Film Is Not Dead: A Digital Photographer's Guide to Shooting Film

FILMISNOTDEAD A DIGITAL PHOTOGRAPHER’S GUIDE TO SHOOTING FILM By Jonathan Canlas & Kristen Kalp | Photography by Jonathan Canlas

For my wife, Callie, and our beautiful children: Isaac, Ila, Ruby, Lulu, Weston, and Kalani. Each one of you has inspired me to create these images and together, you all are responsible for any success I have in life. Thank you. And for my father, Arsenio Canlas. I did it, Dad. I did it. – Jonathan

Dear Mom and Dad, Turns out that English degree wasn’t useless, after all. All my love, Kristen P.S. MattMatt, dear husband of mine...thank you. More than you can possibly imagine.

Holga 120S, Kodak E100VS, cross-processed, “sunny” setting. Paris, France. vi FILM IS NOT DEAD

THEPREFACE

Film is Not DEAD. thAt’s why you’RE hERE.

Whether you’re shooting for the first time or returning to film after a hiatus, welcome. With this book, you have all the information necessary to leap from digital shooting to film shooting on the day your shiny new film purchases arrive in the mail. (Or the day you get your film gear out of the closet and start shooting film again.) Holga, Kodak E100VS, cross-processed, “sunny” setting. Maui, HI.

All: Contax 645, 80mm lens, Fuji 400H, f/2. Provo, UT. Taken by Allison Cox.

Hi, i’m JonatHan Canlas. and you need to trust me. You don’t have to send me your social security card, or anything...but trust the way this book is arranged. I’ve held tons of Film Is Not Dead workshops and answered thousands of questions from peeps around the world about film. This book condenses aaaaaaaaall those questions into an easy-to-read guide. It’s designed for you to read all the way through to build the beginnings of a film foundation. Let me repeat: it’s designed for you to read all the way through before freaking out about the 6,873 questions this book has created.

You’re going to have questions. It’s great to have questions! I’m gonna need you to write those questions down. Many times, your questions will be answered later in the book. If they’re not answered – don’t waste having gone through the trouble of writing ’em down! Google ’em. Google provides a lot more current data about the cost of X camera body or X lens or X accessory than this book can. Google can find stuff that’s available for sale. Google knows the sunny 16 rule just as well as I do. Google is king when it comes to finding what you need. If your question isn’t answered in this book and you’ve got Google stumped, you can ask me. I have no secrets, and I don’t believe in industry secrets. Sometimes there’s a question that requires an honest-to-goodness film-shooting veteran’s opinion or knowledge – I’m happy to answer those questions! Just know that many times, my answer will be pretty boring. My answer will be “try it and see” or “practice, practice, practice” or something along the lines of a long rambling answer ending in “hard work, sacrifice, and discipline.” Imagine a 250-pound dude giving you those same three answers over and over, and you’ll be finding your own answers to questions in no time. (I get pretty repetitive, after all.)

THE PREFACE

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x FILM ISKodak NOTEktar DEAD Mamiya RZ Pro II, 100, 110mm lens, f/2.8. Kahuku, HI.

TABLEOFCoNtENts hERE’s how it’s goNNA go DowN. We’re going to talk about why I shoot film. The reasons I

shoot are probably the reasons you’re interested in shooting, so we can compare notes in a few pages. From there, we’ll cover the rules of shooting film. These used to be child’s play, taught in any Photography 101 course, but they’re being lost. It’s up to us to keep ’em alive and kicking. Do not skip the rules. They are both important and useful. After we’ve run through the rules, we’ll get to the gear: cameras and film. I’ll let you know what I recommend, which film stocks I shoot, and which film stocks are still in production. Things get a bit more technical after we talk film, as we’ll talk light meter. Oy. Do not let your eyes glaze over. Do not get scared. It is only a tiny little instrument that helps you expose your film. If you can add tunes to your iPod, you can most certainly work a light meter. Then, we’ll cover editing and storing your film – this chapter is short because film is light on the post-production work and is simple to archive. Following that, we’ll cover personal projects, just to see film in real-life situations play out as projects and inspiration. We’ll wrap with tutorials, as well as a look at my favorite vendors and film resources. And then you’ll be left with no choice but to get out there and start shooting film!

TABLE OF CONTENTS

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TABLEOFCoNtENts 01 REASONS The look, the ease, the depth of field, and the dropping price of gear are just a few of the reasons to get on board with film. We’ll explore each of the reasons in more depth with a quick overview of film’s outstanding qualities. why i shoot Film

02

09 RULES Rules for exposing your film, hand-holding your camera in low-light situations, and choosing gear to buy are all covered. We’ll also define personal work in shooting and explore the ways to create meaningful projects. sunny 16 Rule more Rules Know your Camera

10 12 14

21 AMERAS There’s something for everyone here, whether you’re a seasoned pro or an absolute newbie. Find a camera that speaks to you and start shooting it immediately by using these chapters as your guide. medium Format 35mm instant toy

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22 80 90 96

107 ILM You probably have tons of questions about selecting and shooting film stocks. Fuji, Kodak, consumergrade, black and white, slide, and instant films are covered, so you’ll be fully prepared to choose the perfect film for any shooting situation. Fuji or Kodak Film Basics my Recommendations Pro stock slide Film true Black and white Film generic Film Buying & storing Film Film: FAQ instant Film FP-110C instant Film

