I have released my guide to developing black and white film with D-23: https://www.kabbottphoto.com/developing-black-and-white-film-with-d-23/
This past September, I had the opportunity to visit the magical Land of Oz, a theme park in Western North Carolina that has been built to make you feel like you are on set of the classic MGM picture, “The Wizard of Oz“. Ever since reading about this park some 15 years prior, I’ve wanted to go visit and see what it was all about. Getting to go was exciting and while I had no idea what to expect, I’d say the visit was worth it for the production quality along the Yellow Brick Road alone. You really feel like you’re watching scenes from the movie play out right before your eyes!
So what type of film would be best to document this? Well, I took some trusty Provia and E100, but I also decided it was time to break out a very special film that I had received a few years ago, the FPP Infrachrome! This film is a color infrared film that is supposedly the same as Kodak Aerochrome and requires shooting with an orange or red filter. For my case, I picked the orange filter. I wish that I had had more roles of this film to test and really get the hang of the film, but I did manage to eek out some results from the Land of Oz. So enjoy these photos on Infrachrome that are really out of this world:
While I’d love the opportunity to shoot more of this film and work out a better exposure, this film is currently not available, and the last time that it showed up in the FPP store, it sold for $60/roll, which is quite expensive! Therefore, this is probably my first and last role of FPP Infrachrome or Kodak Aerochrome and I was delighted to get to use it somewhere as fascinating as the Land of Oz!
Culling down a selection of images for 2019 that represent the best has been a difficult task this time around. As such, there’s more here than I presented in the Best of 2018 post from last year.
All 3 formats that I shoot in are represented here, but with most of the work being made with the Minolta Autocord in the 6×6 format.
Having gotten to visit Northern New Mexico, Charleston, South Carolina, and the North Carolina Mountains and Coast this past year, there was a lot of material to go through. I hope you enjoy the images in this post!
I recently purchased a Kodak Tourist camera at an antique shop largely because it was in excellent condition and I’ve always been interested in medium format folders.
The Kodak Tourist that I have is the version 1, which was manufactured between 1948 and 1951. The lens is a Kodak Angston 105mm f/4.5 lens in a Flash Kodamatic Shutter that goes from 1/10s to 1/200s and features a bulb and timer mode.
It’s a great camera that’s not too large (considering the size of the film), but it does bring with it some difficulties that other medium format cameras simply do not have. Specifically, here are those difficulties:
- Takes 620 film.
- No rangefinder or focusing aid.
- Heavy enough to require significant effort in not shaking the camera while shooting.
The first difficulty, takes 620 film (which is discontinued as a format), is actually not too difficult to overcome. You can purchase hand rolled 620 film directly from B&H or the Film Photography Project Store. 620 film is 120 film rolled onto a spool that is a little shorter and skinnier. As such, it’s not too hard to find, but it does cost a bit more than 120 film, even though they are the same film as you are paying for someone’s time and effort in re-rolling the film. Another option that you have is rolling 120 film onto 620 spools yourself. Once you get the 620 film, the camera takes 8 beautiful 6cm x 9cm images, which are in a 2×3 format, or the same aspect ratio of 35mm film.
The second difficulty, no rangefinder or focusing aid, is actually quite a difficulty. Because of the lack of anything to tell you how far objects are from your camera, you have to guess this yourself. Hyperfocal focusing becomes important here (where you set the focus ring to have infinity at the f/stop you desire to shoot at). On the Tourist, hyperfocal focusing at f/5.6 is 25ft to infinity, at f/8 about 18 ft to infinity, f/11 gets you 14 feet, f/16 gets you 9 feet, and f/22 gets you 7 feet. But what happens if you need to photograph something that’s 5 feet in front of you and due to light need to stop down to f/5.6? At this point, you can dial in 5 feet on the middle of the focus dial and you’ll have a small area less and slightly greater than 5 feet in focus. But what if you miscalculated the distance to your subject? There is a great chance at that point, the image will be out of focus and you are out of luck. You can see how this actually poses quite a difficulty.
The third difficulty is one that I encountered when learning to use a Minolta Autocord as well and it simply requires that you train your muscles to be able to hold the camera steady while tripping the shutter. I’ve done some work with this on the Tourist and think I’ll have better luck on my next outing.
