FILM PHOTOGRAPHY

Interview: Danielle Wrobleski

“I like having a set number of photos I can take; it really makes me focus on what I want to shoot and how to make each exposure count.”

JM – Tell me a bit about yourself.

DW – My name is Danielle Wrobleski. I’m a film photographer located in Milwaukee, WI and I have way, way too many cameras.

JM – Why do you shoot film?

DW – I tripped into film photography just over three years ago. Before that I really didn’t know anything about photography at all, so I really learned photography by shooting film. It’s what I feel most comfortable with, and beyond that film just fits my style a lot better than digital. I like having a set number of photos I can take; it really makes me focus on what I want to shoot and how to make each exposure count. I also just love the look of it. I love getting physical negatives, scanning them into my computer, and seeing them come to life. The colors and style I get out of my film photos have a lot more life to them than any photo taken on my DSLR.

JM – How would you describe your style?

DW – I guess I would say it’s a bit of a mish mash. I like to shoot a bit of everything from landscapes to architecture to night time.

JM – Has your style changed since you first started photography? If so, in what way has it changed and what brought on that change?

DW – When I first started shooting photography a few years back I really mainly focused on shooting nature and landscapes. I love hiking so bringing my camera along on outdoor adventures was most natural to me when I first started shooting. Since then as I’ve learned more about framing and composition I’ve expanded into more urban settings and now I like to hunt out interesting and unique scenes around my city too.

JM – What is your favorite film? Camera?

DW – This is tough. Right now I’m really digging both Lomo 100 and Portra 160. I love a lower ISO film, and both of these fit the mark really well. Sharp as knives and very minimal grain. Plus the colors on both are gorgeous. As for a favorite camera, I don’t know if I can pick from my big collection! But I do feel most drawn to my Bronica ETR at the present moment. It’s just everything I want out of a medium format. I love that I can get 15 photos to a roll. Plus the lens is just gorgeous, and it’s the perfect weight, not too heavy to be able to walk around with unlike some other medium format cameras (coughmamiyarb67cough).

JM – How many cameras do you currently have? Do you find yourself often buying, selling, and/or trading cameras?

DW – I have somewhere in the vicinity of 40 cameras, maybe just slightly more. I’m not buying them *too* often. I think I only bought three in all of 2020. I quickly amassed my collection of 40 when I first started shooting because I would stalk my local thrift stores and snatch up anything I could find. When I first started out I just loved experimenting with different cameras and learning about what they could do. I haven’t parted with any yet – I’m not sure if I could. I’m very sentimental and each one reminds me of a different part of my film journey.

JM – What is a personal goal you have for your photography?

DW – I have a handful of disjointed, unrelated goals. I’d like to start being more creative with my photography. A lot of what I currently shoot is just typical scenes around where I live. I would like to branch out and do more double exposures, experimental films, etc… I would also like to do more portraits and self portraits. Additionally, I just want to document the moments of my everyday life more. I’m worried one day I’ll be 60 and look back and realize I have no photos of my regular life. So right now I’ve made it a mission to capture one black and white shot everyday. Whether it’s just the beautiful view out my living room window, making dinner, or having game night. I just want to capture more of the life moments I love with the people I love.

“The more and more people I meet in this little [film] world the more amazed I am with how friendly and outgoing everyone is. I’ve met so many amazing friends through this community I wouldn’t have otherwise and I feel incredibly lucky to be a part of it.”

JM – How often do you shoot medium format? Do you have a preference between 35mm and 120?

DW – I definitely reach for medium format much more than 35mm. This is the total opposite of like a year or so ago. I find myself feeling more and more comfortable with 12-15 shots per roll. I feel like frequently I’ll start a roll of 35mm and get halfway through it and just peter out. Then I’m just doing throw away shots to finish up the roll, and that annoys me. Plus not to be too stereotypical, but I just love the detail and resolution of medium format.

JM – What is your favorite shot you’ve ever taken? What’s the story behind it?

DW – I think one of my favorite shots I’ve ever taken is a night time shot I captured this past summer of an illuminated door framed by an overhanging tree and fence in the foreground, shot on Ultramax with my Nikon N80. It was my first time ever shooting film at night and I couldn’t believe how well the photo turned out. The fence is just a regular chain link fence, but with the darkness of the night it makes it look almost purple and the green from the tree turns the door and light into this eerie green glow. It’s perfect.

JM – What do you see for the future of film photography?

DW – I really hope it keeps growing! And in my heart I think it will. Film has been around for over 150 years and people keep coming back to it. As I said before there’s just a life to film that I don’t think we can ever truly leave behind. Sometimes it’s hard not to worry when you see headlines like Fuji Pro 400 going away, but I really think film companies are noticing this is more than just a blip and eventually things will start picking up.

JM – What is your favorite part of the film photography community? Do you think that attribute exists only with the film community or does it extend to digital photography community as well?

DW – I love how welcoming and supportive everyone is. I’ve been on Instagram for a year and a half and I was initially very worried to launch my page because I was scared people would think my photos were stupid but it’s been the complete opposite. The more and more people I meet in this little world the more amazed I am with how friendly and outgoing everyone is. I’ve met so many amazing friends through this community I wouldn’t have otherwise and I feel incredibly lucky to be a part of it. As for digital, you know I really can’t say. I don’t shoot digital all that often and don’t know too many digital shooters to be quite honest. But I do wonder if there’s something about the film process and the sentimentality of it that brings people closer together.

You can see more of Danielle’s work below:

Interview: Han Phan

“Shooting film feels more immersive and all-encompassing: I can’t just rapid-fire shoot a roll of film; everything takes forethought. It’s challenging but that’s what makes it fun and when you get a great shot, it makes shooting on film so worthwhile.”

MH – Why do you shoot film?

HP – I’ve only recently started shooting film about 2 years ago. Prior to that, I had a Canon 5D Mark II and Sony A7iii and had been shooting digital since high school. I now exclusively shoot film and made that decision because I absolutely love the challenge of and results from film photography. Shooting film feels more immersive and all-encompassing: I can’t just rapid-fire shoot a roll of film; everything takes forethought. It’s challenging but that’s what makes it fun and when you get a great shot, it makes shooting on film so worthwhile.

