“I like to document moments and places that feel both intimate and otherworldly and magical.”
Monika is a photographer that I met on Instagram like many of the other people I’ve interviewed but her body of work is uniquely personal. The work that she publishes on her instagram is inspiring and she even sells some of her prints on her website.
JM: Tell me a bit about yourself.
MM: I am was born and raised in Poland but have spent most of my adult life now in the US. I currently live in the Hudson Valley, about an hour north of New York City. I feel lucky to live in such a beautiful place, surrounded by incredible nature and yet so close to a big city. It inspires my photography daily. I have always been curious about the world having grown up in back-then communist Poland and not having access to the rest of the world. I knew there was a greater world outside and it motivated me to learn to speak other languages and then to travel and eventually photograph the world.
JM: Why do you shoot film?
MM: I started shooting digital first but quickly learned that if you wanted to truly understand photography, you had to go back to the roots and learn about film and manual exposure as well as using manual lenses. I fell in love with the process of shooting photos that way, it required more planning, focus and attention to composition.
JM: How would you describe your style?
MM: I like to document moments and places that feel both intimate and otherworldly and magical. I want to be able to look at a photo and instantly feel transported to that place and be able to imagine the light, smell and sound in the scene. in other words, a photo should be able to activate your senses and your imagination.
JM: What is your favorite film? Camera?
MM: Without question, my Mamiya 7ii medium format 6×7 is my favorite camera. I have been shooting with it for over 12 years and can’t imagine my life as a photographer without it.
JM: What drives you to photograph?
MM: I love the process of creating each photo, it’s both very exciting and carries an element of surprise, especially when you shoot with film.
“I am aware that our natural world is changing around us, many landscapes forever lost and documenting those places to remember them as they are now is so crucial and there is an urgency in that for me here are my images”
JM: What is a personal goal you have for your photography?
MM: I would love to be able to have my own gallery one day where I could display the photos. They look beautiful when they are printed large and framed. It’s a shame that we mostly look at tiny images on instagram nowadays.
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?
MM: I look for beautiful composition, light, harmony of colors or black and white tones.
JM: What is your favorite shot you’ve ever taken? What’s the story behind it?
MM: It’s very hard to choose one, but one that’s very special for me is my image from the White Sands National Park in New Mexico. I was very much inspired by the work of Gary Winogrand at the time and this image combines both such a beautifully striking landscape with a modern picnic bench. it just looks like it’s from another world and the light and the colors are so vivid and warm in spite of the freezing morning temperatures in the high desert of New Mexico. It feels very timeless to me now.
JM: In what ways has your photography grown and improved since you started shooting film?
MM: I constantly try to improve my technical skills as well as my composition. Photography is ever evolving and changing. I think I am more deliberate in what I photograph now. I used to photograph people more and I still love it, but places and landscapes inspire me more. I am aware that our natural world is changing around us, many landscapes forever lost and documenting those places to remember them as they are now is so crucial and there is an urgency in that for me here are my images. the last one is the one from White Sand
” I absolutely love the process of shooting film, not seeing the results for days or even weeks. I love the slower pace of manually focusing and the limit of photos per roll causing me to really think about every frame, every image before I press the shutter button.”
Carl is a really talented portrait photographer out of Houston, TX. His polaroid work is the best I’ve seen and his other incredible work uses several other cameras including a Mamiya RZ67, Pentax 67II, and Leica M6. His website can be found here.
JM – Why do you shoot film?
CF – Man, how do I answer that… There’s so much I love about shooting film. I love that I’m getting the look I’ve been wanting with almost no editing after I get the images back from the lab. I absolutely love the process of shooting film, not seeing the results for days or even weeks. I love the slower pace of manually focusing and the limit of photos per roll causing me to really think about every frame, every image before I press the shutter button. The best part has to be scan day… getting email from the lab with a link to the files. Lastly, I love not spending hours editing digital files to try and make them look like something organic and natural.
JM – What is your favorite film? Camera?
CF – Unfair question – that’s like picking your favorite child. I would have to say the Leica M6 and Summicron 35mm lens with Portra 400 if I had to pick just one combination. The view through the Mamiya RZ67 is absolutely dream like and the results are incredible. It’s just not a camera that you can use every day.
JM – Of the film stocks you use, is there any rhyme or reason as to when you use one over another?
CF – I like Portra because it’s available in both 35 and 120 format. I’ve been trying Kodak Color 200 recently on shoots where I want more color pop, but unfortunately it’s not available in 120. I’ve used the Kodak Color 200 for all of the double exposure and most of the underwater work I’ve done recently.
CF – I shoot a lot of BW as well. I shoot a lot of BW when color will be an issue due to uneven or bad lighting. I also love using BW when shooting in harsh light. I use Kodak Tri-X 400 when shooting 120 and TMAX 400 for 35mm. The Tri-X has too much grain for my taste when shooting in 35mm format
JM – What proportion of your shots turn out as you hoped (or better)?
