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Farewell Medium Format

and thanks for all the frames

in Film , Tuesday, July 14, 2020

It’s all change at snowhenge headquarters. I’ve recently divested myself of all medium format film cameras, but also all unessential digital stuff which I have acquired over the years. There is no question that I truly love the look of medium format film, especially Kodak Portra 400, but also Fuji 160NS and Kodak E100. But the problem is that I have never found a medium format camera that really works for me. The Bessa 667 III is a beautiful camera which works extremely well - but it has a 50mm equivalent lens, which has never been my thing.  Then there’s the Linhof 612PC. Maybe if I’d bought it 20 years ago, it would have been different, but my 4 year experiment with hasn’t yielded much. It’s a fascinating device, but it is just too cumbersome to use. A big attraction for me, coming from the XPan, was the 8mm fixed shift lens. But the problem here is that it is a positive shift. I usually need negative shift. No problem, you can turn the camera upside down - it even has a tripod socket on the top plate. But unfortunately you can’t fix the viewfinder to the bottom plate, and accessing the lens controls upside down is a recipe for disaster. In most scenarios I get into, it becomes a very unenjoyable experience. On top of that, despite the huge real estate on the body, Linhof contrived to create a design where no known Arca plate could be fitted (to be fair I don’t think removable plates existed when the camera was designed, but still…).  So I had to use a neolithic screw fitting tripod head.  And finally, unless one is very, very careful, the 612 film winding mechanism has a very nasty habit of overlapping exposures. On top of that, the 58mm lens flares badly. I hope the new owner finds it more amenable than I did - at least I sold it at a fair price.

So that’s it - apart from the Hasselblad XPan, I’m out of film.

This does actually carry on with what I wrote in an earlier post: “what is dawning on me is that by and large for me shooting film is mainly about finding something to point the camera at, whereas shooting digital is about wanting the photo”. I’m more sure than ever that this is the case for me.

But it’s not even just film. I’ve also sold off my Sigma sd-H, with its lead-lined lenses. It can produce great results, but again, it is very cumbersome, and it only works in very specific lighting situations. I never found a niche for it. My idea was that it would extend the scope offered by my Quattro dp0, but in the end it didn’t: it doesn’t offer the portability of dp0, and the Art lenses, while excellent, are not as good as the dp fixed lenses. So the dp0 stays, but the sd-H is gone. So all that remains is a two-body Olympus OM-D setup, with a generous number of lenses. Oh, and the Ricoh GR, which earns its keep.

All this sell-off (which went very well, and very painlessly via ricardo.ch rather than eBay) has generated a quite reasonable pile of cash. I have imposed a rule on myself that by and large I’m spend no new money on camera gear.  New has to be paid for by old. In this case, the cash hasn’t sat around for long, and my latest acquisition, which I’ve been dithering about for years, has just been delivered and is waiting to be opened. It’s by some margin the most I’ve ever spent on camera gear (the record so far is probably the XPan, which with all lenses must have come to around €4000).

But more on that some other time.

 

Flip Flop

indecision strikes again

in Film , Friday, November 22, 2019

Hello? Anybody still reading this stuff? Not that I’m writing anything…  So, I had a mega post ready to go a few weeks back, with the title “Everything Must Go”, and the content was exactly what the title said. I was putting up for sale all my film cameras (Hasselblad XPan, Linhof 612 and Voigtländer Bessa 667), and getting out of film. My main motivation was (is?) to reduce clutter, both physical and intellectual, and to use only tools which enable a painless workflow, so, in my mind as it was two weeks ago, digital. And to be more precise, Olympus digital - I had decided that my experiment with the Sigma sd H was a failure, but I would hold off a little before putting that on the market as well (the dp0 Quattro is here to stay though). I still had a few rolls of film either out for processing or about to go, evidence of my very half-hearted, token engagement with the medium in 2019.

And then the processed film came back…

B667 2019 09 03

So, a photo of nothing much really, but my oh my, that Portra 400 look is just so luscious. There’s no better way to capture that southern Italian light (Bessa 667).