108 110 116 118 126 130 134 138 142 150 154

157 tHe eXPosinG You’ll make friends with a light meter in these chapters, learning to meter for various film stocks and to expose your film perfectly in common shooting scenarios. Step-by-step instructions and common beginner questions will keep you from freaking out as you get used to snuggling up with a Sekonic. Exposing Color & C-41 Film your Buddy the light meter metering B&w Film Exposing slide Film Exposure: FAQ

158 162 170 174 176

TABLE OF CONTENTS

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181 END

253 TUTORIALS

Your film has been exposed, but what do you do with it now? We’ll examine your budget and your skill level to find the lab best suited for meeting your needs. Editing and storage of your film captures are also handled. Developing: For Real Developing: your local lab Developing: on the Cheap Developing: on your own Nintendo time Editing storage

182 186 190 194 196 202 206

209 TS This is my favorite part of the book, no questions asked. We’ll examine my top personal projects in detail: family, where I live, Hawaii, and charity work. Your most common questions about how projects evolve and influence my professional work are answered, too. Burning Personal Questions Project hawaii Project Family Project lehi Project CmN

These pages will pay for the book many times over! They’ll prevent you from losing rolls of film through trial and error. Tutorial pages are printed with black edges, so you’ll know where they’re located when you need to find ’em, stat! loading Film into your Contax & swapping out inserts how to load a yashica mat 124-g how to load Film into your girlfriend operating the Polaroid 600sE loading the holga metering with the sekonic

254 256 258 260 262 264

269 ES The professionals mentioned in the book are compiled for handy reference, and we’ve included a page for recording questions worthy of Googling in this section as well.

210 214 224 230 236

TABLE OF CONTENTS

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RZ Pro II, Portra 160NC, 110mm lens, f/2.8. St. Louis, MO. xviMamiya xvi FILM FILM IS NOT ISKodak NOT DEAD DEAD

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THEREAsoNs SURE, I’M COMMITTED TO FILM — BUT wHy? wHAT MAKES IT wORTH THE EFFORT OF CREATING AND MAINTAINING My OwN LAB? THE ANSwERS AwAIT.

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ILM Film allows me to sPend more time witH my Family, less time witH my eyes Glued to a ComPuter sCreen. oNE: thE looK oF it. Film has a distinctive look and feel – an incredible color palette and tangible softness. Film is where it’s at, visually. You may have tried to make your digital images look like film and failed – or just realized that the easiest way to get the look of film is to shoot film. two: thE EAsE oF it. I have a full-time photography

business that requires loads of travel. I also have a wife and six kids who would like to see more than my face staring at a computer screen every once in a while. Film allows me to shoot, develop, scan, tweak, and upload images to clients in a fraction of the time it takes to process the same number of images digitally. The majority of my finished images are straight from the camera, with only minor adjustments to make them sing.

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All: Contax 645, Kodak Portra 400, 80mm lens, f/2. Chattanooga, TN.

FILM wILL HELP yOU CUT DOwN ON SPRAyING AND PRAyING. wHERE yOU wERE ONCE TAKING 15 IMAGES, yOU’LL FIND yOURSELF TAKING ONE OR TwO. thREE: it FoRCEs you to BE A BEttER PhotogRAPhER. There’s no

chimping in film! You have to know how to nail the exposure, how the light is interacting with your subject, and how your camera will react to both before you press the shutter. Because each frame costs money, you’ll be more diligent about clearing the frame of unwanted distractions. Film will also help you cut down on spraying and praying – where you were once shooting 10-15 images, you’ll find yourself taking just one or two frames. Pressing the shutter less often also saves time when culling images later. Fewer frames, fewer decisions...more time with family! Finally, when you shoot enough with one film at one ISO, you learn the exposures necessary to handle different lighting situations. Film makes your exposures like clockwork, if you shoot it enough – so you can concentrate on your subject. Not your camera settings.

Contax 645, Fuji 400H, 35mm lens, f/8. San Francisco, CA. FouR: DEtAil REtENtioN iN highlights AND shADows. I dare you

to shoot the same ultra-high-contrast scene at identical exposures using film and digital cameras. The results will show an incredible retention of detail in both highlights and shadows of your film image. A huge dynamic range of tones with even gradation from darks to lights. In digital? Not so much. I’m not hatin’, either – just try it and see.

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FiVE: thE DEPth oF FiElD is uNREAl. Unreal, like bokeh so buttery

you’d swear it belongs on your toast.

siX: you lEARN to sEE thE woRlD Full-FRAmE. Many digital cameras have a crop factor of at least 1.5, which means digital photographers see the world in a semi-telephoto state all the time. what you say!? A 50mm lens on a film camera does not have the same angle of coverage on a dSLR with a 1.5 crop factor, as it is now effectively a 75mm lens. (Full-frame digital cameras are available, but if you don’t have one, you’re seeing the world through your lens differently.) sEVEN: it CAN miX AND mAtCh light with No PRoBlEm. Let’s say we’re in a room together. You’re being lit by window light from the side and tungsten light from overhead. A digital capture will render all sorts of issues with mixed, uneven light. With film, there’s no problem. You’ll end up with even gradations from tungsten to ambient light. (And no white balance nightmares!) Eight: thE DRoPPiNg PRiCE oF Film gEAR. As the brightest and shiniest dSLRs hit the market, film cameras can be picked up for pennies on the dollar of their original value. What used to cost as much as the latest high-end Nikon or Canon release is now only a fraction of the price.