CF – I’ll normally shoot 80-120 Images on a shoot. I’ll typically post 80% of those for the model to review and pick from. I’m pretty selective with what I post to my portfolio and I’m happy if 2-3 images are portfolio worthy.
JM – How often do you find yourself doing a shoot with your car? What makes the difference between those shoots when you use it and those when you don’t?
CF – I don’t shoot with cars that often but it’s fun when I do. I like going into a shoot with some type of theme or style. Adding a fun vintage car or a really interesting location gives me something to work from.
JM – Would you say that your style has changed since you’ve started shooting film? What was the catalyst for this change?
CF – I like the quality of my work better now that I’m shooting film. I used to struggle with color more when I shot digital. I know I can change colors really easily in post processing with digital but you can spend hours trying to find the color pallet that matches your style, I don’t have that struggle with film. I don’t think my style has changed too much but the overall look and feel of my images is more organic and natural.
CF – As an experiment, a few months ago I shot with a medium format digital camera along side my normal film gear. I could hardly stand using the digital camera, shooting with it just felt so awkward to me compared to shooting my Mamiya RZ67. I got the images back on the computer and the digital camera raw images had insane amounts of dynamic range and detail. The digital camera had almost too much detail and the colors were uninspiring. I spent 30 minutes editing the the digital file to look as good as my film shot was straight from the lab. Once I was done I still preferred the look of the film file. It had less detail which I actually prefer when shooting portraits.
JM – What is a personal goal you have for your photography?
CF – Photography for me is a passion and a creative outlet. I’ve never considered myself creative. My person goal is to continue trying new things and learning and to work with as many creative people as I can.
“I’m drawn to photos that capture something unique and special, something that evokes an emotion or feeling.”
JM – What do you look for in a photograph? What do you look for in a photograph?
CF – I’m drawn to photos that capture something unique and special, something that evokes an emotion or feeling. I like a photo that tells a story, like a frame from a movie.
JM – What is your favorite shot you’ve ever taken? What’s the story behind it?
CF – My favorite changes every few months. Right now it would have to be the double exposure photo of @kim.vandageraad. It’s a shot that I could never have fully planned or imaged. I’ve been shooting flower exposed film from my friend Chase Hart @myfridayfilms. I don’t know how the first exposure was taken before I shoot the second exposure so results are a bit random and sometimes magic.
JM – If someone told you they were thinking of getting into film, what would your response/advice be?
CF – Just do it! Grab whatever camera you can pick up for cheap and go shoot a roll or two. It’s easy to get caught up with all the gear (and I love gear) but all you really need is a decent and cheap 35mm SLR and cheap fast lens to go make some magic.
CF – Start with black and white and get the process down. Black and white is actually pretty easy to develop and scan yourself so you can do this cheaply if you want to keep the costs down.
CF – Color is more tricky. Most film is daylight balanced so start by shooting outside or next to a window with natural light. Find a good lab you can work with and talk to them! Send them examples of work you want your final results to look like. Scanning color film is an art form and the lab needs to understand what your vision is.
“I want to make photographs that inspire people. I want to be an inspiration for those who have 9-5 jobs and can’t be travel photographers.”
Nevin’s work is an exceptional example of just how beautiful the east coast can be. His work includes film photography, digital photography, as well as some drone work. If you didn’t know he was just recently get into film, you would never know. His instagram account can be found here.
JM – Why do you shoot film?
NJ – This is a tough question to answer. Like most people my age, I learned the basics of photography on digital cameras. It wasn’t until later on that I picked up my first film camera. By that time, I had seen a lot of really good film work. The tones, the colors, and the variation between film stocks is what really got me interested in film. The added challenge of shooting a finite number of shots mixed with the style that one can achieve using film is what attracted me to shooting analog myself.
JM – I know you started out your serious photography endeavor shooting digital and have been increasingly moving into film. Is there a particular reason why? How much of the time are you shooting film vs digital?
NJ – This is exactly right. From the moment I shot my first roll, I knew there was something special about film. Set aside the fact you basically don’t need to edit your photos (minus highlight adjustments, tone curve, and minor details), film has a lot of attractive qualities to it. I find it helps me be a more intentional photographer. Given there are a finite amount of shots you can take makes me really think about a specific composition. I also really enjoy trying new film out…its kind of like trying out a new “preset”…each film stock has its own unique characteristics. Those characteristics can play into a given composition if you plan it right. This adds another challenge to the mix, but I look at it as an opportunity to learn which film stocks work well for which situations. As for how much I’m shooting film vs digital, most of the time I’m going out to shoot I have at least one form of film. That is my primary camera, I’m only using digital now as a backup… God forbid something goes wrong with the film, I don’t want to totally lose the composition. My preference is certainly film. I feel the results I get from shooting film achieve a level that my digital simply cannot replicate.