MH – How would you describe your style?

HP – I don’t think I have a style yet. I shoot neighborhoods because these are the streets I walk daily so I want to preserve via photographing them; I shoot portraitures because I want to try to capture human rawness; and I shoot landscapes because it’s beautiful. It’s really whatever catches my eye, but absolutely no definitive style.

MH – Has your style changed since you first started photography? If so, in what way has it changed and what brought on that change?

HP – Yes, definitely. I started out with point and shoot cameras: Contax T2, Olympus XA (pretty much p&s, at least how I was using it), Minolta Espios, etc… and I would use them like they were digital cameras. Basically, just walking around and aimlessly taking photos of everything and anything, which basically was me taking photos of nothing. And by that, I mean there wasn’t a purpose behind my taking those photos. They meant nothing because I was just excited that I was shooting film and wanted to get through a roll for the sake of finishing a roll. Things are very different nowadays because I know what I like to photograph. It takes me weeks to finish a roll of medium format and a few months to finish a roll of 35mm. I think that’s due to my slowing down, seeking out subjects to photograph that won’t feel like I’m shooting just to shoot, and I’m happier with the results I’m getting due to this.

MH – What is your favorite film? Camera?

HP – Favourite film in 120 is undoubtedly Portra 400 because it is consistent and for 35mm it’s Colorplus because it’s just as good as Portra but (was) more affordable. And currently, my favourite cameras are the Mamiya 7ii and the Pentax 67ii. Get back to me in a month because I am just starting to shoot with my new (to me) Graflex Series D 4×5 camera and I think that might be my favourite once I see those huge negatives.

“It’s strange, but it isn’t so much what a photograph LOOKS like, but what it makes me feel. The photos that resonate most are the ones that evoke a feeling of awe/surprise/anger/joy/whatever or ones that are able to depict an entire narrative in just a single shot.”

MH – Is there a camera you thought you’d never part with but ultimately did? If so, why did you part with it?

HP – The Leica M6. I think I pined for it for a good month, a friend found one for me for a great deal, I bought it, used it… and I absolutely did not enjoy it. Don’t get me wrong, the ergonomics are cool, it is sleek and such a timeless camera, but it didn’t make my photos any better than my Nikon SLR’s or even my Leica M5 (which, at the time, was a third the price of the M6). I sold it within a month of owning it. Then a few months later, I picked up another one to give it a second try. Same results.

MH – What is a personal goal you have for your photography?

HP – I want to be able to make a zine I am proud of and that means something to me. And I want to be a paid film photographer; I want my work to be good enough that others think it’s worthwhile to hire and pay me to make photographs of/for them.

MH – What do you look for in a photograph? Is what you find compelling in a photograph different when it’s one of your photographs compared with a photograph taken by someone else?

HP – It’s strange, but it isn’t so much what a photograph LOOKS like, but what it makes me feel. The photos that resonate most are the ones that evoke a feeling of awe/surprise/anger/joy/whatever or ones that are able to depict an entire narrative in just a single shot. I could only wish even one of my photos could affect someone.

MH – What is your favorite shot you’ve ever taken? What’s the story behind it?

HP – My most favourite photo I’ve made is of my mom. I shot it on the Mamiya 6 last year, pre-COVID. I only get to go home maybe three or four times a year, and this was during my summer visit. Right before I left, I shot this photo of my mom and it isn’t even anything great but she’s beautiful and the love of my life and the fact that I got this candid shot of her makes me very happy so it’s my favourite photo.

MH – What do you see for the future of film photography?

HP – There is a huge resurgence. It’s been ongoing for years, but maybe its resurgence isn’t as linear as it has been and more exponential. But my outlook is kind of bleak: cameras are super expensive now (ie: Mamiya RB67 and Mamiya 645 this time last year was HALF the price), Kodak just raised its film prices for the second time this year, the expired stuff will eventually run out so there’s still a ton of film stocks a lot of people won’t ever get to shoot (I’m looking at you, $100/pack FP-100C), etc. However, it is so much fun and anyone who shoots film is so immersed in the community (lifestyle?) will never give it up regardless of these things, and it’s super cool to see more people engaging in shooting film. I hope I am entirely wrong and companies like The Impossible Project invest in the future of film and revive it via new, affordable film cameras and film stocks.

MH – What is your favorite part of the film photography community? Do you think that attribute exists only with the film community or does it extend to digital photography community as well?

HP – I absolutely love how the film community is so supportive. Everyone I’ve met has been nothing but kind and informative and willing to teach an amateur like me. It’s so overwhelmingly positive. I’ve also made some really great friends from it: there are two dudes I talk to at least once a day who are the realest/coolest guys, and we met through the film community. There’s a group of women from all over the world I’m in a groupchat with and we do nothing but uplift one another and give advice, film related or not – it’s beautiful. This community is the coolest thing I have ever been part of and I think this sort of thing exists anywhere in some capacity.

More of Han’s photos can be seen below

Review: Kodak Gold 200

Kodak Gold is hands down the best color negative film that is only made in 35mm. It’s got a bit more grain than the Portra films. If overexposed, it’s light and airy while if shot at box speed outside of direct sunlight, it can get the punchy colors similar to that of Ektar. At the time of writing, it costs $13 for a 3-pack from B&H which is an absolute steal considering how much other 35mm films costs and just how good this film is.

Color

Truth be told, I do struggle to really pin down a consistent color palette with Gold because of just how much the saturation changes depending on whether it’s shot at box speed or whether you’re shooting in direct sun. If it is at all shady or if you’re shooting at dusk, the colors are quite rich and very saturated, however, if you’re shooting at high noon the colors are quite muted and very lovely. It may well be my favorite color palette of all the 35mm color negative film stocks.

