Welcome back, dear reader, to another delve into the Film Archive from before this wonderful blog that I know you enjoy reading so much. I appreciate being able to share these photos with you in the hope that they may not only please you but also offer insight into an older form of photography, one where concerns about overheating or battery life were minimal. I want to demonstrate how it is still possible to achieve great results with any camera and that the main quality in your photography comes from you, the photographer.
Earlier this year, I was there with my Canon 6D Mark II, but today, we’re revisiting my visit from September 2016. At that time, I didn’t have my Canon, but I did have the Olympus Trip 35 with HP5 Plus film from Ilford. I used that camera quite a lot that summer and continued to use it in September. I might just have to dig it out of my camera cupboard and use it again. Constraints and minimal kit often lead to more creative decisions—just think back to my UK trip, where I only had my X100F with me.
Let’s start with the camera. It’s a small but gorgeous camera designed for the mass market in the 1960s and was still being produced in the 1980s, which attests to its appeal among casual photographers. With relatively few controls, it’s pretty foolproof. I can adjust the film ASA setting, and the selenium cell housed with the lens takes care of the rest, whether it’s aperture or shutter speed. The famous red flag appears in the viewfinder when the camera senses insufficient light. All I need to do is set the focus zone.
I must have bought mine around 2015 or 2016, and it was quite affordable at the time—no more than 50€. It was an iconic camera then and still is today, but as the supply of these cameras dwindles, prices have increased. You can now expect to pay 100€ or more, with some models even reaching nearly 200€. It remains a great camera but might be a victim of its own success, along with sellers’ optimism and greed. Buyer beware—shop around, and you might still find more accessible prices.
As for film, prices have also risen, especially for Kodak film, but Ilford remains affordable, as do Kentmere, Fomapan, and Rollei.
I’ve travelled the same road numerous times, and it always brings me a certain sense of peace. I tend to stop off at familiar spots along the way, and those of you with an eagle eye will recognise some of these locations from other photos in this blog.
But why go to Noirmoutier? Firstly, why not? It’s just over an hour’s drive from my home and is a popular destination for many locals from the Vendée. The island now suffers from overtourism, which has certainly changed its character since 2016. Efforts have been made to manage the flow of tourists, with improvements such as parking, pedestrian zones, clearly marked hiking trails, and numerous bike lanes. It’s a beautiful part of the world, so typical of the Vendée Coast with its pinède and long beaches. However, not everything is about tourism. The island is also renowned for its salted butter made with salt from local salt marshes and the famous potatoes from Noirmoutier. Additionally, there’s a small fishing fleet, as well as the fleet from Le Port du Bec in the neighbouring Beauvoir-sur-Mer.
Is film photography too expensive? Think again! Many assume that shooting film is a hobby reserved for the wealthy, but it doesn’t have to be. With the right approach, you can enjoy the unique aesthetic and creative process of film photography without breaking the bank. In this article, I’ll share my personal experiences and tips for saving money on film, developing, and gear, proving that the joy of film is accessible to everyone.
Often, even the tiniest things can spark a desire to write. In the infamous world of internet comment sections, people can have different opinions—a good thing, as it makes us reflect on our own positions. It challenges our perceived wisdom and questions us in ways that can be disarming. What’s obvious to me might not be to someone else.
I was talking to an Australian lady, likely of my generation since our photography journeys started the same way—with film. Except this lady has gone fully digital, keeping her film cameras as a reminder of her film days being over. Less hassle, less expense, less stress, and less “faffing about,” she said.
At first, I was taken aback. I love the film aesthetic in my photography. I like the predictability of film grain, as opposed to digital noise. But most of all, I’m in love with the process. I love the slower pace of film photography—none of this “spray and pray” nonsense. I appreciate how I become more mindful when shooting film, as each shot counts. I like the way an old film camera looks around my neck. And as the internet meme says, “I know about photography. I’ve been initiated into the exclusive circle of purists.”
The lady talked about the prohibitive prices of film and labs, which, let’s be honest, is a valid point.
Costs of Digital vs. Film Photography
I’ll talk about my kit and initial outlays compared to my film expenses. I bought my latest two digital cameras in late 2017 and 2018. My X100F cost around €1400, and my Canon 6D Mark II around €1200. I spent about €300 on a teleconverter for the X100F, and I probably have about €2500 worth of kit for the Canon, including speedlites, lenses, and filters. Then there’s the Fujifilm XT2, bought second hand for €400, with a couple of lenses totaling around €500.