“Given there are a finite amount of shots you can take makes me really think about a specific composition.”
JM – What is your favorite film? Camera?
NJ – I’d say my favorite film stock is Portra 800. I gravitate towards the higher speed films because I like the grain. There’s something about Portra 800 that really speaks to my style of photography. Portras 400 and 160 are great as well (the whole portra lineup is wonderful), but 800 really hits it home for me. I like to shoot both 35mm and 120, but recently I’ve been gravitating towards shooting more 120. My camera of choice for this is my Hasselblad 500c.
JM – Would you say that your style has changed since you’ve started shooting film? What was the catalyst for this change?
NJ – Absolutely. Its pretty cliché at this point, but I find it to be true- film makes you think much more about your compositions. You have a finite amount of shots and there aren’t any do-overs. It makes me think twice about my composition and settings. I find this really benefits my photography as a whole.
JM – What is a personal goal you have for your photography?
“Composition aside, I feel that a great photo invokes emotion. For me that is through nature, but I know this can be done several ways. I find that most compelling photos tell a story.”
NJ – To be honest, photography is a hobby of mine. I don’t have any aspirations of quitting my day job to do this full time. I do however want to make photographs that inspire people. I want to be an inspiration for those who have 9-5 jobs and can’t be travel photographers. I recently started describing what i do on the weekends as “weekend wandering”…9-5 normal job during the week, and adventuring on the weekend. I live on the east coast so it isn’t quite as glamorous as living in the PNW or the rockies, but I try to find the interesting spots that are within a day’s drive. Inspiring those to find joy in shooting local to where one is, that is my goal.
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?
NJ – I’ll say that I’m not a trained artist. I’ve never had any formal training in art or photography. My mom is a painter though and I have picked up some tips and tricks from her regarding composition. I try to follow most of the basic motifs- rule of thirds, foreground/middleground/background, etc….But recently I’ve been trying to focus on minimalism and minimalistic photos. If you can make a photo compelling without a whole lot going on in frame, then that is a pretty great photo in my opinion. I enjoy shooting and viewing this style of photography. I don’t feel that I judge my photos any differently than I would critique another’s. I believe it is pretty evident (for the most part) if a photo is compelling or not. Composition aside, I feel that a great photo invokes emotion. For me that is through nature, but I know this can be done several ways. I find that most compelling photos tell a story. So the final note i’ll say about what I look for in a photograph is the story it tells.
JM – What is your favorite shot you’ve ever taken? What’s the story behind it?
NJ – To be honest this is an extremely tough call.I’ll break it up into digital and film.
NJ – Digital: sunrise at East Point Lighthouse. I got up at 4am and booked it to the lighthouse. It looked like the sunrise would be a bust, but the sun poked through the clouds and lit up the lighthouse in such an incredible way. I was the only one there at the time so I had the moment all to myself. This one sticks out to me as my favorite.
NJ – Film: After a long exciting day of shooting with my wife in Newport, RI, we were on a sailboat for sunset. The wind died down and we enjoyed just floating in the bay, watching the sun go down. This was also my first roll of Portra 800. I snagged this one and it was instantly my favorite. The colors, grain texture, and composition speak to me. It brings me right back on that boat, watching the sunset with my wife.
JM – If someone told you they were thinking of getting into film, what would your response/advice be?
NJ – Dive head first! Shoot as many rolls as possible and experiment. Be deliberate about what you are shooting, you only have 36 exposure (or less if you shoot 120). Film has changed the way I shoot and continues to inspire me to improve as a photographer. I would hope that film could effect other photographers like it has with me.
This article is going to compare Kodak films Portra 160, Portra 400, and Portra 800. For exposure testing data on Portra 400, Portra 400 shot and developed at 800, Portra 800, and 8 other film stocks, please refer to this article. For an additional reference of Portra 400 shot and developed at 800, please refer to this article.
To ensure consistency throughout the experiment, all of the shots were taken using the exact same camera/lens combo. To accomplish this, 3 different film backs were used, each loaded with a different Kodak Portra film. The control conditions were as follows:
Camera: Mamiya 645 Pro TL
Lenses: 80mm f/2.8 N, 150mm f/3.5 N, 300mm f/5.6 N-ULD
Lighting (Portrait Only): 2 Profoto B1X with diffusers
Light Meter: LUMU Light Meter iPhone app
All films were developed at a local lab here in Columbus, OH and scanned at home using an Epson v600. All provided images were the converted negatives straight from the scanner software included with the v600.
Results
As perhaps could have been expected, I didn’t prefer one film over the rest in all contexts. Overall, I preferred Portra 800 over 160 and 400 in most situations with a strict exception to portraits.
All told, we took 3 different sets of portraits (though only posting one) and in all 3, Portra 800 was far too saturated. To a level that I, personally, looked jaundiced. I honestly expected Portra 160 to shine here but I honestly thought all of the scans turned out equally as pale. So much so that they looked a bit distasteful. I do expect that I could have remedied a good deal of that in settings in the scan or in PS after but again, all of the presented images are straight out of the scanner’s software.