Portraits

Because Gold is only offered in 35mm, it doesn’t get quite the heavy rotation for intentional shooting that other films get but because it is so cheap, I definitely go through it and have taken many photos of Dr H and friends here and there. It doesn’t really blow me away for skin tones but it does an alright job. In reference to the above statements, I don’t know that I’ve really given it a fair shake in all kinds of different lighting situations (at least not intentionally) which I suspect would play a large roll in how the colors come out.

Pushing/Pulling

I’ve not done any pushing or pulling with this film and I don’t know that I ever will. At the time of writing, my 35mm game has almost exclusively been my F100 with my Tamron 45mm and the flexibility of that lens to shoot at 1/20th of a second without even a bit of camera shake is practically a miracle. As such, I have no real need of pushing film and so long as I continue to lazily get my film processed at the local shop (which doesn’t do any pushing/pulling), it’s not something I really see myself doing anymore.

Conclusion

If this film was any more available (it’s often on back order) I would say that it would hands down the best 35mm film. It may well be so even with its limited availability… If you haven’t picked up a few rolls, you should definitely do so.

Interview: Jason Hunter

“I like the tactile feeling of shooting with film cameras. Whether that’s the clamshell on the XA, or advancing the film and cocking the shutter on the RB67. This is something that can not be found with digital cameras.”

Jason is a film and digital photographer who co-operates Restore From Backup, a film photography specific hub account on Instagram. Jason first reached out to me out of the blue and started off by saying we had a common circle of photographer friends and he couldn’t have been nicer. Since then, his work has inspired me to see buildings and cars in different ways than before.

JM – Tell me a bit about yourself.

JH – I’m from Chesapeake, VA, a pretty dull little suburb between Norfolk and Virginia Beach. I’ve lived here for the majority of my life and have no plans on leaving. I’ve been married for ten years, and we have three cats and no kids. My life is pretty quiet, and that’s exactly how I like it. Also, I really love Math Rock and coffee.

JM – Why do you shoot film?

JH – First and foremost, it’s the community. I’ve been photographing things for a good while now; however, I never really got into it until I started shooting film. Also, I love mechanical things. I like the tactile feeling of shooting with film cameras. Whether that’s the clamshell on the XA, or advancing the film and cocking the shutter on the RB67. This is something that can not be found with digital cameras. Although, I wish they made a digital TLR!

JM – How would you describe your style?

JH – I’m not sure I have one, or I don’t know what to call it if I do. Honestly, that’s not a concern of mine. I like taking pictures of things that catch my eye. To some, that might seem counterproductive; however, I feel like it really helps me. I don’t ever want this to feel like work or feel like I have to shoot a certain way. I’m just having fun, and that’s what is essential.

JM – What is your favorite film? Camera?

JH – My favorite film by far is Portra at any speed, but I prefer 400. As far as my favorite camera, that changes depending on which day you ask me. I’m a firm believer that the Olympus XA2 is a perfect camera. However, my Rolleiflex 2.8C is quickly becoming my favorite camera. It’s an absolute gem of a camera.

JM – Is there a camera you’ve really wanted but don’t think you’ll ever have? Why do you think you won’t ever own it?

JH – I really want a Leica M6, but I don’t think I’ll ever own one. That’s because I’m not too fond of rangefinders. I’ve tried with a couple and can’t get into them. Partly, I think it’s because I have a hard time focusing with them. I know they are nice, but they’re not for me.

JM – Is there a camera you thought you’d never part with but ultimately did? Why did you part with it?

JH – My Olympus OM-4, I loved that camera mainly because I used to be a huge Olympus fanboy. I even sold my Canon 5D mk3 for an Olympus Micro 4/3 kit because I was an idiot. I sold my Olympus OM-4 when I switched to Nikon, but I really should have kept it.

JM – What drives you to photograph?

JH – The need to get out of the house drives me to photograph. Also, I need to create something or be working on something, and photography helps me with that. I’d be a lier if I said it wasn’t for attention as well, or I wouldn’t share my stuff on social media. However, I think that’s a good thing, in some regards, because it forces us to get out there and make new and better photographs.

JM – What is a personal goal you have for your photography?

JH – I want to make a book. I’ve never made a zine until this year, and know I’m hooked. Looking at them now, I already feel like I can do better, so I want to focus on making something special.

JM – What do you look for in a photograph? Is what you find compelling in a photograph different when it’s one of your photographs compared with one from someone else?

JH – I like lines and sharp edges. That’s what typically catches my eye first, so the vast majority of my stuff has some form of sharp lines or corners. However, this typically differs from what I like in other’s works. I like looking at other’s photographs for other forms of influence. Taking elements from them and trying to do it in my way. I love those, “Why didn’t I think of that?” moments.

JM – What is your favorite shot you’ve ever taken? What’s the story behind it?

JH – My favorite shot I’ve taken varies from week to week, but recently it was a photograph of an Auto Zone. I went in there to grab some windshield wipers. Walking out, I noticed the clouds with that sharp corner of the building, so I snapped a photo with the RB67. I didn’t overthink about it really, but when I saw the picture, later on, I thought this is pretty cool, mainly because it’s an Auto Zone. When I put it on Reddit and Instagram, it blew up, which is cool because other people saw what I saw in an ordinary Auto Zone.

JM – In what ways has your photography grown and improved since you started shooting film?

JH – Well, for starters, I’m not shooting everything at f/1.8 or making everything HDR. In the beginning, I thought things had to be complicated or out of the ordinary to be interesting. I hated where I lived because I thought there was nothing to photograph. Now, I’m pretty happy, just being happy with want I got.

JM – How often do you shoot with your digital camera?

JH – I shoot with my Fuji X-T4 just about every day. It’s always with me. I’ve started trying photos out with the Fuji and then coming back another day with a film camera. Honestly, I could see myself shooting digital a lot more in the future, and only shooting film a couple of times a year. I think it’s important to practice and know a camera, but it’s also essential to keep things fresh. So, for now, I’ll keep mixing it up.

You can see more Jason’s work below.