To help address the second difficulty, I’ve purchased on eBay a Walz Rangefinder that fits into the cold shoe. If this device is in good working condition as advertised, I’ll be able to use the rangefinder to accurately measure the distance to the subject and then (as the rangefinder will be uncoupled) dial that in on the focus ring. It was difficult to find information on auxiliary rangefinders in 2019 as these days, most models are laser rangefinders. For a good source on vintage auxiliary rangefinders, please take a look at Mercury Camera’s Range Finder Roundup.
And now, as promised by the title, here are 3 shots from that first roll of 8 images on Kodak Tri-X (developed in XTol) through this camera:
As 2018 has come to a close, I have decided to take a look back at my favorite images of the year. Most of my work this past year has been making pictures of the family and of that, there is a good bit of work. But this post is not about those images but rather about my landscapes and cityscapes. All of the images that I’ve picked for this year save for one are from North Carolina. The other image is from Dallas, Texas and is the only sheet of Cinestill 800T in 4×5 that I’ve shot so far. I suppose I should really shoot the rest of that box.
In looking at the work, I’ve learned that I really do tend to prefer color but I still love to work in black and white. Also, large format photography dominates this selection, with 35mm coming up next, followed by medium format. I picked up my first medium format camera, a Minolta Autocord, in August and have definitely loved the images that it’s created. Given that I’ve only had it for the last few months of the year, I’m not surprised that it’s a bit under-represented in this selection of images.
Kodak Ektar remains my color film of choice for all color work that isn’t focused on people or where a higher speed than 100 ISO is needed. This past year has seen the end of my Fuji Natura 1600 supply as well as my Fuji Superia 1600 supply and as they have been discontinued, I no longer have any more high speed color film. Given this, I started working with Kodak Portra 800 and pushing it two stops to 3200. This is rather finicky, but when it works, the results are amazing and the Deco sign at night in this collection is indeed this 800 pushed to 3200 combination. When it comes to 400 speed film, I’m still undecided between Kodak Portra 400 and Fuji Pro 400H. I’m also developing a real fondness for Kodak Portra 160, which does make an appearance in this collection as well.
I attended the Film Photography Project’s Workshop in Findlay, Ohio this past August and had an absolute blast while learning a few new things. The smell of Ether from Joseph Brunjes’ wet plate photography demo for one, but also that a sous vide makes an excellent temperature control mechanism for C-41. Post this workshop, I bought a sous vide and also switched from the Unicolor kit to Kodak Flexicolor chemistry for C-41. That has made a major difference in my home processed color film and I hope to have that process written up in the near future and on this website.
Moving from the technical to the artistic, I believe that my images from this year represent solitude. Maybe my work all along has been about solitude, but it’s a theme that definitely comes through in this 2018 set. The quiet places that recharge us and give us much needed rest are well represented, but also, those moments of quiet among the bustle of urban environments. These are the moments that I live for and the ones that I get the most enjoyment out of capturing. Every one of these images takes me right back to the place that I was at the time of capture. Every one of those places holds a special meaning for me personally. I hope that some of that comes through these images for anyone else who may view them.
Here are my top 12 from 2018 in no particular order:
The Appalachian Mountains inspire me like few locations that I have visited. These mountains formed roughly 480 million years ago. Compare this to the 55-80 million years formation age of the Rocky Mountains and you start to get a sense for how much longer these mountains have been around. Even where the peaks are high, the movement between them is undulating and curved, suggesting a sense of tranquility that you just don’t find in a lot of places.
The first image that I’d like to share from my most recent trip this past June is one that I almost didn’t get. I had driven down to the Blue Ridge Parkway to photograph sunset and the weather was definitely all over the place. The clouds were rolling in and rain was coming. The westerly facing overlooks were clouded over with no color showing through at all and the only place where there was any sense of mystique was on the easterly facing overlooks. I made a black and white image at one of the easterly facing overlooks and then packed everything up as it started to rain. I then started to drive around to see if there was anywhere else that I may be able to make any more images that night. I stumbled upon an opening in the clouds at Deerlick Gap Overlook and could not believe my luck! I set up quickly and was able to make this image of the sunset:
To me, the moodiness of this sunset and the way the colors light up the mountains really speaks to the tranquility of these mountains.
