only features inspired designed such as houndstooth. Mine is a pretty green with a boat on the back.
Image courtesy of Lomography.com 2011


Lucky for me, I got it. But in all honesty wasn't sure how to use it. That isn't to say I didn't know an f/stop from a bus stop (photography humor) but more where it would fit in with my shooting style. Too wide for street, doesn't let in enough light for indoors, it seemed to best be fit in places as obscure as the camera. So I grabbed a roll of very expired film, Ilford XP2 to be exact. I had no idea how this film was stored. I grabbed it from a flea market for free. It had a nasty crease coming out of it but it loaded up just fine and I thought to myself "Lomography, that's why."

I took a quick drive into the rural area near where I live. It's strange how quickly around here it goes from metropolis, to suburbs, to nothing. Getting a feel for this camera is like asking Mario Andretti to get a feel for a Geo Metro. It weighs nothing, the shutter provides zero feedback. I actually had to open the back of the camera and test fire a few times to make sure the shutter actually fired. Side note on that, make sure the lens is extended and locked into position or the shutter won't fire. While the collapsable lens is cool, it is kind of gimmicky. The viewfinder is rather poor as well and serves more to poke your retina than to let you compose.

Nate Matos 2011


And when I got out there it felt even worse. Like I was holding nothing, nothing seemed to look right in the viewfinder. I was bummed, aren't these camera's supposed to spark creativity? Make you look at the world in a different way? So far I wasn't convinced.

Nate Matos 2011


But I used the cameras strengths as my own and looked for things I wouldn't normally be able to capture. Things that were far apart, things that were alone. Things that stretched far and wide. And it started to come together. I was getting better at anticipating how things would look and feel through the wide eyes of this camera. Slowly this camera became a joy to use. I was getting low, high, close, far (and any distance that isn't covered by those four terms). Snapping away freely without a care in the world as to what would come of it. This was what Lomography was all about. Sure the viewfinder is a load of shit, and I'd feel more satisfaction from stubbing my toe than pressing the shutter. But it wouldn't matter in the end. Because the thing to take away was I had a fun time using this camera.

Nate Matos 2011

I got the photos back from the developer and they were toast though. The camera had torn through the sprockets in many places, developer had stained the images leaving weird sponge like impressions. Some of the images were so bad the lab refused to even scan them. So I did it at home. These images in this blog are straight off the camera, no removing of lint, cleaning up, sharpening, contrast etc. The only post processing I did was applied the sepia filter. As it fits Lomography styled images really quite well.


In the end, this is a strange camera. And yet one I see myself using quite often. It is fairly small, as the video shows roughly the size of an iPhone. So I don't feel burdened throwing it into the camera bag and bringing it out every once and while. It isn't a camera that asks for much in return. Just a roll of film every so often, a tap of the shutter, and a warm smile when you see the images it creates.

Sunday, January 15, 2012

Everything old is new again

The last month of doing my 365 project tore me up inside. It was frustrating and on a daily basis I flipped and flopped between what I wanted to do come 1/1/12. It was a monumental day for many reasons, let us not forget that it may very well be our last one on this earth if the Mayans have anything to say about it. But it also would mean my deciding to continue or to stop shooting every day.

On the one hand I would be excited to leave. Often times it was something very stressful, worrying about not only if I would be able to shoot one in time but if it would be any good. I know the point isn't to create a masterpiece every day. But to simply use your camera. Even so, when the photo was bad I would lament over even posting it. Sending me into a photographic depression and not updating the 365 project blog for days. But when the images were good, they were great. Working to get that perfect image on imperfect film was a challenge. And jumping over the hurdles required to get something fantastic made victory all the sweeter.
And yet when it came down to it, the strangest part would have been actually to just let go. It seems strange to say that about a project. Projects in themselves are conceptual and even if completed are still just an idea. So letting go of an idea pulled at me for quite some time.

In the end however, I made the decision to go at it again for 2012. Only with a minor tweak...
I'll be using Polaroid film as well! I had so much of it lying around that it didn't seem fair to let it sit and be destroyed with time. So may as well get it out of the way this year. And maybe by the time I run out of it and my stockpile of Impossible film, they will have come out with some even greater stuff to play with so I can finish off the year.
In the meantime however, check out this video of my 2011 365 project!


Here's to a great year! Follow the Polaroid 365 project blog at:

www.the-365-project.com

Wednesday, December 21, 2011

Ilford Pan F+

I have heard a lot of good things about this film. I have seen a lot of good images from this film. I don't see where it's coming from. Don't get me wrong,and 50 speed film is bound the be finicky and take some getting used to. So I shouldn't expect the world from my first roll. Also let me preface by saying that my first roll probably wasn't in the best camera. I used my Lomo LC-A. Why I did this? Who knows, it has a 50 setting on it and I hadn't used it in a while, so it seemed like as good a reason as any.