Franklin Park Conservatory: Shooting Fuji Pro 400H at 200

To see Fujifilm Pro 400H exposure tested and compared with several other film stocks, follow this link. To see a review of Pro 400H, go here.

While I had previously shot through multiple rolls of Pro 400H as can be noted in my review, I had yet to give it a fair shake metering exclusively at ASA 200. On a recent outing, I decided I would do just that.

As you may recall from my review on this film, I’m not particularly a fan. I don’t think it does a good job with skin tones on lighter-skinned people, I think it’s quick to get muddy shadows, and it’s a bit too contrasty without subtle transitions between the darkest part of the frames and lightest parts.

Shot at ASA 200, however, I must admit that these results of this roll have been very appealing to me. I very much look forward to heading back out again and shooting it again at 200. Perhaps I’ll even shoot it at 100!

I still look at this shot and find myself in love with the color. It’s so light and airy and perfect. This is what I imagined Pro 400H should look like from the beginning.

Interview: Florian Guillon

“[Film] is a medium that allows me to express who I am while doing the things I love: getting out, watching the people around me, and spending time in nature.”

Florian is a film photographer in France that I know through Instagram. He and I ordered our Intrepid MKIV-Black cameras nearly at the same time and have gone through the paces of learning large format photography together. His work has always been an inspiration and it has been an honor to get to know him better through this interview. His instagram can be found here along with the Instagram for Les Trois Bains (The Three Baths).

JM – Tell me a bit about yourself. This can be anything from what you do for a career or what got you into photography or anything else.

FG – I am a 28 year old attorney living in Paris, France. I started shooting film 3 years ago, and have shot it daily ever since. I have always been interested in art, however I am completely unable to paint or draw anything but stick figures! At one point I tried photography and I immediately knew this was the medium that would help me express my creativity. It is a medium that allows me to express who I am while doing the things I love: getting out, watching the people around me, and spending time in nature.

FG – I am also an active member of a French photographic collective called “Les Trois Bains” (the name is derived from the three baths of B&W film processing: developer, stop and fixer). It is a unique collective that wishes to help people discover (or rediscover!) the joy of darkroom printing and film photography. We aim to grow the Paris community of film photographers and darkroom lab and printing. Last but not least, it is a place where we can share our photographic work. Photography is by definition a very solitary process but sharing it and working together on a future project is very fulfilling since we can learn and improve from each other and hear very constructive criticism on our work – something that is kind of lost in today social media platform where praises are mandatory and critiques are perceived as offensive.

JM- Why do you shoot film?

FG – Like so many of the photographers of my age, I began my photographic journey with digital. I can barely recall shooting film before, except for a few disposable cameras (which film I never saw for some reason). A few years ago, I went on a trip to Scotland with my Canon Eos digital camera and came back with something like 4,000 pictures on several SD cards. I uploaded the 4,000 pictures into Lightroom and got bored with it. I saw the photos many times during my trip: via the LCD screen when shooting them, again when I was reviewing them at night, again on the airplane, and many times after that. But somehow it felt like these where just not what I was originally looking for. Because really, they weren’t good images – there was nothing inherently special about them. They were nothing but postcards of the remarkable landmark of the Scottish Highlands. I only wish I could have captured the very essence of my journey in Scotland, a place I deeply love.

FG – I had just exposed my first roll of HP5 a couple of days before I went on that trip but didn’t get it developed until several months later. I have to say, it was by far the best photographic experience of my life. Touching the negative, seeing it dry, and feeling the very softness of it in my hands was a very organic and physical experience. Holding a negative is something unique. The photographs on this emulsion you are holding are evidence of a past moment of your life. It felt like a revelation to me.

FG – I then recalled the experience of shooting that roll. I had to be very mindful of every exposure for I had only 36 of them to make. It considerably slowed me down. This different approach changed everything. Not only was I enjoying the process of shooting the same way I was with my digital gear (if not even more), but I also was living in the moment while shooting, not looking at the LCD screen of my camera checking for the correct exposure or composition. It was a real turning point.

JM – How would you describe your style?

FG – If you have a look at my work, you could say that I am a landscape photographer and that is partly true. Landscapes are what I mainly share on social media. Landscape photography is the “style” of photography that first helped me capture images that I feel inspire a feeling of melancholy. I am obsessed with that emotion. You could call my photographic journey a “chase of melancholy”. To be honest, however, landscape is a huge part of my work but it is not my main focus when it comes to photography.

FG – My main focus is about capturing moments of “everyday life”. I have the deepest respect for photographers that can document the life of people around them or the life in the places they live in a very unique way. Photographers such as Elliott Erwitt, Igor Moukhine, Alec Soth and other less well known photographers such as Pierre Lansac, Eloi de la Monneraye. My favorite of all Christopher Taylor (see “Steinholt” publisher: Kehrer) excels in doing this. As a result of my respect for these photographers, I am shy about sharing my work on this aspect of my photography. I have been working on a project for a couple of years now with which I would love to capture scenes of a place where life, loneliness, and emptiness cohabits. I will be sharing some images of that project with you here.

JM – What is your favorite film? Camera?

FG – For landscape photography, Ilford FP4 is my favorite film. I love the negatives I get from it, and it is a very easy film to be working inside the darkroom. That said, my go-to film is Ilford HP5. I love that this is a very versatile film that is easy to push or pull process. I should also give an honorable mention for Bergger Pancro 400 that is becoming one of my favorite films.

FG – As for my favorite camera, I will say the Hasselblad 500cm, because of its incredible built quality, everything feels so great with it. The Leica M6 (and its 50mm Summicron) is my go-to camera though. I love this camera as it does what it is designed for, shooting without having to care about your camera. I could forget that I have it in my hand when shooting with it. This probably explains why it is considered as one of the greatest camera designs of all time.

JM – When it goes to obtaining new gear, what qualities do you look for?

FG – Ease of use and sturdiness. That is why I am only working with a fully mechanical camera. No automatic settings, no electronics (other than the built-in light meter). I hate it when I am looking at a camera with some complicated settings and/or knobs everywhere. The simpler, the better.