Contax 645, Fuji 400H, 35mm lens, f/3.5. San Francisco, CA.

I can replace everything in my main camera bag – two Contax cameras and their lenses, film inserts, Polaroid 600SE, light meter, modified Holga, Nikon flash, video light, batteries, and tripod — for less than $6000. Everything. For less than the cost of a Nikon D3 body and lens.

THE REASONS

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NiNE: lEAF shuttER, BABy. There isn’t a

dSLR on the market with leaf shutter capabilities. But what’s a leaf shutter? Instead of the camera’s shutter being a focal plane shutter – inside the camera, behind the lens – the shutter is inside the lens. Leaf shutters can sync with a flash at all available shutter speeds. If the camera goes up to 1/500, it can sync at 1/500. That means you’re no longer stuck at 1/250 or less for your fastest sync speed! Also with leaf shutter, particularly Twin Lens Reflex (TLR) cameras, there is no mirror in the body that has to go up and down. No mirror equals less camera shake, which equals handholding when shooting at much lower shutter speeds.

tEN: Film sEts you APARt. FAR APART. Quite

frankly, those who shoot film know their crap. And when you know your crap, you can forget the technical aspects to shoot the world the way you see it. Your vision comes out to play when you leave all the latest actions, presets, and doodads behind to focus intently on the subject matter before you.

Contax 645, Fuji 400H, 80mm lens, f/2. Artesia, MS.

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FILM IS NOT DEAD

Left: Contax 645, Kodak Portra 400NC, 80mm lens, f/2. Oakland, CA. Right: Contax 645, Fuji 400H, 80mm lens, f/2. Salt Lake City, UT.

G2, generic color neg film from China, 21mm lens, f/2.8. Salt Lake City, UT. 8Contax 8 FILM FILM IS NOT IS NOT DEAD DEAD

R THERulEs

FOLLOw THESE RULES, AND yOUR IMAGES wILL AMAzE EvEN yOU.

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SUNNY16RulE

on a sunny day, set your Camera aPerture to F/16 and your sHutter sPeed to tHe reCiProCal oF tHe iso Film sPeed. Let’s say you have 400-speed film in your camera. There’s a person in the sun over there and you want to shoot them – but you have no light meter! Applying Sunny 16 all quick-like, you know to set your aperture to f/16 and your shutter speed to the number closest to the reciprocal of your ISO: 1/500 of a second. (Reciprocal is just a number with 1/ over it. The reciprocal of ISO 100 would be...you got it, 1/100. You would shoot at 1/125, the shutter speed closest to the reciprocal.)

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FILM IS NOT DEAD

Both: Contax 645, Fuji 400H, 80mm lens, f/2. Aspen, CO.

Left: Contax 645, Fuji 400H, 80mm lens, f/2. Washington, D.C. Right: Contax 645, Kodak Portra 400, 80mm lens, f/2. Salt Lake City, UT.

3

S memorizinG tHese rules will HelP you maKe Better use oF your Camera and HelP to ensure your sHootinG suCCess. thE DiFFERENCE BEtwEEN A suNNy AREA AND A BACKlit AREA is gENERAlly thREE stoPs.

For example: I’m shooting in direct sun. I know my exposure when shooting Kodak Portra 400 is f/5.6 at 1/4000 of a second. The exposure of the same subject standing in the shade would be f/2 at 1/4000 of a second. That’s a three-stop difference. you CAN hAND-holD slR CAmERA shots FoR As loNg As thE FoCAl lENgth oF thE lENs oN youR CAmERA. So, I can hand-hold

a 35mm lens for 1/30 of a second. A 50mm lens for 1/50 of a second. I handhold in low light and without a tripod all the time. All the time. With a leaf shutter, you can push this rule even further. For example, I handhold my Polaroid 600SE down to 1/15 of a second – and the lens is a 127mm

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lens. On the Fuji GF670, which has an 80mm lens, I can hand-hold down to 1/8 of a second. Fuji Film AND KoDAK Film ARE two ENtiREly DiFFERENt BEAsts: Fuji Film is gREAt with gREENs AND BluEs. KoDAK is gREAt with yEllows AND REDs. Fuji Films AND KoDAK Films shoulD BE EXPosED DiFFERENtly. Fuji color film

typically needs to be overexposed from one to two stops to create the ideal exposure. Most of the new Kodak color negative films – especially Portra 800, Portra 400, and Ektar 100 – only need to be overexposed by half a stop. (The new Portra 400 can be underexposed by up to two stops without introducing muddy or shifting color into the frame. That’s unheard of – and friggin’ rad.)

FUJI FILM AND KODAK FILM ARE ENTIRELy DIFFERENT BEASTS. Both: Contax 645, Kodak Portra 400, 80mm lens, f/2. San Francisco, CA.

THE RULES

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4

KNOWYOURCAmERA yOU DON’T NEED TO HAvE EvERy LENS AvAILABLE FOR yOUR CAMERA. GET THE JOB DONE wITH THE LEAST AMOUNT OF EqUIPMENT POSSIBLE. I constantly camp out at f/2 on my Contax with my 80mm lens. That doesn’t mean you’ll get the same look from your Nikon F100 and 50mm f/1.4 lens shot at f/2! Different camera, different lens, different look. Same goes for family formals. I typically shoot 'em at f/8 with my Contax and 80mm lens, but they would look completely different if captured with a different lens and camera combo. Get to know your lenses and their depth of field. Know what f-stops you need to use for every situation. There are markings on all lenses that will tell you what will be in focus when shot at each f-stop.

