Film is NOT Dead!


 

 24 Frames in May

I was a participant in the Project 52 Pros  in 2013, which is run by Don Giannatti. As an alumni, I still interact with the group and take part in some of the assignments. This one really caught my attention. The project was to make an image a day (or so) on film with idea of slowing down our process and treating each frame a little more carefully than is required from digital. This was a fun challenge. I have been taking pictures with film for most of my life, but only making photographs for the last three years or so. Learning to “write” with light is quite a bit more challenging than documenting a vacation or family gathering. My recent learning was all accomplished with digital. My first dslr was a Rebel T3 with the 18-55mm kit lens and before that a Sony pocket camera. I didn’t realize how far back I would have to go in order to shoot a simple roll of film. Rewind about two years, no, make that 20, err 50, oh forget it, let’s go back to the beginning. 1937, the year my Leica was made and sold. My grandfather took possession of it from his wealthy employer in the early 1950’s and it dangled around his neck every time I saw him as a kid. I didn’t think much of it at the time, other than why would it take so long to take a single picture. How many light meter readings did he need? Well, my grandpa passed away about 20 years ago and the camera changed hands and bookshelves a few times before it arrived in the mail to me about two years ago. I wanted to use it, but it seemed so daunting. It is a bottom loader and the film has to be cut a certain way so as not to damage the shutter. Problem. At some point a spring broke and the take-up spool would slip when advancing past the second frame. Off for repair. Thank you, Joe Wojcich @ Tempe Camera. This left me with time for only one practice roll. I ran a roll of Tri-X 400 without a hitch. Next up was Kodak Ektar 100 for this project. My approach with this project was to sort of bring the Leica as a sort of tag along camera. That is why my set of images has a disjointed feel, which is fine by me. About midway through the project I found myself going straight for film on many shots, leaving my dslr in the bag, not even for a test shot. My light meter is always close by, so digital test shots feel like a waste of time now. There are no less than three film cameras in my bag now. The Leica, a Canon Rebel SLR I picked up at Goodwill for $15 and an Argus 75 from the same place $4. Good times. In addition, there a couple of old Polaroid Land Cameras laying around and film from The Impossible Project in my fridge. I guess you could say I’m hooked and my grandpa’s Leica is my favorite. Huge thanks to Don for putting this project together and letting me borrow the Mamiya on the trip. That’s what really got me going!   ContactSheet--Leica-IIIa

Here are some individual photos with a little bit of post processing.

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Vinyl at Rocket Resale.

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Yeah, another sunset, but this one was not spectacular on digital, great on film.

Field of corn in South Chandler, AZ

A pineapple in the studio.

Waiting at the car dealership I looked up and saw this very subtle rainbow in the clouds.