Probably the only example series where I personally preferred Portra 160 over 800 and a little over Portra 400 was in the library. Portra 800 had a tendency to be too saturated in a situation when the color palette was fairly white. Similar to the portraits above, Portra 800 tends to turn whites yellow in a fairly unattractive way. Portra 400 was right in the middle but in a scene I would have preferred to remain bright and airy feeling, I preferred no yellow tint.
As for the other 3 samples, I did strongly prefer Portra 800. In the vines sample, I think 800 blew the other two out of the water. The colors are intense but in a way that accentuates the present colors without changing them into something undesirable. For the tower, all three returned a pretty distinct color palette – so much so that I went back and rescanned each with the expectation of getting more uniformity then but the scans came back virtually the same as the first pass – that all 3 are distinctly different. Finally, for the vertical tunnel at the OSU campus, I really think the saturation of Portra 800 shined. I loved the way those colors turned out.
Conclusion
I’m not sure that my opinion between the three is really going to change. I will continue to shoot more and more 800 in and around Ohio (or at least on trips where I’m not flying) and I will shoot Portra 400 as an old reliable.
Thanks
Special thanks to Matt Seal for being generous with letting us use his studio, Dr. H for being an uncomfortable model, and Nevin Johnson for his help with the scanning.
“I think the big change I have noticed since moving to shooting film is striving to make more authentic images…”
Seth’s work is incredibly interesting. I don’t think I’ve ever seen someone who has such tasteful first of the roll shots or light leaks. Much of his work is based on coastal living and captures a life that inspires. I love his work and look forward to hearing what he has to say about film photography. His instagram account can be found here.
JM – Why do you shoot film?
SG – I shoot film for the love of the process and the challenge. I know a lot of people talk about quality or the archival aspect but I just love the whole process of shooting film so much more than digital. I feel that with film you really focus on every shot; there is no looking at the back of a screen to take you out of the moment…
JM – What is your favorite film? Camera?
SG – I think my original love and the reason I really got into film photography, the Nikonos V, would have to be my favorite camera.
SG – Although I am a big time Kodak Portra fan and user, that is just so boring. Haha. I actually really love Fuji Superia but unfortunately it is getting harder to find these days. This shot was taken with my Nikonos V on Fuji Superia 400.
JM – What proportion of your shots turn out as you hoped (or better)?
SG – Hmm… That is a tough question. I would say it depends on what I am doing and what camera I am using. It took me a while to figure out the Nikonos. There were a few rolls I shot in the water that were total duds with maybe only a couple okay shots. It is a funky camera with zone focusing and shooting surfing with a 35mm camera in the water, you really have to get closer than you think and wait for just the right moment to click the shutter. I would say now most shots I get I am pretty happy with because I am more patient. I usually swim out with just a 24 frame roll and it might take me two hours or more to finish it.
SG – But lately for instance I have been playing around with double exposures on my mamiya RZ67 and that can be very hit or miss for me.
JM – Would you say that your style has changed since you’ve started shooting film? What was the catalyst for this change?
SG – I think my style has always been and will always be an evolving thing. I think the big change I have noticed since moving to shooting film is striving to make more authentic images and getting away from the super saturated epic sunsets. I have learned to really enjoy the process of being out shooting and I am much more patient now. Instead of going crazy shooting image after image, I wait until I see something I want to capture. In a way I think it trains your eye more than digital photography can.
“I think film has made me really appreciate the happy accidents and the images I get that were not as planned out.”
JM – What is a personal goal you have for your photography?
SG – A personal goal I have for my photography is to capture more authentic everyday moments and to try to capture more of my life through photos. I have been really into shooting landscapes and surfing, but I want to try to have a camera on me more often for everyday moments. I think film has made me really appreciate the happy accidents and the images I get that were not as planned out.
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?
SG – I think whether it is my own photograph or someone else’s makes a difference. The images I am drawn to have a composition that just pulls you in. I usually find that my favorite photos I have taken have a very clean and minimal composition.
JM – What is your favorite shot you’ve ever taken? What’s the story behind it?
SG – I am not sure if I can decide on one favorite shot, but I really love this shot I took of my friend Scott. The surf was really going off and we went out to this little secret spot. I had never seen surf like this in Maine. It was an epic day. After the session I left the roll in my Nikonos and forgot it was loaded. I opened the back before re-rolling it, and I was so worried I had ruined the whole roll! Luckily I closed it quick and just about all the shots were salvaged, and a bunch had some really cool light leaks. This one was my favorites.
JM – If someone told you they were thinking of getting into film, what would your response/advice be?
SG – Do it! Haha, seriously though it has been so much fun for me. I fell like it really brought a whole new excitement to photography for me moving to shooting mostly film from all digital. It gives you a whole new layer of things to learn, and I just think it is a super fun medium to shoot with.