Xpan 2019 02 14

This was supposed to be a farewell, rattling through half a roll of Ektachrome E100 so that I could take it out of the camera before selling it.  And then I saw the result… oh, and I forgot to put the centre filter back on after cleaning it resale, giving a trendy vignetted look (XPan II).

L612 2019 02

This is the least convincing. Well, the location I’d set out to photograph turned out to be the location a couple had chosen for a romantic picnic, so I was really scraping the bottom of the barrel here. Still, those Fuji 160 Pro greens….  And, unfortunately, the 58mm lens flare (Linhof 612PCII).

So I’m back on the fence. On top of all this, it seems I could be giving up film just at the wrong time (typically), if reports on Kodak ramping up production and Fuji bringing back colour film are accurate.

Actually a secondary motivation was to just maybe raise the funds to buy a Hasselblad X1D Mark II. But then I downloaded some raw files from that camera, opened them up in Lightroom, and to be honest, the only major difference between them and Olympus OM-D files are that they’re bigger. Far off detail still breaks down into exactly the same unattractive mush as for the Olympus (neither film nor Sigma Foveon do this). There might be a touch more dynamic range, and just possible more subtlety in colour gradients, but we’re still not in Kodak Porta territory. Far from it. And the cost, especially of the lenses, is just ridiculous for some amateur dilettante like me. Anyway, we’ll see.

Same goes for film. Right now I don’t have any immediate use for it, but I guess it is probably best to leave that particular bridge unburnt, for now.

 

Too Many Photos…

...far too little time

in Photography , Sunday, October 20, 2019

I really did promise myself this time: I’d keep things under control, be disciplined, and bring home a manageable number of photos. I’d only take the shots worth taking, not the maybes, and absolutely not the documentary shots,. I’d only shoot under good light. Etcetera, etcetera. So, what happened ? In 8 days shooting in East Greenland, I managed to bring back 2837 photos. Totally ridiculous. In my defence, the location - the fjord system south of Scoresbysund - is the photographic equivalent of a family-sized box of Sprüngli chocolates. Every location is better than the last one, and the first one is better than the last. And when the weather is cooperative, which to my tastes it was, even if it wasn’t quite Wagnerian enough for some, well there are killer shots in all directions at all times. So, maybe 3000 isn’t too unreasonable. Certainly it is way under the count that some of my companions racked up, but still, for me it is close to unmanageable.  On my first edit I’ve managed to knock it down to 696. I need to get down to at least half of that before I can even consider to start serious processing.  On the other, I think I’m being quite ruthless in my choices, which means that the overall quality is pretty good.

Drm 2019915 EM1S6593

The bulk of my haul was taken using my pair of Olympus E-M1 cameras, a Mk1 and a Mk2. Both performed faultlessly and were perfectly happy to be left outside cold and sometimes wet conditions. When not in use they hung from a peg of the sailboat’s forward mast. Without a doubt they’re tough cameras. The image quality is generally fine too, although I still find that at times distant detail gets a little too mushy. And there’s no getting away from the noise issue: personally, for landscape work I think 1600 ISO is the absolute limit, and you need to get the exposure right. I guess 1 stop more is just about acceptable in exceptional cases, but the shot really needs to be worth it. Low light is not a comfortable place for these cameras. In other situations, say street photography, you might get away with ISO 6400 - maybe. But anyway, most of the time I’m close to the base 200 ISO, and in any case, this is just the part of the deal. On the other side you have very portable, superbly built cameras and absolutely top notch lenses.