JM – What drives you to photograph?

FG – My passion is to create art. Photography has become the most important thing in my life (along with sharing moments with my friends and family of course, and the best part is that I still shoot when sharing these moments with them). I think and live photography, yet it is not even my job. Though I should say it has become a second job because every spare moment of my life is now dedicated to shooting, processing, and working with Les Trois Bains.

JM – What is a personal goal you have for your photography?

FG – Being able to produce a cohesive body of work that depicts the society I live in. I do not care about making a living out of it in the future, this is no goal of mine. The project of Le Jardin du Luxembourg is not even close from being done but I will see it through and try to share it because I feel it has something to say about how we as humans are shaping places with the way we live in them and build places that are full of traces of our lives even when we have left these places.

JM – What do you look for in a photograph? Is what you find compelling in a photograph different when it is one of your photographs compared with one from someone else?

FG – An image should have meaning. A message. In an era where photography has mainly become a means to serve consumerism or to satisfy people’s need for entertainment, I think it is moving away from what it could or should even bring to our societies. What better way to capture what we are or what we could be than to show it in a photograph? What is especially exciting about photography, as in many other art forms, is that whatever style is chosen by the photographer, an emotion, a meaning, an idea or a purpose can be translated into the image. A portrait, just as much as a landscape photograph, can enable its author to capture an emotion.

FG – I always find the work of other photographers more interesting than mine because they often show reality or an approach to photography that is not my own. In this way, the work of other photographers acts not only as a source of inspiration for my work but also as a vector of interest for subjects I would never have been confronted with. Besides, I believe that I have a certain level of expectation of my work that I do not necessarily expect from someone else’s work. The work of another photographer always seems to me to be more accomplished than mine, maybe it is not the case, but there is surely some truth in that. Above all, it pushes me to look more and more in my work.

JM – What is your favorite shot you’ve ever taken? What’s the story behind it?

FG – This photograph is representative of these small scenes that punctuate our daily lives. It was taken while walking in a Parisian garden, on one of those weekends when all the inhabitants rush into the parks and gardens to enjoy the few rays of sunshine in an environment where nature is present (a rare thing in Paris). It comes from only my second exposed film. I can remember capturing it; this old lady was asleep while a small playpen is the main subject of this photograph. I only discovered the pregnant woman on the left in a second step, while pulling the negative. That said, I put this photograph aside at first because of its framing. I would have liked to get rid of that horrible trash can on the right side of the picture, but a few years later I finally understood that this element is an integral part of this scene and that this imperfection reinforces, in my opinion, the “authentic” character of this photograph.

FG – I do not know why this is my favorite photograph. It has a lot of imperfections -it is not the sharpest image of all and also probably not the most interesting, however this may be because of the juxtaposition of these people in amazing positions or the mixing of many generations in the same photograph that makes it very unique? Either way, I always have a laughing eye when I look at it.

JM – In what ways has your photography grown and improved since you started shooting film?

FG – In the beginning, I devoted myself entirely to the theory behind light metering so that I could not only grasp its subtlety but also apply this knowledge to film development and darkroom printing. And this is perhaps one of the biggest changes in my photography since I started working with film. Not only do I continue to create photographs, I work with all my photographs in the darkroom and no longer digitally (which I now only use for social networking and digital archiving of my negatives). One often hears that it is important to print one’s work which I rarely did when I was working digitally. Since I switched to film, I have been doing almost daily. I am now completely in line with this idea. Making a darkroom print offers intense satisfaction. This is not only because of the pleasure of being able to control the entire image creation process from shooting to printing but also because of the joy of being able to hold a long and demanding job in one’s hands.

FG – Last but not least, film photography has allowed me to understand that photography is an exercise that requires you to immerse yourself completely in this art form. Taking your time, again and again, starting over again. In an era where immediacy rules our daily life, where screens are omnipresent, film photography is a refuge. Finally, should I mention large format ? My oh my, this is very new to me, so I will assume I know nothing about it. But this is, in my opinion, a completely different approach to photography. And so far, I am enjoying it a lot. Forget everything you knew about patience. This will require you to work (hard), fail (numerous times), and do everything it will take to master your craft. I am convinced after only a few weeks that this allows you to go beyond your wildest dreams in terms of fine details and control over a camera.

JM – Do you have any advice for a film photographer looking to do travel photography?

FG – I don’t have any advice as such to give. I don’t feel legitimate in that sense. On the other hand, I can explain what my mistakes were and what I am now focusing on when traveling:

– Reproducing images seen hundreds, thousands, millions of times is a mistake. The chances you’ll capture a unique perspective of it are close to none.

– Concentrate on your own experience of traveling and try to capture the emotions perceived. The rest is not important. Photography has a unique ability to capture an image and memory forever. My favorite photograph I took in Iceland is of a handle of an old door that reminded me of a jewelry of my grandmother.

– Stay away from airport sensors and kindly request a manual check of your film!

– Finally, leave with enough film, but without overloading yourself unnecessarily. How many film cameras and lenses did I bring with me that remained in my suitcase?

More of Florian’s work can be seen below:

Interview: Brian D Smith

“Film is romantic. It’s timeless. It can be wildly perfect and simultaneously imperfect. I think this last sentiment is what I find most captivating about film.”

Brian is a wedding photographer who lives in Charleston, SC. His portrait work is absolutely stunning and clearly demonstrates a lot skill in shaping light. His work has pushed me to try new things with my photography. You can find his website here and his Instagram here.

JM – Tell me a bit about yourself.