SG – I also think it is really cool that for pretty cheap you can get gear that was, and still is top of the line in many respects. There are so many different types of cameras too. Since you can usually sell cameras for what you buy them for, (a benefit unobserved in digital photography) you can experiment with all sorts of gear. You can really find the perfect camera that matches your shooting style.
“Film is alive and no matter how much you plan, it’s going to do what its going to do.”
Gabriel is an amazing portrait photographer out in Orange County, CA. His work is really unique and quite engrossing. I highly suggest you check out his instagram and website.
JM – Why do you shoot film?
GM – I couldn’t afford a full frame digital and I really wanted to start photography after doing video for so long. Then I asked myself why do I want to shoot digital when I’m just going to try and copy the look and feel of film in post. Well we all know you can NEVER copy the look and feel of film.
JM – What is your favorite film? Camera?
GM – Hate to sound cliché but it works and it’s never failed me. PORTRA 400. I’ve tried others and the only one that has come close to the love I have for portra is Cinestill 800t.
GM – My favorite camera is my current most recent acquisition, a Leica M6 in classic chrome.
JM – What proportion of your shots turn out as you hoped (or better)?
GM – I’m lucky to get 5-6 usable shots in a roll. And I’m ecstatic if I can get like 11. A lot of the shots I get are good shots but just not stuff I’d use and share – more shareable for the model.
JM – Would you say that your style has changed since you’ve started shooting film? What was the catalyst for this change?
GM – Yes I would. I’d say I’ve become more patient with my work and humbled by film. Film is alive and no matter how much you plan, it’s going to do what its going to do. All you can do is make sure you set it up to succeed. Framing, exposure, etc…
“I think I’m always proud of the new stuff I do because I feel like every time I shoot I change and get better in other areas where I was previously weaker.”
JM – What is a personal goal you have for your photography?
GM – I’d like to do more commercial fashion work. I’d like to be published somewhere that truly likes my work and not when its convenient to have a new photographer.
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?
GM – Yeah, I’m definitely more hard on my work. I like everyone’s work over my own work. I’m constantly second guessing myself and I’m always a finger push away from deleting a photo I’ve already published. I’m getting over it though; I think I’m getting better. I think…
JM – What is your favorite shot you’ve ever taken? What’s the story behind it?
GM – I don’t think I have a favorite at the moment… It always changes. If I had to say, I guess it would be my most recent work. I think I’m always proud of the new stuff I do because I feel like every time I shoot I change and get better in other areas where I was previously weaker.
JM – If someone told you they were thinking of getting into film, what would your response/advice be?
GM – Buy a scanner and develop yourself. You will save a lot of money. There’s nothing wrong with using a pro lab. I use one . But its going to cost. Just keep that in mind. Oh, and shoot something cheap first then work your way into the pro films like Portra 400. You might end up liking the cheaper stuff more anyway. And remember – if you shoot with a Leica, Mamiya, or Contax, they’re all just black/chrome boxes and tools. Invest in glass first and a good scanning system. That will make for a higher quality photo. So go get those old Nikon systems or those canon FD cameras… They’re worth it.
“Film feels random and organic and beautiful. I love how different films have different qualities…”
Gareth Morton is a film photographer based in the U.K.. His work is quite strong and he is quite humble about it. You should check out his website and/or instagram. Recently he started The Ten Shot Project with Rick Davy in which they post ten shots with one theme from one photographer. Please check out the website and instagram.
JM – Why do you shoot film?
GM – This would have to be the first question, ha. It’s one of those that I find most difficult to articulate an answer for. Firstly, it would have to be the aesthetic qualities of film. The colour palette that certain films give as well as the natural grain structure, a by product of the silver in the emulsion. Film feels random and organic and beautiful. I love how different films have different qualities like more or less contrast, more or less saturation, different colour qualities and the way negative film renders from the highlights to the shadows.
GM – Secondly, I like the way film makes me shoot. No screen to distract or check after every image. No shooting 100 frames of the same scene and hoping for the best. I am more careful and considered with film and I truly love the process.
GM – Finally, having printed in the dark room recently, I am not sure there is much that is comparable to that. Developing and printing your own film from start to finish is magical and the qualities of a silver halide print are just beautiful.
JM – What is your favorite film? Camera?
GM – Absolute favourite? Kodak Portra 800, especially in 120. The grain, contrast and saturation are just beautiful and I have even shot it in bright sunshine for the certain aesthetic that it gives. I tend to lean towards Kodak for colour negative and always shoot travel on Ektar 100 which is amazing and gives great colour renditions with the added saturation, although it isn’t always ideal for people, I do have images where it works very well. I will be travelling to Vietnam soon and am going to shoot almost exclusively on Portra 400 for consistency and versatility.