Another one of my favorite things about this region is the sheer number and variety of waterfalls that there are to explore and photograph. I started the trip with one of the more difficult falls that I have ever tried to photograph. I still have not found a great place to capture this waterfall from and I suspect that more time is needed to explore this one and see what other vantages there are. I present an image from the waterfall on Whiteoak Creek:
Because of the difficulty that I have had in getting a larger vantage, I focused on a small section of the falls and used some front standard tilt to help emphasize the falls themselves and the almost dream like state my mind can go into while visiting waterfalls at times.
That evening, the conditions for sunset looked good again and I must say that at the Big Laurel Gap Overlook on the Parkway, I was not disapointed:
The next day and night were mostly rained out, but the following day yielded conditions worth pursuing photography again. I ended up at the Black Mountains Overlook for this evening’s outing (Sunrises in this area were around 6 am and sunset around 9pm, so I didn’t quite make any sunrises).
This image is from quite a bit before the sun actually set. I have some undeveloped color film from this trip that I think covers the rest of this event. One of the fun things about shooting film is that now I really don’t remember what’s on those sheets, so it will be interesting to develop them and recover the memories!
I find this type of landscape photography to be both exciting and calming all at the same time. Exciting in that you get to chase the light and spend your time wondering if amazing conditions are going to occur, but calming in getting to watch the beauty of these events unfold. To watch the sun go down or come up as it has done so many times before. To be out there, sometimes by yourself, soaking it all in. That’s exciting and calming. A wonderful mix.
The last full day of my trip I went out on a mission to get a shot of Linville Falls that would incorporate as much of the plunge basin and the rocky outcropping that the Linville River tumbles through as it heads into that basin. I’ve explored Linville Falls extensively, but I had always passed up the “Plunge Basin Overlook” on the way down to the Linville River to actually go explore the basin itself. After this trip, I now realize that I have been missing out on one of the more exciting overlook views of Linville Falls. Here is the image that I made:
I’m quite happy with how this one turned out and really surprised that I have passed by this overlook so many times before!
Finally, I’d like to close this post with one last image that imparts the feeling of what it’s like to travel on the Blue Ridge Parkway. I don’t remember which night of the trip I made this image, but I do remember that I was driving around looking for a particular overlook and the westerly facing overlooks weren’t working, but this easterly facing one was quite nice.
Silberra Ultima 200 is a panchromatic black and white film from Silberra in Russia. You can find more information on this film from their website at: https://silberra.com/films/silberra-ultima .
I picked up a roll of Ultima 200 and Pan 200 as rewards for backing them on their recent Indiegogo campaign and these shipped promptly. This was the only reward from the campaign that shipped promptly and all other rewards are supposedly still on the way. Such is the way with crowdfunding campaigns though.
I was excited to put this roll through my camera as I tend to really like medium speed (200 ISO) black and white film, with a special soft spot for Eastman XX (5222). When it came time to load the film in the tank though, I was shocked at how thin the film was. On the aforementioned page, they give you the actual number 0.06mm thick, but I glossed over that little detail. I had a very difficult time loading this roll and almost gave up on it. I developed it in Kodak XTol and was not disappointed at all. Even though I thought I had buckled this film in multiple places, there were no obvious issues with the developed negatives.
While I was loading that film, I was thinking about how to give away the Pan 200, but after seeing the results that I got with the Ultima 200, I think this film is well worth shooting, even as thin as it is.
Here are some of my results from an early evening of walking around Downtown Raleigh, North Carolina.
I hope you are enjoying the redesigned kabbottphoto.com as much as I have enjoyed putting it together! My goal in 2018 is to use the blog section of the site more than in past years. In this blog, I want to document any unique films that I use, development recipes that I find interesting and other unique aspects of shooting analogue photographs in 2018. Having shot only analogue since 2013, I’ve definitely got the hang of things and am looking forward to sharing my knowledge where I can.
That said, I still have a ton to learn myself and am very interested in hearing from you if you have thoughts or comments on what I have to say.
So here’s to 2018 and the newly redesigned kabbottphoto.com!