But what I was left with when the film was pulled off the spool, was a grainy (very grainy) image. These shots look like they were used in conjunction with a 400 speed film. And as a matter of fact I wish I had used a 400 speed film. It would havelet me have a little more fun with the shutter speeds and not have to worry so much about the low light situations I encountered.

Anyway, onto the images!

The Kiss - Nate Matos 2011

Underpass - Nate Matos 2011

Untitled - Nate Matos 2011

The Birds - Nate Matos 2011
If someone happens to find this, here are the specs for how it was developed. Perhaps I was using the wrong setup and that lead to all the grain. I'm not ready to give up on this film yet!

Developer: Kodak HC110 dilution B for 6 minutes at 68 degrees F.
Camera: Lomo LC-A
Scanner: Nikon Coolscan IVED with Vuescan

The Trichromial Era

I have known about this process for a long time. It came about in my studies of photography techniques of the 1800s. Reading about how the first color images were developed, no using color film. But rather 3 layers of black and white film. This is oneof those things to me that seems so ingenious, and yes so simple. I'm sure if Photoshop was around back then it would have come about much quicker once someone accidentally clicked onthe "channels tab" and realized that all color images are made of 3 different black and white channels that provide the color information. One red, one green and one blue. Sound like the RGB color space we are all so familiar with?

Paddys - Nate Matos 2011

The process is actually rather simple. Out in the field with a tripod mounted camera loaded with black and white film you shoot three frames of the same thing. However, each image will have a different color filter in front of it. And here we go back to the RGB. Once these images are processed you can then scan them and let the fun begin!

However, they didn't have photoshop, rather a projector. Once the photos had been taken, each image was projected onto a screen through the color filter it was shot through (red for red etc.) These three projections were then lined up forming a color image! But, we do have photoshop, so hold off on buying those three projectors for a minute because things are a bit easier today.

Park - Nate Matos 2011

I won't go into the whole process, frankly because it is quite lengthy, and also I have already talked about it including showing a step by step process of how it is done in this Youtube video I made!




If you watched that and now are clearly an expert in how it is done! Then what are you waiting for? Go out and shoot. But if you'd rather look at a few more examples why not scroll down?

Waterfront - Nate Matos 2011

Waterfront Tree - Nate Matos 2011

All images shot with a Canon AE-1, Canon 28mm 2.8 with Kodak Plus-X film developed in HC110.

More Tri-X @ 1600

I am discovering now what many photographers have known for years. Tri-x is a great emulsion for just about anything. Shoot it at 400 or 800, the development time is the same. Push it to 1600, just add on a few more minutes. The grain at 1600 is also unlike anything I have ever seen. So smooth and tight (insert sex joke here) that even 400 speed film of other varieties struggles to keep up. Just look at these scans!

Gated off - Nate Matos 2011

Busted - Nate Matos 2011


The contrast, tones and feel are in one word stunning. I really like playing around with different film speeds, emulsions, developers and scanning options. But this combo has me wanting to stop. The grain is just slightly higher than some Neopan Across I have shot! Tri-X, you've got yourself a customer for life. That is if Kodak doesn't go kaput anytime soon.

Both images were shot with a Voigtlander Bessa R, Canon Serenar 50mm 1.9 lens with Kodak Tri-X pushed to 1600. Developed in Kodak HC110 for 16 minutes @ 68d egrees F.

Wednesday, November 30, 2011

The wonders of the internet.

I found this note tucked away in the case of a FSU Fed 1. The camera was purchased with a few others in an auction lot that I'll admit I got hosed on. But after the regret had passed I was actually able to look at the cameras that were a part of it without feeling bad for myself. Part of this included a semi-restoration on a Fed 1 from 1937. The shutter speeds work, however the rest of the camera has seen better days and the rangefinder doesn't work at all. But while going through the case I noticed that there was a little pocket on the back flap. Inside was this note!


So I scanned it into my computer (obviously) and uploaded it to Flickr. Adding it to a few rangefinder and FSU camera groups hoping that someone could translate it for me. I had my suspicions that it was an exposure chart. Sure enough I was right when Flickr user No Security was able to decipher the code!

From the top row it reads:
Shooting Conditions | Shutter speed - aperture

With the row right below that telling us the ISO of the film.
32, 64, 125, 250

In the left Column it says:
Daylight
Bright sunlight, snow
Sun through the haze
Light clouds
overcast

Artificial
Bright
Dark
Very dark

So thanks again to No_Security, I didn't need to know any of this. But its so cool that I do! Knowing the note was probably written before this camera came to the states is enough of a "neat" factor that I almost want to get the piece framed. It just isn't all that often you come across something of this variety, and it gives me a connection the the person who (possibly) purchased the camera new nearly 80 years ago!