This kit, though older, works well and is largely sufficient for my needs. As mentioned in my article “I Want It, But Do I Need It?”, I’d like a Leica, but do I need one? Would I refuse one if someone gave me one? Heck no! You can see the results throughout this site, and the images are great.
Let’s move on to film. Yes, if you love that Kodak Portra look, you’ll be spending a pretty penny. I have a certain nostalgia for the days when the prices hadn’t doubled. But—and this is important—not all film photography has to be done using Kodak Portra. There are more accessible films, especially black and white, that cost less. A roll of Fomapan 100 costs me around €5.50. So for less than the price of a pint of Guinness, I can get 36 shots. For a little more, I can go with Kentmere or even Ilford black and white film. I still have one roll of Portra left and a pack of five Tri-X medium format rolls.
Developing at Home
Ah, but then you have to send them to a lab to be developed. Again, a valid point. The cost for developing colour film where I go is less than €7 per film. I’ll share a little secret: I invested in a kit to develop my films at home. It cost about €140 initially, but now all I worry about is buying the chemistry. Yes, €30 for a developer seems steep, but I can develop 16 to 24 films with a bottle, depending on the dilution. I also invested €250 in a film scanner to produce digital files for editing.
Collecting Film Cameras
You might have noticed that I’ve talked about film but not film cameras. I started collecting a while back before hipsters raised the prices in the secondhand market. The most I paid for a film camera was just over €100, and the cheapest was €15. These film cameras are generally solid, and the lenses are great. The technology, though a little less modern (understatement of the year!), still works, and older cameras don’t even need batteries. And even those that do, the batteries last for ages. None of this “Do I have spare batteries for the X100F?” nonsense.
Each shot is taken on a brand new “sensor,” compared to shots on a digital sensor. And less dirt gets onto this sensor.
The Joy of Film
Don’t get me wrong, I love digital photography for its convenience and spontaneity. I can see my images right away and get instant feedback and gratification. With film, that gratification isn’t instant. You have to be patient and wait, but for people of my generation, that might be infuriating, it’s something we grew up with and accepted. I continue to accept it.
I enjoy using a machine sometimes older than me, knowing the image quality will be there. I know that with a certain film, I’ll get a certain result. I like the slower pace. If you visit the Film Photography page or the Film Archive page, you can decide for yourself if it’s worth the hassle, the expense, the stress, and the “faffing about.” I think it is, and I maintain that film has as much a place in photography as it ever did.
The Future of Film
Does film have a future? I think it does. Leica has relaunched the M6, Pentax has the new Pentax 17, and Kodak has the Kodak Ektar H35. The disposable cameras of yesteryear are still being produced and it has become the fashion to us them at weddings for that affordable yet classic look of film. Film photography continues to be popular with Gen Z and millennials. Case in point: my 25-year-old son nicked one of my Kodak Retinette 1B’s and a roll of film. I suspect my daughter might have her eye on one of my film cameras, too.
One thought came to mind whilst answering one of comments with the person saying that they “will never go back.” I am old enough to remember when microwaves fist came out. They were sold to us as being thoroughly modern and machines that could do everything so quickly and conveniently. Except they couldn’t. For certain tasks on the kitchen they are wonderful and far exceed the way we “used” to cook. But they can’t do everything. They have their place in the kitchen. And will always will do. But a slowly simmered boeuf bourguignon that infuses its odours through the kitchen will always have a special place in my heart. Much like using film to capture my images…
Sometimes we can have a tendency to ignore our habitual surroundings as photographers. In this series of photos from the film archive, I’m going to show you part of the route I use to go to work. What is ordinary to one person might be an pastoral idyl to somebody else. It only goes to show that there is beauty everywhere in this world and one of our roles as photographers is to document it for future generations.
My wife, bless her, has always said that my black and white photos have a timeless feel to them, be they in the city or out here in the country. I think that using film, especially this grainy HP5 Plus, even shot at box speed, adds to that sentiment. The fact that I used Rodinal as my developer might have accentuated the grain too. Also don’t forget that this is the beginning of my return to film development so I might have been a little vigorous in my “agitations” whilst developing the film. I now use mostly Ilfosil 3 and lower grain film, and have brought a little more “calm” to my “agitations.”
The camera that day was the FED 5 rangefinder camera from Ukraine. I’ve talked about it before, and although I mainly use SLRs, I still feel guilty about not using it more. It’s a beautiful camera and I don’t want it to feel neglected. I might just have to correct that soon.
I lived just outside Paris for 7 years before moving out to the country in 2001. The change in ambiance was startling. I went from blocks of flats to village life in the French countryside. I went from riding the metro, and suburban Parisian trains, to learning to drive though this beautiful landscape. Driving through this scenery still gets me every time I get into the car. I wonder what I’ll see. I see the changes in the fields and countryside through the seasons.