Contax 645, Kodak Portra 400, 210mm lens, f/4. Kauai, HI.

Shoot around, practice, find what you like. This helps tons when the pressure is on while shooting an event. Or when Uncle Bill yells, “Take the damn picture already!” at your next family reunion. Know which lens and which f-stop you need, then meter accordingly. Know your gear, know what your image will look like at any given f-stop, no questions asked. DoN’t tRust youR CAmERA. Use an external light meter to determine exposures. External light meters allow you to spot meter, which is a lot more precise than matrix metering – your camera’s default for taking in a whole scene. If you’re going to take the time and effort to shoot film, meter correctly.

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Left and Right: Contax 645, Kodak Portra 400, 80mm lens, f/2. Kauai, HI. Middle: Contax 645, Kodak Portra 400, 35mm lens, f/3.5. Kauai, HI. KEEP it simPlE. You don’t need to have every lens available for your camera. Get the job done with the least amount of

equipment possible – figure out what works for you and run with it.

DoN’t mAKE thE “PRo” mistAKE. Forget gear envy. Don’t buy a 70-200mm lens just because you think that is what you need to be a

professional.

When I bought my 35mm cameras, I bought the F5. That camera was almost $1000 more than the F100 at the time, and the only difference was that the F5 had the tall battery grip which made the camera look like a “pro” body. At the end of the day, all that “pro” look did was make my back hurt.

THE RULES

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stiCK to A siNglE iso whEN shootiNg AN EVENt. Let’s say you’re shooting an event and you’ve brought Fuji 400H and Fuji 160S. If you were smart, you pre-loaded all your inserts... but were you smart enough to use a Sharpie to mark which rolls are 160S and which rolls are 400H? A huge design flaw in Fuji color negative film: once the paper seal is broken and the film is loaded, it looks the same no matter the film stock. The last thing you need is to grab 160S and shoot it as if you were shooting 400H because, well, you thought you were shooting 400H.

That’s why you stick to one ISO at a time. When I change film stock, everything I shoot changes. If, for example, it’s getting too dark for Portra 400, I switch to Portra 800 across the board. One ISO (and in this case, one stock) means making fewer easily preventable mistakes. BE A gEAR hoARDER. Have backup gear for your backup gear!

Many film cameras are not in production anymore, so if anything goes wrong with your gear it will most likely be harder and more expensive to fix than to simply replace. I have four Contax 645’s – not because I shoot them all, but because I am backed the buck up. BE A Film hoARDER, too. Always always always bring more film

than you anticipate shooting – at least 1.5 times the amount of film you think you need. You never know when you’re going to need those extra rolls because DJ Lance Rock/your kid’s hero/your celebrity crush shows up at a wedding and agrees to let you shoot ’em for 15 minutes....

Contax 645, Kodak Portra 400, 80mm lens, f/2. Kauai, HI. Opposite Page: Contax 645, Fuji 400H, 80mm lens, f/2. Ko Olina, HI.

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shoot PERsoNAl woRK, AND shoot it oFtEN.

I don’t ever use a paid gig to practice my craft. Practicing, experimenting, testing, and trying out gear/film/gadgets is done on my own dime and my own time. Not only will you learn your craft so it becomes second nature, you’ll find something that is more important to you as a photographer than anything else. your vision. Shooting personal work is personal. Shoot whatever strikes your fancy, and shoot it on a regular basis. Nascar, daffodils, leaves, dogs, Chinatown.... Shoot what you love. After a while, you’ll notice a certain voice/look/style/ethos in your photos. That’s your vision, and it only becomes clearer with more shooting. Finding your vision is work – and hard work at that. I firmly believe, though, that nothing good in life comes without a bit of hard work, sacrifice, and discipline. Refining your vision requires those elements, but it pays major dividends. Your work gets better. Your clients benefit. They tell their friends, which leads to more work, which leads to your work getting even better, which leads to...you get the idea. Personal work is crucial to defining and refining your vision.

THE RULES

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PERSONAL wORK IS CRUCIAL TO DEFINING AND REFINING yOUR vISION.

All: Contax 645, Kodak Portra 400, pushed to 3200, 80mm lens, f/2. Miami, FL.

20 Contax 645, FILM FujiIS 400H, NOT 80mm DEAD lens, f/2.8. Nogales, AZ.

C

THECAmERAs THERE ARE THOUSANDS OF FILM CAMERAS ON THE MARKET (AND A FEw IN yOUR GRANDPARENTS’ ATTIC), BUT wHICH ONE IS RIGHT FOR yOU? LET’S NARROw THE CHOICES SIGNIFICANTLy TO MAKE GETTING STARTED EASIER.

5

T

ContaX 645. tHe CadillaC oF medium Format. This is my workhorse and my baby: the Contax 645. Let’s start with my basic outfit, which I recommend to anyone who’s serious about shooting medium format film: the Contax 645 with 80mm f/2 lens, back with 120/220 insert, battery grip, and metered prism. (The prism is the part that you look through. It’s mounted on top of the camera and has a light meter in it, and it shows you your shutter speeds and f-stops when you push the shutter button halfway down.) That’s all you need to get started. All: Contax 645, Kodak Portra 400, 80mm lens, f/2. Miami, FL.