Iceland
GM – My favourite camera is a little more difficult as I have had quite a few and still do. Film cameras, unlike digital, all shoot very differently. Different formats, different sizes of different formats. 35mm in normal or panoramic mode with the XPan. 120 in 645, 6×6, 6×7 all the way up to 6×17! (I have never shot 6×17). I think if I could choose one of each, 35mm and 120 it would be my Leica M3 and a Hasselblad 500cm. I had an M2 first and instantly regretted selling it once I did so this M3 is for keeps. Both of those cameras, the Leica and Hasselblad are completely mechanical, no batteries, no electronics, no distractions. Plus, viewing the world through the ground glass of a waist level finder is a beautiful sight.
“Despite changing tastes for what I seem to be shooting at times, a few things remain constant that I admire in other peoples work and finding what compels me – a cinematic aesthetic…”
JM – What proportion of your shots turn out as you hoped (or better)?
GM – Oh crumbs. I have very low expectations on how my shots are going to turn out so anything that I class as a keeper or worthy of public consumption is a bonus. Every now and then, I get a surprise when something turns out better than I had hoped, but often on a shoot, particularly if I am shooting portraits, if I feel I am on to something and everything comes together in the viewfinder, I get really excited and that comes across to the client. That’s when I cross my fingers and hope it comes back as good as I remember.
Alice
JM – What is one thing that you’ve changed in your approach to photography? What was the catalyst for this change?
GM – Honestly, the biggest change I made to my photography was selling all my digital equipment. I am not anti-digital as far as photography is concerned because the end result is what matters, not what it was created with, but for me personally, once I started shooting film it seemed a natural progression until ultimately, I sold the last of my digital equipment in September 2017 and I have no desire to go back. If I could try and identify the catalyst for this, firstly it would be that I was finding a lot of the images I truly admire were created on film and the photographers I alluded to earlier all worked pre-digital and it you look at their images, they are just beautiful and it’s because of the content, not the medium. I would also say I grew tired with the constant upgrade cycle that the internet leads us to believe is neccassary to produce great photographs. I was in a local, well known photographic retailer with a friend for the first time in a while recently and was absolutely blown away by the vast amount of current digital bodies that are available, all promising amazing things, all largely irrelevant for making better images for the enthusiast. That being said, I still have a yearning for a Leica M6 one day, even though it’s irrational and not needed. Ha.
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?
GM – Despite changing tastes for what I seem to be shooting at times, a few things remain constant that I admire in other peoples work and finding what compels me – a cinematic aesthetic. An image that could be straight from a movie and that stirs emotions with a combination of moment, light and colour palette. I love strong black and white work by the great photographers like Elliott Erwitt, Robert Frank and Vivian Maier who captured real moments in time with such confidence and conviction and I feel this shows in their photos. I love flare. Something that a lot of photographers deliberately try to avoid, as well as chiaroscuro, which is something that other people seem to do very well but I haven’t quite grasped yet.
JM – What is your favorite shot you’ve ever taken? What’s the story behind it?
GM – Favourite shot? That’s a tricky question as I very rarely hold any of my photos in high regard. That’s why this request to be interviewed was quite a surprise. There are different aspects that I think make certain shots special, whether that’s taking you back to a time and place, or stirring up memories of a loved one or friend that you haven’t seen for a while. I have images that remind me what it was like to be stood in a particular place, therefore I think I would have to go with the sunset we experienced when driving through Glencoe in Scotland. I had been travelling with my two American friends, driving through the landscapes and stopping to take photos whenever we saw something we deemed worthy and one evening we decided to head out for a sunset drive which had been fairly uneventful and the sun had all but set behind us amongst the snow covered mountains and then, all of a sudden, BAM, the sky was on fire behind us with the most magnificent sunset! It blazed through the mountains and into my rear view mirror. I had noticed it and was desperately looking for a pull in to stop the car when a voice from the back seat, my friend, Sarah said as calm as you like, “are we gonna stop or….?” As we pulled over, I made only three frames of this moment and it was the last shot on a roll in the Hasselblad XPan (a camera I bought to try and create the cinematic feeling I described earlier). It was loaded with Ektar 100 so I metered the light, it was fading fast, and set the shutter speed as low as I dare (it was either 1/15 or 1/30, I don’t fully remember) and shot the last frame, as well as two on the same film stock on the Pentax 67ii. Those colours, as well as the memories will stick with me for a lifetime.
JM – If someone told you they were thinking of getting into film, what would your response/advice be?
GM – Just do it, don’t think about it. I often hear photographers who have only taken photos digitally saying they think it’s going to be hard, but that couldn’t be further from the truth. Buy a fairly inexpensive film camera, such as the Canon AE-1 or Nikon, Pentax, Olympus, whatever equivalents, get some film and start shooting. Photography ultimately is about content and light and feelings and stories and moments, not about megapixels and high resolution screens and more frames per second.