I want you to promise me, Dear Reader, that you will take a closer look at your route to work, and maybe I can convince you to record it too for prosperity. Don’t worry about film or camera, even just using your phone will do the trick.
Welcome back to the film archives. Today I’m going to share some photos of the first reel from my “new” Canon AE1. Well, not new, but certainly new to me. The Canon AE1s were produced between 1976 and 1984. It is one of those iconic cameras and at the time I must have paid about 50€. When I say iconic, I really mean iconic. It is a shutter speed priority camera using Canon’s FD lenses. I used it an awful lot that summer. I liked it so much that I even bought a second one that I ended up giving to a photographer friend.
Colour
To some people of my generation they represent their first cameras, and were so popular. Talking of popular, the photographs from this part of the archive are from the very popular and photogenic town, Clisson. Also you will have noticed that the photos are in colour. Which only goes to show that not all film photography is black and white photography.
Clisson, as you can see in the photos, is one of those beautiful French villages that oozes Gallic charm. It also exudes a certain Italian charm, and is known for its Italian style architecture.
Canon AE1
I have both a Canon AE1 and AEI Program. The AE1 is the big brother of the AE1 Program, and doesn’t have a program mode, but as you can see from the photos it still works a treat.
Feature
Canon AE-1
Canon AE-1 Program
Differences
Release Year
1976
1981
AE-1 Program released 5 years after AE-1
Exposure Modes
Shutter Priority AE
Shutter Priority AE, Program AE
Program AE added to AE-1 Program
Metering
Center-weighted Average
Center-weighted Average
No difference
Shutter Speeds
2s – 1/1000s
2s – 1/1000s
No difference
Viewfinder Display
LEDs
LEDs
No difference
Film Speed Setting
Manual
Manual
No difference
Self-timer
Yes
Yes
No difference
Depth of Field Preview
Yes
Yes
No difference
Motor Drive Compatibility
Yes
Yes
No difference
Other Notes
First Canon SLR with microprocessor; revolutionary for its time
Simplified controls for easier use; appealed to wider audience
AE-1 Program aimed at beginners and enthusiasts
As you can see there’s not a huge differece between the two. The major difference being the Program option, and the other allowing for easier changing of the ASA film sensitivity setting.
On the day in question I must have parked just next to the river and concentrated on this picturesque area. You can see the castle, the bridge, and the river, all making for a peaceful spring moment.
I think the film was Fuji Superia, and I just wanted to use colour. Thetones are slightly muted and warm, and the flowers, trees and plants were just screaming out to be photographed. I remember the excitement of loading the film into this “new” camera, and the novelty of simply using an iconic camera.
Here is what fuji tells us about the film:
FUJICOLOR SUPERIA X-TRA400
An all-round general purpose, high-performance, high speed color negative film delivering truly fine-grain. Superb for snapshots or action, in low light with flash, outdoors or indoors. Ideal for general use with compact zoom lens cameras.
Excellent skin tones For beautiful, clear people-shots.
Fine grain Great results even when enlarged.
High-speed Superb results, whatever the shooting conditions.
Sensitivity and Film Sizes ISO : 400 Film Sizes : 135 : 36 exp.
When using digital, it’s so difficult to get that particular film look, and using film and an older camera just changes your whole outlook. The fact of not having your image straight away leaves you with that anticipation that we all used to feel when we sent off our films to the lab.
Give film a try. There are still cheap film cameras out there, and your photography experience will be totally different. I certainly appreciate it.
Introduction In the world of film photography, the choice of film format can significantly impact the results you achieve. Whether you’re an aspiring street photographer or simply an enthusiast looking to explore the world of analog photography, the decision between 35mm and medium format can be crucial. This article explores the major differences between these two formats, helping you along on your photographic journey. As we dive into this discussion, it’s essential to understand how the choice of format can influence your work.
1. Understanding the Basics Let’s start by establishing a foundation. 35mm photography is the more common format, known for its accessibility, ease of use, and widespread availability. It is the standard format of film. However, medium format photography offers distinct advantages worth exploring.
2. The Key Differences
Image Quality and Resolution: The most noticeable difference between medium format and 35mm photography lies in image quality and resolution. Medium format film, with its significantly larger negative size, captures an significant level of detail and clarity. The larger negatives provide ample room for precise rendering of textures, fine lines, and intricate patterns. This translates to stunningly sharp and highly detailed images, ideal for both professional work and fine art photography. If you’re aiming for prints that capture every nuance, medium format is the way to go.
