Bristol Suspension Bridge

Fuji Superia 800 Spring-3

An experimental roll of Fuji Superia 800 in the Cosina PM-1, at night. I think I underestimated the exposure times, I could have used a bit longer. The film is also VERY grainy, which I’m not keen on.

I’d like to go back to the suspension bridge (when it’s warmer!) with some slower, finer-grain film, and see how that turns out. I need to do a bit of research on reciprocity too, or pick a film that doesn’t suffer from reciprocity failure too much. Black and white would be really nice too – any suggestions welcome!

Whitlingham Marshes on FP4+

A couple of weeks ago I went to visit a lovely friend of mine, Tom, at his place in Norwich. We’re frequent photo buddies, and have been going out together to point glass at things for years. The blistering cold and imminent snow didn’t put us off, and we took a muddy trek to Whitlingham Marshes, 10 minutes from his house.

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DIY Pinhole Camera: The Great Pinholio

Pinhole cameras are something I’ve seen lots of photographers use, often to fantastic effect. Making great use of motion blurs, people moving, and the exaggerated wide angle that often accompanies the simplest of cameras. Surprisingly, I’ve never tried my hand at it, but I’ve been seeing so many interesting images created using pinhole cameras (for example, Moni’s Blatherskite blog – some great images produced while wheeling a camera around on a trolley in a library) that I thought I had to give it a go.

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Kodak Tri-X 400 by the sea

For the last couple of years, me and a dozen close friends go on a weekend break just after New Year, to catch up, drink too much and eat a massive roast dinner in a big house. This year, we decided to visit Foreland Point Lighthouse and stay in the Lighthouse Keeper’s Cottage there! It was windy, cold and rainy – ideal weather for visiting somewhere on the edge of a cliff!

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Colour shifts: Experimenting with Lomochrome Purple

Lomochrome Purple is a psychedelic film stock from Lomography, based on Kodak Aerochrome. The colour shifts are controlled (I use the term loosely) by changing the ISO you shoot it at – set it as a 50 or 100 ISO, and you’ll end up with a redder hue to your greens, or at 400 for a more indigo look.

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The Peak District on Ilford Pan 100

Last month we took a trip with some friends to a tiny camping barn in the Peak District, for a 30th birthday celebration. Lots of laughs were had, new friends made, and I struggled to work through a roll of film. Not for any particular reason, I just couldn’t find anything that looked as good through the viewfinder as I expected.

So I was pleasantly surprised when I finally developed the roll of Ilford Pan 100 yesterday, (in Rodinal, 1+25, 9 minutes). The Pan 100 was a gift from the Emulsive Secret Santa last year, and I’d not used it before. It gives a wide range of tones, some fantastic sharpness and deep, lovely blacks. I’ll definitely be buying another couple of rolls!

Rescanning old negatives, and the curse of dust

I recently (grudgingly) sold my Nikon Coolscan IV 35mm scanner, to be able to buy a flatbed that could accommodate both 35mm and 120 negatives. I’m still not massively sold on the flimsy film holders, as opposed to the easy-peasy “feed it in the hole and wait for the clanging to stop” method of the Coolscan. However, I can’t fault the quality of the scans, even if the method of obtaining them is a bit of a pain.

These shots were taken in the spring, locally to me – a test of my new 50mm Bronica SQ-A lens, and mostly metered on my phone or by eye (still not perfect, but not bad!).

I scanned and processed these all at night, in the dark… which meant I didn’t spot the MASSIVE amounts of dust on the negatives. At some point I’ll go through and clone it all out, but for now, it’s nice to have them properly scanned.

 

Bristol Bike Night

My day job is with a motorcycle dealership, here in Bristol. I covered the last Bike Night of 2017, on a digital camera for a change! We were losing the light towards the end of the night, and I had some fun trying to get the white balance right, but otherwise I’m pretty happy with how these turned out.

Somewhere in a field…

Festival photography is tricky. Too much gear, and you risk not enjoying the event you’ve come to see, due to lugging three bodies and ten lenses around JUST IN CASE. Rely on phone photography, and your battery will be drained before 5pm, leaving you unable to locate your friends in the seething hoardes. Which is why I absolutely love the Olympus XA4 for taking to festivals – small enough to go in a super-stylish bumbag, and sharp enough to take great photos, whatever the conditions.

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