BDS – I was born and raised in Ohio. I worked as an engineer for 2 years in Ohio before I moved to Charleston to work for Boeing. I spent 4 years there before I became disillusioned with working a desk job and I began to feel disconnected from my work. It was fulfilling and challenging, but I longed for something that was more deeply personal. Around this same time, I reconnected with photography and began pursuing weddings. I became consumed by photography. This feeling led to a swift realization that it was time to move on from my engineering career. I put in my notice, traveled the world, and began putting together the pieces of a photography business. This whole journey has been trial and error. I’ve figured it out as I’ve gone. I work really hard and have had a lot of successes, but I’ve had so many more failures and wasted energy on pursuits that haven’t provided any return. What hasn’t changed, however, is my love for photographing people. I never expected that an introvert would develop such a deep connection with portraiture and human connection.

JM – Why do you shoot film?

BDS – I initially started shooting film because I wanted to use my Grandfather’s hand-me-down camera. I pursued film professionally because it just seemed to be the thing that elite wedding photographers do. I have continued to shoot film because I’ve fallen in love with the process, the aesthetic and the tangible feeling it brings to my work. Film is romantic. It’s timeless. It can be wildly perfect and simultaneously imperfect. I think this last sentiment is what I find most captivating about film. Film handles imperfections so gracefully, to the point where they become something you appreciate in the work you just created. For me, this is where I find the most meaning in photographing people. Pretty photographs exist in plenty, but if you truly connect with a subject and capture their beauty, you capture them in their entirety – imperfections and all. Film feels like an extension and a romantic depiction of the complexity that is the human existence and personal beauty.

JM – How would you describe your style?

BDS – My style is a mix of sophisticated portraiture and gritty experimentation. I appreciate a well executed beauty portrait just as much as I do a conceptual artistic work. My style evolves a lot, and I still don’t feel like I have a good grasp of who I am as a photographer. As frustrating as that can be, I think that is what makes the pursuit so rewarding. At the end of the day, what I care most about, is that my work reflects me through my subjects. I want people to see my images and see my own depth, just as they see the depth of the subject being depicted.

JM – What is your favorite film? Camera?

BDS -My favorite film is Kodak Portra 800. I returned to the film stock this past year and completely fell in love. It so brilliantly tip-toes the line between refined beauty and surreal. I love the brilliant teal blues and the vibrant oranges. When I shoot Portra 800, I feel like the film stock is contributing so much to the artwork, then simply capturing the light from the scene. It feels like it is applying it’s own artistic interpretation to the surroundings. My favorite camera is my Leica M-A. It isn’t the easiest or quickest to use, but I am just so drawn to the mechanical feel of it. I think it’s beautiful, and it is the closest thing I have ever felt to a camera just being an extension of myself. I’ve probably owned about 20 film cameras and I still feel like I am on a quest to find the perfect kit. It also depends on what I am photographing, but here is a quick summary.

Portraiture/Documenting/General – Leica M-A + 50 Summilux
Studio Strobe Portraiture – Contax 645 + 140mm F4 Macro
Studio Portraiture – Hasselblad 202FA + 110 F2

JM -Do you prefer to take portraits in or out of the studio?

BDS – I much prefer the studio, honestly. Studio portraiture has been the most rewarding pursuit of my photography career. I love the outdoors and I love those dreamy backlit portraits, but I just hate location scouting. I really don’t enjoy it or the added stress of it. I feel like when I have too many other things to worry about, I don’t produce my best images. When I am in studio, I get a chance to slow down, connect with the person I am photographing, and build something from the ground up.

JM – What drives you to photograph?

BDS – I love just about everything about photography, but my greatest drive is building something that is fulfilling and rewarding for myself. I want to love the work that I do in life. I want to have an outlet for a voice and photography is the only thing I have ever found in my life that has even come close to that. I was a really good engineer, but I want to be brilliant at something.

JM – What is a personal goal you have for your photography?

BDS – I HATE defined goals – hate them. It was one of the biggest reasons I left engineering. I was tired of being chastised for not having a concrete 5 year plan. I’ve learned a lot about myself in my 3 years as a photographer and one of those is that I am a bit all over the place. I change what I want and what I want to pursue frequently. The closest thing I have to a goal, right now, is that I want to open a high end portrait studio and coffee shop. I want to marry my two loves and create a space that is welcoming, full of positive vibes, and an atmosphere that I truly want to live and work in. It’s an idea I haven’t been able to shake, and one day I know I’ll make it happen.

JM – What do you look for in a photograph? Is what you find compelling in a photograph different when it’s one of your photographs compared with one from someone else?

BDS – I tend to be more of the “I know what I don’t want in a photograph” type and that leads to creating something that I want. I see so much imagery every single day and, while it is all so beautiful, it all looks pretty similar. I am drawn to photographs that push creative boundaries and look like something I have never seen before. In this way I value the same things in my own work that I value in others, with one major exception. I take great pride in connecting with portrait subjects to make simple “character” portraits – portraits that capture the depth and breadth of a subject. While someone looking in from the outside might not be captivated by or inspired by the photograph, I know the personal connection that went into creating those photographs and I see so much of the subject reflected in the imagery. I value these images immensely and they are some of my favorite photographs. In a day and age where social media rewards consistency in works, it’s so hard to market a brand that produces clean portraiture and conceptual works. I can’t say that I have figured out how to do it yet, but I’ll never stop trying.

JM – What is your favorite shot you’ve ever taken? What’s the story behind it?

BDS – Man that’s such a tough question. I honestly don’t think I have a single photograph that stands out as a undeniable favorite, but this portrait in particular is special to me. This portrait was from the first ever successful shoot I had using film with strobes in studio, and probably the first time I have ever truly been captivated by expression in a portrait. It was perfection from the time I first laid eyes on it and I still view it the same today. The lighting, the colors and crushed shadows of the expired film – everything just seemed to work harmoniously.

JM – In what ways has your photography grown and improved since you started shooting film?