Speaking of lenses, being very restricted on weight I was very strict with myself on which to take. The 40-150 f/2.8 was non-negotiable.  The 12-40 f/2.8 is its natural companion, so that came too. And I decided to being the 7-14 f/4 wide angle, even if in the past it has been of more use as a doorstop than a lens. The highly versatile 12-100 f/4 was going to stay at home… until the very last moment, when I wrapped it some clothes and threw it into my duffel bag. So, my Lightroom statistics make interesting reading:

Greenland stats

...over half of my photos were taken using a lens I only packed as an emergency backup, and at the last minute. Actually the 12-100 is widely held to be an exceptional lens, but ever since I dropped mine in Venice and had to have it fixed, I’ve had the impression that it is a bit soft on the left side. But I’ve had it thoroughly checked by Olympus Pro Service and they say it is absolutely fine, so I guess I’d better go and my eyes tested again.

So, next comes the processing, and I have no doubt that I’ll be back down the rabbit hole of which software to use in no time at all. For rating and selecting, I really have nothing to beat Lightroom, and since it synchronises to mobile I can do a certain amount of editing away from home. But for processing, although Lightroom is pretty good, I never can stop wondering if there is something better. Certainly Iridient Developer can extract an ever so slightly better rendition of the Olympus raw files, but it too has its limitations.  No selective editing for a start. Photoshop, of course, can pretty much do anything, if only you can remember how to do it. The new version of Exposure, X5, now has what looks like very comprehensive luminance masking, and this allows highly selective refinements to texture, for example, a long way beyond Lightroom’s masking capabilities. But then again, Lightroom has the new Texture tool which is really nice. And Exposure, at least up to X4, has really dreadful sharpening tools.

So, the sensible thing to do, which I will try my best to stick to this time, is to stay in the Adobe stack, with Lightroom as the main tool, Photoshop for refining my top selection, and in a few cases Iridient to do the raw processing. Even within those boundaries there’s enough scope for dithering to last 100 lifetimes.

This then ties in with another decision I have (nearly) made, which is finally to put an end to my my parallel use of film cameras. I’ve come to realise this is just getting in the way of me creating satisfying photography. I’m not saying that digital is better than film: both can and do produce excellent results, and the choice really should depend on what you want to do. And I’ve come to realise that what I want to do is better served by digital. To quote myself in a previous post, “for me shooting film is mainly about finding something to point the camera at, whereas shooting digital is about wanting the photo”. In other words I’ve got a bunch of film cameras I feel compelled to use, but these days either I cannot or do not want to use them in pursuit of my main photographic objectives. Part of the problem is that the nature of air travel has changed so much these days, making travelling with film cameras, especially big heavy ones, a real pain, and other part is that film really is beginning to get expensive. Digital and Film require two very different workflows, both time consuming, and time is something I never seem to have enough of. I need to rationalise if I’m ever going to get anywhere. So, it is looking pretty likely that my XPan, Linhof 612 and Bessa 667 will be going up for sale soon.

Then finally, maybe, I will concentrate on photography.

Drm 20190914 P0Q0883
 

Medium Dilemma

end of the roll?

in Film , Wednesday, August 28, 2019

This time last year I was fully into a major return to film photography.  In fact I hardly made any digital photos for the whole summer. Things like the reintroduction of Ektachrome (albeit late) and the ArsImago LabBox (ditto, very) were galvanising, as was the new (in English at least) dedicated film photography magazine, Fotoklassik.

And now? Well, so far I have just about managed to finish one of my 5 rolls of first batch Ektachrome E100, and I struggled to shoot a total of 4 frames (plus 1 screwup) of 120 film. I’ve just stopped finding film photography, and film cameras, particularly motivating. Instead I now find them clumsy and heavy, and the whole end to end process unwieldy, unreliable and a massive timesink. And although it’s certainly just me, I’m not finding the content of Fotoklassik very enthralling. The LabBox arrived but so far it has just sat in its packaging (actually I did shoot two rolls of the Ars Imago 320 roll film that came with it, to try out developing. The first ended up as a fat roll, the first I have ever had, ever, in my Bessa III. So that’s a great introduction to the world of Ars Imago).