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23

I shoot with the Contax for a number of reasons. First, I heart medium format film. Bigger negatives yield higher quality images. Add to that the creamy soft bokeh at f/2 with the 80mm Contax lens (Zeiss glass!) and I’m in heaven. The 645 format appeals to me because it’s the smallest medium format size. The Contax is lightweight like a 35mm camera; other medium format cameras are not as lightweight or as easy to use. 645 format is best for popular portrait sizes and enlargements, as it has minimum cropping to reach 5x7, 8x10 and 11x14 sizes. Square format doesn’t work for large group portraits, but the 645 format works perfectly for weddings and events. I also like to keep things simple, and have found that I love shooting entire weddings with the 80mm f/2 lens. One camera, one lens. Works like a charm. When shooting an event, I keep two Contax cameras loaded and ready at all times. One Contax is loaded with color film, the other with black and white film.

24 Contax 645, FILM Kodak IS NOT BW400CN, DEAD 80mm lens, f/2. Kahuku, HI.

I’vE FOUND THAT I LOvE SHOOTING EvENTS wITH THE CONTAx 645 AND 80MM F/2 LENS. ONE CAMERA, ONE LENS. wORKS LIKE A CHARM.

Left and Right: Contax 645, Kodak Portra 400, 80mm lens, f/2. Kahuku, HI. Middle: Kodak BW400CN, 80mm lens, f/2. Kahuku, HI.

THE Cameras

25

How do I tell them apart, you ask? The color body has a neck strap, the b&w body has a wrist strap. Always, always, always. Weddings and shoots are too fast-paced and important to waste any time wondering which body holds which film, and straps are the easiest way I’ve found to keep it consistent. Oh, and the battery grip allows me to ditch 2CR5 batteries and shoot with plain ol’ AA batteries. Rechargeable, longer lasting AA batteries. My bag also holds 12 inserts pre-loaded with 220/120 film. If you can find Contax inserts, buy ’em up. I never take the back off my camera. I just open the back and swap out inserts. The back isn’t easy to get off, but insert-swapping is easy. The only other Contax lens I use is the 35mm f/3.5. This rocks the super-wide shots and is perfect for creating long exposures at night. Think tent wedding with an evening glow of soft light, shot from about 30 feet outside the tent. That’s where this lens shines. Oh, and I rarely shoot the Contax with flash. I either supplement with continuous video light (the ProMaster LED42 daylight-balanced light) or shoot at f/2 with Delta 3200, pushing to 6400 when necessary. Contax 645, Kodak Portra 800, 80mm lens, f/2. San Francisco, CA.

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Both: Contax 645, Kodak Portra 400, 80mm lens, f/2. Kauai, HI.

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Common ContaX 645 Questions how mANy EXPosuREs will i gEt PER Roll oF Film? If you’re shooting 120, you’ll be

shooting 16 exposures. If you’re shooting 220, you’ll be shooting 32 exposures. CAN you tEll mE moRE ABout iNsERts?

120/220 inserts can take both 120 and 220 film. If you get the 220 vacuum back, you’re out of luck if you want to shoot 120. I have both vacuum inserts and standard inserts. I’ve used ’em both, and have never seen a difference in the final image. No need to be picky about which kind you use.

Both: Contax 645, Kodak Portra 400, 80mm lens, f/2. Memphis, TN. Opposite Page: Contax 645, Kodak Portra 400, 80mm lens, f/2. Seattle, WA.

whAt’s thE lowEst shuttER sPEED you FEEl ComFoRtABlE with hAND-holDiNg thE CoNtAX? I hand-hold the Contax down

to 1/30 of a second – think deep breath, long pause, and subject matter that’s agreed to remain still.

THE Cameras

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30 Contax 645, FILM FujiIS 400H, NOT 80mm DEAD lens, f/2. Ogden, UT.

Both: Contax 645, Fuji 400H, 80mm lens, f/2. Lehi, UT.

how Do i sEt uP my ViEwFiNDER’s DioPtER FoR mANuAl FoCusiNg?

There is only one way to set up an adjustable diopter to work for you. Put your lens cap on your lens so all you see is... nothing. Half-push your shutter in until the lights come on. Then adjust your diopter – when the letters and numbers at the edges of the screen are tack sharp, your diopter is set to match your vision. I don’t use the sharpness confirmation (magic green circle) on the Contax, as it’s only configured to let you know when the middle of the frame is in focus. Since I rarely, if ever, want my focal point to be smack-dab in the middle of the frame, I just focus manually. how Do i mAKE my CoNtAX sCREEN BRightER? The regular ground glass screen the Contax comes with is dark. This is crazy, since any camera rocking an f/2 lens should be super-bright. Put any other lens like the 45mm f/2.8 or the 35mm f/3.5 on and we are talking even darker.

Bill Maxwell over at Maxwell Precision and Optics will take your existing screens and make them four to five times brighter than they were originally. I prefer a clear matte screen. The diagonal split prism is great if you want to focus in the dead center of your photo regularly. You can also choose a screen with a grid which will help with horizons and rule of thirds. To me, the whole point of the bright screen is to be able to see the image, not hinder it in any way – but, to each his own. Both: Contax 645, Kodak Portra 160, 80mm lens, f/2. Seattle, WA.