“There is an honesty to film. Almost all of the decisions to be made in the resulting image happen before or during the shot when you shoot film…”
Chris is a talented film photographer located in Kentucky, USA. His work ranges in style and content but the quality is consistently high. Not long ago he started up the Film Community Map which if you haven’t checked it out yet, you should straight away.
JM: Why do you shoot film?
CH: There is an honesty to film. Almost all of the decisions to be made in the resulting image happen before or during the shot when you shoot film; whereas in digital there is so much that goes into editing and post. I suppose I’d describe film as akin to a documentary whereas digital is more “based-on-a-true-story,” full of dramatic exaggeration.
JM: What is your favorite film? Camera?
CH: I can never pick one! But I’ve narrowed it down to two: Portra 160 and Cinestill 800T. Portra 160 is one of the most versatile films I’ve found in terms of how it captures images. I’ve never taken a photograph with P160 and thought, “man, I should have used a different film for this shot”. Cinestill 800T is an entirely different beast. This is where I satisfy my urge to shoot at night and in artificial light, usually going for an 80s scary movie vibe.
CH: My favorite camera is a tricky question, so I’ll rephrase it to What Camera Do You Use the Most? And that would be my Nikon F4 w/ MF-23 databack. It’s a super versatile camera that can do pretty much anything I personally would want it to, from having full control in all-manual to letting the camera make a few decisions – but all while retaining physical dials and switches for everything instead of digital LCDs and menus
JM: What proportion of your shots turn out as you hoped (or better)?
CH: Depending on how disciplined I was while I was shooting, I’d say between 15% and 40%. And more often than not, shots that I took thinking “there’s no way that turned out” end up being one of my favorites.
“I look for a message, which usually communicates an idea, a story or an emotion.”
JM: What is one thing that you’ve changed in your approach to photography? What was the catalyst for this change?
CH: I’ve started moving towards gear that helps me shoot. Originally, I was shooting mechanical SLRs and using my iPhone to meter, but now I don’t mind shooting aperture priority and using auto focus. While there was a sense of pride in being able to say I always shoot in complete manual, I’m realizing now that I’d rather have a sense of pride in my images and not be worried about how I capture them.
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?
CH: I look for a message, which usually communicates an idea, a story or an emotion. It sounds simple, yet 95% of the images I see on Instagram don’t have this; and I’m talking about from the photographers I’ve specifically chosen to follow. I’m all for putting out content and genuinely engaging with people on social media, but recently I made a decision to err towards the side of being proud of the work I share instead of being “good at Instagram”.
JM: What is your favorite shot you’ve ever taken? What’s the story behind it?
CH: It’s difficult for me to have favorites, I’m a recovering perfectionist so I overcompensate sometimes by refusing to compare even my own photographs to each other. That being said, here is what you could call a recent favorite.
CH: The sun had set and the model and I were at our second location: on the side of a highway at a section where heavy machinery had cut into the rock in the hills. I used the headlights of my car for lighting to try and instill a familiar sense of traveling at night and the excitement that comes with it. Her wardrobe was very well thought out, a sensual yet classy look that emphasized the color red and her blonde hair. This image sticks out to me because it has a strong idea of mystery, causing you to create a story in your head. That and the lighting is just killer – and I mean that, it reminds me of an old school movie poster!
JM: If someone told you they were thinking of getting into film, what would your response/advice be?
CH: Start simple, shooting with a mechanical camera with a meter. Shooting manual lets you really learn the craft, understand the science and appreciate the art and effort. Most folks would say you should shoot a lot, but that doesn’t help if you always shoot the same subject or in the same environment. So I’d add to that and say shoot as many different things/situations as you can find, even if you know the photograph in the end won’t be super interesting, it will be a learning experience. On that subject, humans learn best from mistakes so expect them and don’t get disappointed if you’re not getting what you want yet because eventually you will.
“When I made the move from digital to shooting on film I immediately noticed how much it forced me to slow down and actually think about how I wanted to compose the scene or my subject.”
Craig is a film photographer in Scotland. His work is really creative and has helped me to focus on the importance of light and setting up the framing to emphasize light. He also has a website you should check out (he suggests looking at it on a desktop to fully appreciate it).
MH: Hey Craig! Thanks so much for doing this! I really love your style and hope learning more about you can help me start to see light the way you do.
MH: Why do you shoot film?
CM: Film photography as a medium just works for me. When I made the move from digital to shooting on film I immediately noticed how much it forced me to slow down and actually think about how I wanted to compose the scene or my subject. Every photo you take is effectively costing you money, so for me, it doesn’t allow the luxury of shooting hundreds of images and praying that you nailed 1 or 2. For me, a fully manual film camera just simplified everything.