BDS – I have learned to appreciate grit and imperfection. This has been the biggest evolution in my photography journey. I recently revisited some 35mm photos from an Iceland trip 2 years ago. I shot them on portra 800 film and they are muddy and grainy, but with oh so much character and color. I remember not liking them when I first got the scans back because they didn’t reflect the perfect beauty that I always expected from film. Revisiting them now, they are my favorite travel photographs, and some of my favorite photographs in general. I think this appreciation for the imperfect has greatly improved my ability to tell a story and create images that are more feeling that perfection. I know the old cliché of “film slows you down” is a bit overused, but I find it rings true. I am more patient with film. I take less photos and get more usable images. I am more likely to experiment with film because I can’t immediately see the results of the experimentation and start tweaking every endless little variable. When you start to over analyze your experimentation, it starts to lose it’s enjoyment. With film, I think about what I am doing before hand and I just go for it. I can’t begin to tell you how many of my favorite images have been the result of film experimentation.

JM – Do you have any advice for a film photographer looking to get into studio portraiture?

BDS – Learn lighting! Don’t be afraid of complex lighting. Most studio work you see is natural light driven, and while beautiful, I tend to find it a bit boring. I am more drawn to drama, in both lighting and expression. Natural light is a great way to start to help you learn studio posing and how to communicate with a portrait subject in a studio environment, but there is so much more potential to unlock when you get creative with lighting. Keep it simple to start. Put a subject in front of a backdrop in a dark room (so you can see your light) and use an LED light. Move the LED light around to see where the light falls on the subject and find what lighting style you are most drawn to. My favorite photographers are fashion photographers from the 1940s through 1970s. They were masters of lighting techniques and shot everything on film. When I look at their works, they have unlocked so much more creativity just through lighting. Think about all of the beautiful natural light studio portraits you see, but how many of them truly inspire you? Does that image stand out from the rest that you see? It’s okay to start out simple, but always try and experiment. Always try new things.

More of Brian’s work can be seen below:

Review: Fujifilm Pro 400H

To see Fujifilm Pro 400H exposure tested alongside 10 other films, follow this link.

I have wanted so badly to like Pro 400H. My father picked up a Pentax Spotmatic back when he was in the service, living in Guam. Much like myself, he experimented with a lot of different film stocks to see what he liked best and eventually he settled on Fuji’s film over Kodak. To this day, he insists that Kodak still cannot mimic the beautiful blues and greens that you get with Fuji’s film. Though he exclusively shoots digital now, I still feel a bond with him over photography and film in particular. It’s because of that that I want to like Fuji’s fim. Being that Pro 400H is their flagship film, I really want to like it.

I do not like it.

Fujifilm Fujicolor Pro 400H was released in 2004. Today, Pro 400H is often compared with Kodak Portra 400, though it has not reached anywhere close to the same hype.

Color

I think that what I dislike most about Pro 400H is the color palette. It’s tough for me to put my thumb on what it is, exactly that I dislike so much. Tones that I know should be somewhat warm or outright warm are often made too cool for my taste and the saturation almost always feels like it’s cranked up too high for my taste. Through the years and attempts of shooting this film, I’ve started to wonder if in fact I’m just not shooting the film the way that it was designed. Every roll I’ve ever shot has been metered at 400 on the dot and again – I really don’t much care for it. Ive been told that it benefits greatly from being overexposed. That, much like each film in the Portra family, over exposure my a stop or so often leaves the film with a much saturated look.

Portraits

Though I’ve not used this film at all in the studio, I’ve taken portraits with it and I dislike all of them. I’m a fair skinned person and most of the friends I’ve photographed with 400H are fair skinned and all of us look ghostly white surrounded by dark and saturated colors around us. It’s not a good look. I shot through a roll of 35mm on a work trip to Orlando where I got a few frames in of a good buddy of mine which far from fair skinned and the shots look okay. Not good. Just okay. One of my favorite portraits I’ve ever taken are of the same person so I can’t help but conclude it’s the film.

Dynamic Range

As you can see from the exposure testing article, Pro 400H has an amazing dynamic range. Truth be told, I think it’s a good deal better than Portra 400. I actually think that it looks better overexposed 1-2 stops. It’s weird.

I don’t have too much experience with this film. To date, I’ve only shot through 6 rolls of it. As such, I haven’t got too much experience with it in extreme circumstances. At least not like I do with Portra 400. Given the fact that it is now a good deal cheaper than Portra in 120, there’s a good chance that I will be giving it more chances for exploration as we move into the summer.

Conclusion

I do not like this film stock. I wish I did – I just don’t. I’ll admit that I haven’t shot enough of it to really feel like I’ve been giving it a fair shot but I will sooner than later. I currently have plans to do an experiment somewhat soon to compare it with Portra 400 in a range of scenarios, shot in duplicate – one for a neutral exposure and one over exposed by 1 stop. Hopefully with some experimentation, I can find where this film would shine in my work.

Interview: Timothy Rhyne

“I approach all my work with a minimal frame set. Limited to focus on color pallet and simple composition. This framework allows for a exploration of color and specific focal points within storytelling.”

Timothy is a film photographer whose landscape work has been a big inspiration to me. The way he conveys movement, scale, and changing light is far and above where I am at with my landscapes. You can find his personal website here and his Instagram here.

JM – Tell me a bit about yourself.

TR – Growing up, my dad wouldn’t let me shoot on his digital camera until I learned how to use a film camera. As a high schooler, I wasn’t into that but ended up taking photography classes through the school. There I learned how to use a camera, develop and print black & white film. When I graduated, I was given a digital camera and didn’t pick up a film camera for a while. About two years ago I asked for my dads film camera (the same one I used in high school) and put a few rolls of Portra 800 through it on a trip to Washington. Up until that point I had never shot color negative film, and was blown away by the results. Since then I’ve let go of all my digital cameras and acquired a few film cameras. It’s been a super fun journey diving into the world of film and using old cameras. Film photography has become an important part of my process, and now I’m trying to find more ways to incorporate it into my professional work. Currently, I reside in Denver, Colorado as a Graphic Designer while I work to build a small creative studio focused on visual communication.

JM – Why do you shoot film?

TR – Film to me is a journey. It’s not a quick snap and upload in any way and is both predictable and unpredictable. Film requires you to first understand its history and processes. It has a way of connecting to different eras of work and time and presents itself in authentic ways. I have fallen in love with the learning and application that film provides in order to manifest an image.