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Both: Contax 645, Kodak Portra 400, 80mm lens, f/2. Los Angeles, CA.

These ground glass screen modifications (you send yours, he fixes it and sends it back) run around $300. That’s worth every penny when it comes to low-light situations and you are no longer squinting, or stuck deleting images because you missed the focus when it mattered most. Call Bill Maxwell at 770-939-6644, or e-mail him at maxwellprecisionoptics@ yahoo.com.

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how CAN i mAKE FoCusiNg oN thE CoNtAX EVEN EAsiER? Practice. And practice

some more. Shoot personal work until you can nail your focus every time before incorporating the camera into your paid professional work. I have horrible vision and I’m color-blind, but I’ve found a way to produce tack-sharp images for clients every time. You can, too – with practice. (read: practice, practice, practice.)

how Do i mEtER with thE CoNtAX 645? I recommend ignoring the camera’s builtin meter and going with a hand-held light meter like the Sekonic L-508 or L-358 to get precise exposures. There’s a whole chapter about this later in the book, so stay with me and we’ll get to it.

how CAN i mEtER with thE CoNtAX 645 iF i’m totAlly FRiggiN’ sCARED oF mEtERiNg? You can

(and I don’t recommend it, but you can...) put your camera on AV mode and set it to expose +0.5 for Kodak film or +1.5 for Fuji film. Honestly, though, if you’re going to shoot film and slow down with the Contax, why not invest in an external light meter to nail your exposures?

whAt’s youR FAVoRitE ACCEssoRy FoR thE CoNtAX? Without a doubt, Hoya plus filters. These are macro filters that come in a set of three: +1, +2, and +4. They’re basically a magnifying glass that mounts to the front of your lens without causing any degradation or loss of exposure in the images. They’re a great alternative to extension tubes, as they are cheaper and you don’t have to remove your lens every time to attach them.

In my case, the Hoya plus filters are 72mm and screw right onto the 80mm f/2 lens for the Contax, which I use for 95% of my shoots. Plus filters are perfect for close portraits, macro ring shots — or anything macro for that matter. The set costs $65 — way more economical and lighter than a fivepound macro lens that costs more than $1000.

THE Cameras

35

wASTING FILM IS LAME. AND SOMEwHERE, A UNICORN DIES FOR yOUR MISTAKE. whAt ABout othER FiltERs? There are

loads of filters on the market, so you can decide which filters are best for your shooting style and your common shooting situations. That said, I don’t use filters – I correct for tungsten and fluorescent lighting during scanning. whAt hAPPENs whEN AND iF i shoot A Roll oF 120 with my BACK sEt to 220? That

shouldn’t happen, as your camera just plain should not work if you’ve made that mistake. Always check your inserts when using multi-format backs (120/220) to be sure they are set accordingly.

Both: Contax 645, Kodak Portra 160, 80mm lens, f/2. Seattle, WA.

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This is why I don’t shoot a mixture of 120/220 throughout the day. Shoot either one or the other, or you’ll end up making a mistake and wasting precious film. Wasting film is lame. And somewhere, a unicorn dies for your mistake.

how Do you KNow whAt youR CoNtAX EXPosuREs ARE – liKE FoR thE imAgEs iNCluDED iN this BooK? If I don’t know

an exposure and need to check, the Contax records my exposure on the outer rim of the negative.

I rarely have to check, though, as I tend to camp out at f/2. I adore the look of f/2 on the Contax and only deviate from it during family formals. The f/stop determines how an image looks, so it’s my primary concern when determining the exposure of any given frame. (Bokeh, bokeh, bokeh!)

37

All: Contax 645, Kodak Portra 400, 80mm lens, f/2. Boulder City, NV.

my CoNtAX woN’t woRK. hElP! If you’re without the help of a film

buddy or mentor, these common errors could lead to some serious frustration.

is thE DARK sliDE still iN youR BACK? If yes, your camera can’t

take photos.

Do you hAVE BAttERiEs iN it? If no, your camera can’t take photos. whEN you Push thE shuttER DowN, Do you sEE ANy NumBERs/iNFo iN thE ViEwFiNDER? If you do not and there is a delay in the shutter –

like, you push it and it goes off half a second later – remove the viewfinder and clean the contact areas with a dust cloth or your finger. Reattach the viewfinder, slightly push down the shutter, and you should see the numbers in the viewfinder. DiD you loAD thE CoRRECt Film iNto thE Film iNsERt? If you’re shooting 120, you must switch the insert to 120 by rotating the pressure plate. It won’t shoot if you have 120 in a 220 back, or 220 in a 120 back.

THE Cameras

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How to load a ContaX

yOU CAN ACCIDENTALLy LOAD 220 ONTO A 120 INSERT, BUT THEN yOU wASTE FILM. CHECK BEFORE yOU LOAD. First, you’ll want to make sure the pressure plate is switched to your correct format. If you’re loading 120 film, the arrow needs to be pointing down. If you’re loading 220, it needs to be pointing up. 120 can’t be loaded into the 220 vacuum backs. You can accidentally load 220 onto a 120 insert, but then you waste film – at least $5 worth per roll. Check before you load. to loAD thE Film: 1. Take the insert out of the back. Hold it so you can read the 120/220 or “For 220 only” text right side up. The film spool goes on the top. 2. Place the film in the insert so that the paper rolls back under the back, meaning it folds back over itself. Tear the paper on the film while holding it together. 3. Take the paper and load it into the bottom film spool. Wind it by using pressure from your thumb on the silver gear. 4. Advance the film until you see the arrow line up with the lines. Do not stop at the “special cameras” mark. I don’t care how special you think you are, you don’t fall in this category. 5. Place the loaded insert into the back. 6. Turn the camera on and push the shutter once, which should advance the film to 1.