Drm 20190505 P5050555

Film not dead in 2019

What is dawning on me is that by and large for me shooting film is mainly about finding something to point the camera at, whereas shooting digital is about wanting the photo.  There are a few exceptions, in particular when it comes to using the XPan, but to be absolutely honest I think the last time I wasn’t forcing myself to use it was in Antarctica in 2012. I did use it somewhat extensively in Calabria last year, but it was a bit half-hearted. And I can still remember just what a pain it was carting a full XPan kit along with DSLR around Argentina and Antarctica. I can’t see myself doing that again - or maybe I can, that’s the great thing about being indecisive!

There are some glimmers of renewed motivation from my first roll of E100. It does look very good indeed, seems to have slightly wider exposure tolerance than E100G, and the same slightly muted neutral colour balance I like. And I still enjoy using the XPan, which for quite some time was my primary camera. But can I face packing it up and carting it all over the place? With boxes full of film in hand baggage? I’m far from sure. These days it needs to compete as a second system with my Sigma sd H, and honestly, that’s a competition which is most likely to have no winner. The Olympus stuff is much less cumbersome, and at least as if not more competent in most scenarios.

Drm 20190505 P5050554

Film service industry is big business in 2019

Still, I have two imminent trips. The first to Puglia in Southern Italy, and actually for that film really does work, in the shape of Portra 400 in my Bessa 667.  The next is Scoresbysund and nearby fjords in East Greenland. For this the Olympii are already packed: two bodies and three pro zoom lenses = 6kg, which is pretty remarkable. The question is, is this enough (well of course it is) or should I add either the XPan kit, the Sigma sdH, or even a kind of hybrid of the two, the Sigma dp0. This time last year the XPan would have gone in first, and I’d probably even be rationalising about taking the Linhof 612.  Now… I’m inclined to just accept that simple is better. And film, actually, isn’t simple.

Xpan 2019 01 10

XPan / E100 in 2019

 

 

35mm camera clearout

Once they’re gone, they’re yours

in Film , Thursday, November 29, 2018

I’ve decided to trim back on my film camera collection, and I’m offering for sale a “vintage bundle” of 3 compact 35mm cameras, a Ricoh GR1s Date, Olympus XA, and Minx 35ML.

All three are, in my recent experience, in working order, as follows:

Ricoh GR1s
The top place LED has lost a lot of functionality, so some settings are not shown.  However they still work.  The camera switches on fine, the lens extends, auto-focus works, film transport works. However the film transport is a little noisy, and I Dom’t honestly remember if that is normal. Unfortunately Ricoh GR film cameras were never particularly robust or reliable, and what few perfect ones remain fetch crazy prices.  Basically, it still takes photos. I’ve owned the camera since new, and it comes with box, leather pouch and original manual (and original price sticker of £299, which was pretty expensive in those days…)

Minox 35ML
In my opinion this is actually the best of the three, an absolute gem. The camera works fine, the only issue is that the ISO dial on the bottom plate has lost a lot of its paint (actually it seems it was some kind of adhesive film) so you have to guess (a bit) which position is which.  It’s not a big issue.  The meter works fine.  Owned since new, nut unfortunately the box and manual have gone astray.  Bonus - a spare S28 battery is included. Shows an expiry date of 2017 but should still be fine. These are very hard to find.

Olympus XA
Full working order, the rangefinder patch might be a little faded from its new condirion, I’m really not sure, but it is still quite visible. Of the three this is the one which has had the most use recently, for example when trying out the new Ferrania P30 film. Comes with its accessory flash. This one I bought secondhand as a back up a very long time ago.

All three have clean optics and no fungus, etc.  And all three have acquired the odd scuff mark over the years, but nothing dramatic. These are working cameras, not display cabinet queens.

I’m offering all 3 for CHF 120 (or US$ 120, it’s about 1:1 right now) in Switzerland or CHF 150 posted to anywhere in the world, payment via PayPal. Not for sale individually.

To the best of my knowledge the above descriptions are correct, I absolutely don’t want to rip anybody off, but please note, they are offered at-risk, no refund or return.

IMG 5224

IMG 5229

IMG 5225

EM520007

EM520008

EM520009

EM520006

Minox bottom plate

 

 

 

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