CM: I like that you can’t view the images immediately – the disconnect between me taking a photo, sending the rolls of film to the lab and then waiting for the scans to be sent back allows me to focus on what’s happening around me. Usually, I shoot a few rolls throughout the month then drop them off at the lab after payday. By that point, I’ve usually forgotten some of the images I’ve taken. Like a kid at Christmas, I get excited when I receive the scans from the lab and I can spend quality time to go through them and consider their effectiveness. This is a feeling I only get from shooting film
CM: Further, I was never particularly fond of the digital process of shooting my images in RAW and then spending time editing the images. I find it to be an added headache and I’m less productive as a result. I select the film stock depending on what I’m shooting that day or what light I’m working with, then I try to do as much work as I can inside the camera. I have faith in my lab to produce the results I want. I will sometimes edit my images however, it’s more quick little touch ups than anything else.
MH: What is your favorite film? Camera?
CM: I shoot mostly colour C41 film and if I had to choose my favourite stock, it would be Portra 400. I love how versatile it is – for nearly every situation, it produces great results even if it’s over or underexposed. I also love the pastel and muted tones it produces and the skin colours look perfect. I’d say my favourite Black and White film is Kodak Tri-X.
CM: For most of my portrait work, I use my Mamiya C330. I enjoy how close I can get to my subject while still being able to focus in sharp using the bellows, and I like that you get a different look to your portraits purely because you’re shooting up at your subject from the waist instead of at eye level. I’m in the process of upgrading my gear just now, I’ve just purchased a Nikon FM2 to replace my Pentax K1000 that I learned on. I’ve used 5 or 6 rolls through it so far but It’s fast becoming my favourite camera. It’s the small touches that I enjoy, for example, being able to see the camera settings in the viewfinder and having the option to shoot double exposures at the flick of a switch.
MH: What proportion of your shots turn out as you hoped (or better)?
CM: I’m usually pretty happy if I can walk away with at least 3 or 4 images per roll. Naturally over time, you start to figure out how certain film stocks excel and how they react in certain lighting which altogether lends itself to more consistent results. When I began shooting on film, I had the tendency to want to finish the roll in my camera before I would call it a day and head home. This led to me forcing images and subsequently getting poorer results.
CM: I remember in the early days apologizing to the lab for one of the rolls I had shot and had them develop and scan. The results were so poor I felt bad for them going to the trouble of processing them. Maybe it was the early excitement of shooting on film and wanting to see how the images turned out. I now don’t allow myself to do that but it’s all part of the learning process. Currently, I find that I’m quite selective with what I shoot and it’s usually the case that I can be out for a few hours and only take 2 or 3 photos.
MH: When do you call a photo ‘finished’? When it’s printed? posted on IG? scanned?
CM: I should print my work more often, I usually do it if I’m making a print as a gift. For the better part of 2 years I’ve been shooting everything and anything. So, I generally had the mindset that once I had uploaded the image to my website/Instagram the image was effectively finished. However, at the turn of the year I decided to start thinking of some long-term projects that I have begun shooting over the last month. Periodically I may upload some of the images from the photo series to the fore mentioned platforms. However, instead of seeing that as the finish line I’m looking more into making long term projects with a bit more substance and purpose.
“I select the film stock depending on what I’m shooting that day or what light I’m working with, then I try to do as much work as I can inside the camera.”
MH: What is your favorite shot you’ve ever taken? What’s the story behind it?
CM: I’m quite fond of this photo I took during the Edinburgh Fringe Festival in 2017. It’s probably one of the first rolls of film I shot on my Olympus Mju ii and it was Kodak Tri-X 400 i used. That camera is tremendous for candid street photography, as it’s so compact and the shutter is so quiet. Every day during the festival I would use my lunch break to go for a wander through the Royal Mile to see some of the free shows and take in the festival atmosphere. I was immediately drawn to the man handing out flyers to passing tourists. The timing of the photo makes the man look quite mysterious, with clothing comparable to that of film noir. I’ve always thought that it looks like the top half of his body is etched onto the granite stone wall behind him. Meanwhile, you have a moment between the little girl and the lady with the bunny eared cap, which is a look of curiosity and terror. This is one of the first images that I felt creatively proud of.
MH: If someone told you they were thinking of getting into film, what would your response/advice be?
CM: This is based upon my experience with photography, but I would encourage anyone who is thinking of picking up their first camera to choose a fully manual SLR instead of a digital camera. I think that the amount of settings on a basic entry level digital camera can be slightly overwhelming. I learned on a Pentax K1000 which you can pick up for around £100 from Ebay. It’s really easy to use, fully manual and you can pick up additional lenses cheaply. Having 36 frames to use will force you to learn the fundamentals of photography in terms of composition and the relationship between ISO, aperture and shutter speed. Youtube is also a great source for tutorials on anything film photography related, so use that to your advantage. There is also plenty of good budget film stocks out there to get you started on, some I would recommend trying are Fujifilm Superia 400, Fuji C200, Kodak Colourplus, Fomapan 400, Lomography 400, Ilford HP5 400. Amazon has some good bulk buy options that I use quite regularly.
FILM PHOTOGRAPHY 