If your viewfinder reads EE, you did not read a word of what I just wrote and you loaded 220 film when the pressure plate was set to 120. Smooth one. Contax 645, Fuji 400H, 80mm lens, f/2. Bali. Opposite Page: Contax 645, Fuji 400H, 80mm lens, f/2. Singapore.

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41

INSERT To change film on the Contax, you could take the back off and not use inserts. But for anyone who has used a Contax, you’ll quickly find that the design of taking a back on and off is horrible. Horrible like early ’90s fashion and haircuts. (Stop! Hammertime!) I don’t take the back off my Contax. I just swap out inserts. to Do this: 1. Release the lever that opens the back. 2. Squeeze the two buttons where it reads 120/220 or “For 220 Only.” 3. Take the insert out. 4. Pop another insert in and close the back. 5. Hit the shutter once and zzzzzzzzzzzzzzzip. You are at frame one again. how Do i ADVANCE thE CoNtAX? how Do i REwiND thE Film oNCE it’s REAChED thE END oF thE Roll? whAt iF it stoPs miDRoll oR DoEsN’t APPEAR to BE REwiNDiNg? The film advances on its own. If it does

not, grab your backup because that Contax 645 just sh*t the bed on you. Once you hit either 16 or 32 it will rewind the film all the way for you. If it does not do this, there is something wrong with your insert, not your back. And I hope you have $500 lying around because they are not cheap anymore.

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THE FILM ADvANCES ON ITS OwN. IF IT DOES NOT, GRAB yOUR BACKUP BECAUSE THAT CONTAx 645 JUST SH*T THE BED ON yOU.

All: Contax 645, Kodak Portra 400, 80mm lens, f/2. Lehi, UT.

44 Contax 645, FILM FujiIS 400H, NOT 80mm DEAD lens, f/2. Temecula, CA.

alternatives to tHe ContaX 645 The Contax is the Cadillac of medium format cameras. It’s top-notch gear, and I don’t recommend skimping on gear if you’re shooting film for the long haul as a pro. That said, these camera models each have distinct strengths. We’ll explore your many options in the coming pages. But first: leaf shutters.

Left: Contax 645, Kodak BW400CN, 80mm lens, f/2. Temecula, CA. Right: Contax 645, Fuji 400H, 80mm lens, f/2. Temecula, CA.

THE Cameras

45

Both: Fuji GF670, Kodak Ektar 100, f/3.5. Ogden, UT.

more aBout leaF sHutters The Contax has a focal plane shutter, meaning the shutter is placed directly in front of the film. Leaf shutters are completely different. Leaf shutters break down into two major groups: those with fixed lenses and those with interchangeable lenses. Fixed lens cameras with leaf shutters have no mirrors inside, so the only thing moving when you capture an image is the shutter itself. No mirror moving, no shake introduced. Fixed lens cameras like the GF670 are nearly silent and allow for hand-holding at insanely low shutter speeds. And when I say silent, I mean I literally took 13 frames of my first roll of film in that camera without knowing it. Oh hello, frame of pavement, frame of ground, frame of back of someone’s head, nice to see you.... The drawback here? It’s a fixed lens camera. There can be no swapping out of your 28-70mm lens for your 70-200mm lens to shoot landscapes or weddings or supermodels. You’ll be stuck working with a fixed focal length. The other type of leaf shutter camera has interchangeable lenses. (By the way, my favorite leaf shutter camera is the Mamiya RZ, no questions asked. That camera is badass in every way.) The only limitation with the RZ is the max 1/400 of a sec shutter speed, which means you’ll want to shoot slower speed films outdoors in direct sun situations. Indoors with 400ISO film? You’re ready to rock the RZ. In addition to interchangeable lenses, Bronica systems (all of them) and the Mamiya RZ have a mirror that goes up when you hit the shutter. The size of the mirror has a huge impact on how sharp the image is going to be.

THE Cameras

47

let’s Get slow. really slow. The GF670’s super-slow hand-held shutter speed is made possible by leaf shutters. Not by technology like “image stabilization” – there are no buttons you switch on that make a vague humming noise and buy you 1/8 of a second slower shutter speed when hand-holding the camera. Typical leaf shutter lenses were made in the ’80s, ’90s and possibly the ’00s. The “stabilization” comes into play because of how large or small the mirror is, or if one is even present. A typical leaf shutter will give you about three more stops in slower shutter speed for hand-held shots. With the GF670, I feel completely safe shooting at 1/8 of a second if my subjects are not moving. According to the rule stating that our minimum shutter speed should be the reciprocal of our focal length, I shouldn’t be shooting my 80mm lens on that camera below 1/60 of a second. But I do it all the time. Leaf shutters are magic, I tell you – three extra stops of shutter speed if needed. Same thing on the Mamiya RZ, only the lens I use most is the 110mm. Technically, I should be shooting 1/125 to avoid shake. I’ve hand-held this camera up to 1/15 of a second, so I get three stops there, as well.