TR – It is film that pushes the artist and tactical functions of the camera to produce imagery. For these reasons I shoot film.

JM – How would you describe your style?

TR – I approach all my work with a minimal frame set. Limited to focus on color pallet and simple composition. This framework allows for a exploration of color and specific focal points within storytelling.

JM – What is your favorite film? Camera?

TR – My favorite film stock is Kodak Portra 160 and I love shooting on my Contax G1 or my Fujifilm STX-2.

JM – Your colors are often so light, airy, and all around beautiful. Do you scan your photos? If not, do you know what kind of scanner the lab uses?

TR – I scan my film at home with an epson v550 and then use Negative Lab Pro to do all my negative converting. I will occasionally use my local Lab Mikes Camera who has a Fuji Noritsu.

JM – What drives you to photograph?

TR – Photography for me isn’t just about capturing the scenery or subject but the emotion they provoke. Capturing moments or places has become essential to my lifestyle. The medium itself drives me to share what I’ve created and I love building a collection of imagery that can represent a moment in time that can spark a sense of curiosity.

“Film has changed my outlook and approach to photography. I have noticed a shift in my desire to photograph certain colors and create dynamic images that emphasize the flexibility of film.”

JM – What is a personal goal you have for your photography?

TR – I’ve turned my sights this year to build a body of work that draws on my approach for landscapes into documenting people and life around me. I’ve been so attached to landscapes but have forgotten to capture and share what’s around me in my day to day life.

JM – What do you look for in a photograph? Is what you find compelling in a photograph different when it’s one of your photographs compared with one from someone else?

TR – I view other artists work very different than my own. Photography has a way of captivating something for everyone, and speaks to people so differently. For me I look for ways to imagine myself in the scene or try to think through how the artist framed the image. While there are also moments where I just admire the work.

TR – I find that the more I dive into others work, the tendencies of my own begin to shift. I see my own imagery beginning to draw inspiration from my favorite photographers and influence my style. I love that my style continues to develop due to the film community.

JM – What is your favorite shot you’ve ever taken? What’s the story behind it?

TR – This was the last frame on my camera as I drove out of Point Reyes National Seashore. I honestly didn’t even think the image would come out, due to shooting with Kodak Portra 160 and the heavy overcast. To my surprise it not only came out but captured the scene exactly how it felt. When I was leaving the park, the clouds were rolling in over the cliffs and creating a haze. The sun was poking through over the green pastures but the coastal waters seemed to fade into the distance. There was a sense of peace as the weather was changing slowly. This was one of my favorite moments from the trip to capture. It’s an image that I always come back to and love how it evokes the same emotion that I had while taking it.

JM – In what ways has your photography grown and improved since you started shooting film?

TR – Film has changed my outlook and approach to photography. I have noticed a shift in my desire to photograph certain colors and create dynamic images that emphasize the flexibility of film. My work has taken shifts in composition that has resulted in filling the frame fully , and become detail oriented.

TR – I have become more engaged with the community, and learned a ton about other photographers. I am very excited to see what the future holds for film and how my own work continues to evolve.

More of Timothy’s work can be seen below:

Review: TMax 400

The 400 ASA films that I’ve tried enough to have an opinion about include: Kodak’s Tri-X and TMax 400 and Ilford’s HP5 and XP2 Super. At this point, TMax has become a pretty clear favorite. It is without a doubt my most used B&W film in 35mm and in 120, though I explore more films more often in 120, it is the film I go to for consistent performance. While I do try to explore more and more films all the time, it is difficult to replace the flexibility and acutance of TMax 400 when it comes to shooting 35mm B&W.

Tone

If I’m being completely honest, this is where I feel TMax 400 disappoints me the most. It’s hard to explain why, though. Over every other film I’ve tried like it, I love the sharpness of this film and lack of pronounced grain. What’s different about this stock that I don’t love is the amount of middle grey and overall lack of contrast that photos have when taken in strong, daylight scenarios. In dimly lit (tastefully lit?) situations, the contrast is upped enough though to really hit the sweet spot for me.

Portraits

I’ve tried this film a bit in the studio but I’ve not loved the results. That is for sure my fault and not the fault of the film. I prefer the lower speed of TMax 100 so that I can have more dependency on the strobes and stop down a couple extra stops where for 400 ASA, I lose some of the control because of the speed of the film. I suspect that with some practice in the studio, I will come to love this film a lot too but when you’re able to completely control the amount of light, why not go for the lower ASA? Using the film in natural light settings, I still don’t care much for the film in strong, daylight settings without some curves adjustment. In natural light when the light is very low, contrast is high and this film finds its stride.

Pushing and Pulling

I can honestly say that I have more experience pushing/pulling this film that any other film stock. I’ll start with saying that I don’t like the results from pulling this film. I can’t even imagine a context when someone would want to do it. Why did I do it then, you ask? Great question – I pulled it because I was in a pinch, wanted some 100 ASA film but only had TMax 400. So I pulled it and found the results to be far too bland.

I do not know how this film retains so much dynamic range when pushed. Though I don’t know if this is true, I wouldn’t be surprised if TMax 400 performs just as well if not better than TMax 3200P at 3200 ASA. It can be pushed more and more without having many if any faults. It is because it can be pushed so much without seemingly any repercussions that it has become my go-to B&W film.

Conclusion

Similar to TMax 100, my first experience with this film stock was on our Banff trip in 2019. I actually only brought it for the 35mm as a back up film and it produced some of my favorite frames from the entire trip. I was pretty skeptical to try it before then but after that trip, I bought a few more rolls in 35mm and when I finally got around to shooting them, I was pretty amazed with the results. I’ve continued to try it more and more and I have found my go-to B&W film.

Last thing I’ll say is that I recently picked up a Tamron lens with vibration control which allows me to shoot as slow as 1/13th of a second and still get tack-sharp photos. This, paired up TMax’s ability to be undersexposed and work out just fine, made for opportunities to shoot well into the evening and late at night. I love it.