Two More From the Fuji GW690II

Adding to my last post, with two more 6x9 medium format images from Jones Gap State Park in South Carolina.

This is a detail shot of the water at my feet . To give an idea of the scale, I'd say the rock at top was about six feet away. I love the deep darkness and blue cast in the water

 

 

This image didn't appeal to me at first, but I've grown to appreciate it.

 

Both were shot on Kodak Portra 400. No filters were used.

 

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Happy Accidents

So, here's the scenario. I decide to grab my Rolleiflex T, one of my long-term favorite cameras, and take it out for a drive into Washington, DC. It's loaded with film, a few exposures into the roll, but I can't remember which film. If I was thinking as I loaded it, and adjusted the indicator on the knob, it's Portra 160. But, the question is, was I thinking?

 

What to do? Well, I decided to take it into a dark room, open the back, take out both spools, wind it by hand back onto the supply spool, and see what I have. Yup, I was thinking; it's Portra 160. No problem. Now, I simply reloaded the spools as normal and went about my business. Except one thing - I needed to advance past the shots I'd already made. Didn't do it.

 

While the Rolleiflex T is designed to protect against multiple exposures, my little diversion very effectively caused them. I didn't even think of it until I saw the processed negatives.

 

In this case, I think it turned four rather pedestrian shots into maybe something a little more interesting. Keep in mind, I had no idea that I was creating double exposures.

 

 

Happy Accidents, by Reed A. George

Rolleiflex T, Kodak Porta 160

 

What's amazing and cool to me is the fact that in both of these examples, the little girl superimposed to the upper left seems to be pointing at the person rowing on the river. I think that's really cool. Wish I could have planned it that way!

 

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Another Birthday Portrait with the Mamiya Universal Press

A few days back, I posted an image I shot of my daughter on her birthday, taken with the Mamiya Universal Press (MUP) and Polaroid back, loaded with Fuji FP100C pack film. I also shared a scan of the color negative I recovered from that shot. (Click Here) to see that post.

 

Today, I'll share another shot from the same time and place, only this one was made on Kodak Portra 400 color negative film, using the MUP's 6x9 film back.

 

Birthday Portrait, by Reed A. George

Mamiya Universal Press Camera, 150mm f5.6 Lens

Kodak Portra 400 Color Negative Film

 

I just got the negatives back from The Darkroom (thedarkroom.com). I actually made a mistake with this roll of film, and exposed the Portra 400 at settings for Portra 160. No problem. The Darkroom pulled the processing by 1.5 stops, saving the pictures for me. I'm pleased with the result.

 

I really enjoy shooting the MUP. It's a very large, heavy beast, with matching impressive lenses. But, when you have the time to set it up and think about your shot, it's great fun to use. This is slow photography. I like it.

 

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Film Fear-Mongering at Pop Photo?

 

Chinese Actress, by Reed A. George

Rolleiflex T, Kodak Portra 160 Film

 

As you probably know, I love shooting film. I have so far stuck with the big names in film, with few exceptions. Kodak TMax is my choice for black and white film in iso 100 and 400. Ilford Delta 3200 is my favorite fast black and white film (I shoot it at 1600). For color, I shoot mostly Kodak and some Fuji.

While there are some other great films out there, including many to try out at the Film Photography Project's store, I have been content to stick with my favorites.

I recently started to read an article at Pop Photo entitled "12 Films Worth Shooting With Before They're Gone". I thought that maybe they had some information on films that truly are on their way out. As soon as I started the article, I noticed that the first two films listed were my favorites: Portra 400 and TMax 400! Oh, no! Did they know something I didn't? Nope, I don't believe so. Their third listed film is Tri-X, the most beloved of Kodak standards still available. I am pretty sure I would have heard if any public announcement had been made about Tri-X.

Now, I'm not saying it won't happen. We may see the sad day when these films disappear. I'm just not convinced that now is the time to get people worried about it. So, thanks for nothing useful in this case, Pop Photo.

If you feel the need to read this article (as in, if you want to worry unnecessarily), you can
(click here) to see it on Pop Photo's site.

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Next Move, Mamiya Universal Press

I photographed this example of intense concentration at DuPont Circle in Washington, DC.

 

Next Move, by Reed A. George

Mamiya Universal Press Camera, Mamiya Sekor 100mm f3.5 Lens

Kodak Portra 160 Color Negative Film

 

I just returned today from the Magnum workshop in Provincetown, Massachussetts. I've fallen behind in writing blog posts, but not to fear. I will catch back up with no break in daily posts. I have a lot to write about from the experience, but it will take some time to get my digital files and thoughts together.

 

And, I have four rolls of film either back or on their way back from The Darkroom (thedarkroom.com), so there's some new image material on the way from that as well. I must say I missed shooting film amongst all that digital photography last week.

 

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Nature's Tapestry

 

Nature's Tapestry, by Reed A. George

Mamiya Universal Press Camera, Mamiya Sekor 100mm f3.5 Lens

Kodak Portra 160 Color Print Film

 

A simple nature shot I made with my recently-acquired Mamiya Universal. I tried to keep the depth of field quite thin, and centered on the cattail just right of center. I love the color in this shot. The purple contrast to all the green and yellow works for me. I also really like how Portra gives such subtlety to color. I actually boosted the vibrance a little in post-processing.

 

I also cropped the image, and added some framing effects in Nik's Analog Efex Pro add-in.

 

I am really enjoying the slow, deliberate style that the new Universal forces on me.

 

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