Aspect Ratio: Another significant difference is the aspect ratio. 35mm film typically yields images with a 3:2 aspect ratio, while medium format cameras typically offer a square 1:1 aspect ratio. The square format can be a creative boon, pushing photographers to rethink composition. It forces a balance between the vertical and horizontal aspects of your subject, a characteristic reminiscent of the iconic street photographer Vivian Maier, who frequently used a TLR camera. The square format encourages unique framing and adds an artistic challenge to your photography.
Depth of Field: Medium format allows for a shallower depth of field compared to 35mm. This means that it’s easier to achieve that sought-after background blur or bokeh, perfect for portrait and street photography. With a well-executed composition, your subject can pop against a beautifully blurred backdrop, making them the focal point of the image.
Size and Weight of Equipment: In terms of portability, 35mm cameras have the upper hand. They are compact, lightweight, and ideal for street photography where you need to be quick on your feet. Medium format cameras, on the other hand, tend to be bulkier and heavier due to the larger film format and the associated optics. This makes them better suited for planned shoots where image quality takes precedence over convenience.
Cost of Film and Development: While 35mm film and development are more budget-friendly, medium format film comes at a higher cost. When using the 6×6 format you will only have 12 images per roll of film. This of course makes every shot count. If you are stressed out about messing up a shot on 35mm film then your anxiety will shoot up to lunar levels with only 12 shots. But remember what I have said earlier, no shot is wasted and every shot is a learning experience. The enhanced image quality, detail, and artistic potential make medium format film worth the investment for those who prioritize the final result over the upfront cost. If you’re planning to produce gallery-worthy prints or pursue a professional career, the expense can be justified.
Flexibility and Convenience: 35mm cameras are known for their flexibility and convenience, making them well-suited for capturing quick shots or candid moments. They’re also readily available, and film processing is more accessible. In contrast, medium format cameras require a more methodical approach, ideal for planned and deliberate photography. The process is slower, encouraging you to carefully consider each shot and compose it meticulously. This added effort can lead to more thoughtful and deliberate photographs.
3. Street Photography with the Pentax ME Super and TLR Influence Vivian Maier, a renowned street photographer, serves as an inspiring example of how camera choice can shape your photographic style. Maier favored the TLR camera, a medium format model known for its distinctive qualities. Her use of the square format and unique perspective have left an indelible mark on street photography.
I want you to think about the fact that a TLR is hanging around your neck at tummy level or even waist level, so the way of looking at your subject will automatically affected too.
If you’re looking to explore street photography with a Pentax ME Super, remember that the compact 35mm format offers its advantages for candid, on-the-go shots. However, Maier’s work reminds us that the choice of equipment is a personal one, and there’s no one-size-fits-all answer.
4. The Mamiya C220 Review: A Medium Format Marvel As we venture further into the world of medium format, the Mamiya C220 beckons. Just as Vivian Maier chose a TLR for her street photography, other photographers have found success with medium format cameras like the Mamiya C220. In my upcoming review, I’ll explore the features, benefits, and considerations of this remarkable medium format camera, guiding you towards your next photography adventure.
The Induction to a Higher Level of Photography When you make the transition from 35mm to medium format, you’re stepping into a higher echelon of photography. If you think that 35mm film is great, you’ll be enthralled when you see your images taken by a medium format camera. The level of detail and depth of field that medium format offers is simply unmatched. It’s like upgrading from a standard screen to 4K resolution for your photography. Every detail comes to life, and the depth of field adds a whole new dimension to your work. It’s a revelation that will leave you wondering why you didn’t make the leap sooner.
The 35mm format photo captured on the Pentax MS Super. The “standard” format of film photography. The one we all know.
The square format common to much medium format photography with a 6×6 format. I’ll let you look at the differences for yourself.
The lenses for each shot was a 50mm lens for the 35mm format film photo, and the 80mm mm lens for the medium format photo. However, both lenses are equivalents.
Conclusion In closing, remember that there’s no definitive answer to the question of 35mm vs. medium format. It’s a matter of personal preference and artistic vision. Both formats have their merits, and your choice should align with your goals and the style of photography you wish to pursue.
Stay tuned for the Mamiya C220 review, where I’ll delve deeper into the world of medium format photography, and consider the impact of the TLR on your creative journey.
The journey of film photography is full of exciting choices, from your film format to your camera model. Vivian Maier’s legacy reminds us that every camera has its unique personality and that your creative vision should be the driving force behind your choices. Whether you decide on 35mm or medium format, your camera is your artistic tool, and the world of film photography is yours to explore.
IJM Photography 