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A TyPICAL LEAF SHUTTER wILL GIvE yOU ABOUT THREE MORE STOPS IN SLOwER SHUTTER SPEED FOR HAND-HELD SHOTS.

All: Mamiya RZ Pro II, Kodak Portra 160NC, 110mm lens, f/2.8. St. Louis, MO.

synC it! synC it real Good... Remember how I said a great feature of leaf shutter cameras is the ability to sync to any shutter speed the camera is capable of with flash? Yah. This is huge for anyone shooting outdoors while trying to balance ambient light with flash. Let’s say I’m shooting some models outside in full shade. I have my Contax and Mamiya with me to get the job done. With the Contax, I’m stuck at 1/125 or 1/60 as a sync speed. If I’m shooting the Contax loaded with 160 film, I’d be stuck shooting somewhere around 1/125 of a second at f/5.6. For my shooting style, which lives at f/2, that’s just not ideal. With the Mamiya RZ, I could crank it up to 1/400 of a second and have the ability to shoot the same scene with the same film at f/2.8. That opens up a whole lot more options. Again, the only drawback is that leaf shutter cameras with interchangeable lenses like the Mamiya RZ only go to 1/400 of a second. With a fixed lens like the GF, you have up to 1/500. Okay, now that you’re a leaf shutter master, it’s back to the camera profiles we go!

Both: Contax 645, Fuji 400H, 80mm lens, f/8. Provo, UT.

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52 TITLES NEED FILM HERE IS NOT DEAD

All: Mamiya RZ Pro II, Kodak Portra 160NC, 110mm lens, f/2.8. St. Louis, MO.

THE Cameras

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II First, it’s a pain to write (and read) Mamiya RZ Pro II every time I get all fired up. So from here on in, Mamiya RZ Pro II will just be “Mamiya,” okay? iN A NutshEll. The Mamiya is a 67

medium format camera, and it’s the Cadillac of medium format in the fashion world. They still make it, too – so it’s not subject to rising prices due to film’s popularity, and the entire kit can be had for around $600. Um, take that, Contax. Lately, my Mamiya gets so much play that my Contax sits home and cries wondering what she did to make me not love her anymore. I have yet to be brave enough to take this to a wedding and leave my beloved Contax at home, but... there might be a very bitter breakup with my four Contax outfits. Just sayin’. Here’s why I love my Mamiya so much, in juicy detail.

thE lENsEs. The lens quality is amazing.

Sometimes the Contax is just not sharp past f/5.6, but the Mamiya lenses are

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insanely sharp. Like possibly too sharp. Even wide open, you can see pores on people’s faces while getting bokeh so creamy it looks like whipped cream cheese. Mmm, cream cheese. (I’m a man on a Couch to 5K mission and I’m craving a little dairy, okay?) The lenses are readily available. I have the 50mm f/4.5, the 110mm f/2.8, and the 180mm f/3.5 lenses. Truth be told? The 110mm f/2.8 is my favorite. iNstANt Film. With the switch of a back,

this becomes an instant camera, so I have an instant and a film camera all in one!

FoCusiNg. It has way more versatility

than the Polaroid 600SE, if only because it’s not a rangefinder. Try working a rangefinder while shooting guests with sparklers at a birthday party as the sun goes down – you’ll be making educated guesses. With the Mamiya, what you see is what you get. So long as there’s light, you can focus with confidence.

SHOOTING wIDE OPEN wITH THE MAMIyA, yOU CAN SEE PORES ON PEOPLE’S FACES wHILE GETTING BOKEH SO CREAMy IT LOOKS LIKE wHIPPED CREAM CHEESE. MMM, CREAM CHEESE.

All: Mamiya RZ Pro II, Kodak Ektar 100, 110mm lens, f/2.8. Kahuku, HI.

gEEKy, gEEKy stuFF. This camera has bellows focusing, meaning I can do super macro images without using extension tubes, close-up filters, or other specialty gear. hAPPy CliENts. Since this camera is 67 format, it’s proportionally almost a perfect 8x10 or 16x20. Finally, full frame 8x10s to make clients happy! hAND-holDiNg AND lEAF shuttER. Hand-holding this camera you’d assume, well, crap, with the 110 lens I’d be stuck at 1/125, right? wrong. I can hand-hold this as far as 1/15 of a second and no shake. Don’t ask me how. Let’s just assume fairies and leprechauns riding unicorns live inside the shutter of this camera. (Or, you know, it’s a leaf shutter.) BEst PARt? It’s cheap. Like, cheap. You can get a whole outfit – the body, 110mm lens, waist-level viewfinder, and 120 back – for around $800. Are you kidding me? You could get three of these outfits for the price of a Contax! Both: Mamiya RZ Pro II, Kodak Portra 160NC,110mm lens, f/2.8. St. Louis, MO.

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ONS There are a few things I don’t love about Mamiya, though, and it’s only fair to share ’em before you go riding off into the sunset with her. thE wEight. I have the pistol grip for this camera. I won’t even

waste time with a neck strap, as this camera is the heaviest I own. It’s like the weight of two Contax cameras with battery grips, which would practically snap your neck by the end of a few hours of shooting. DEDiCAtED BACKs. The 120 and 220 backs are not interchangeable,

but they’re only $59 and $69, respectively. For those used to buying Contax gear, that’s not hard to swallow.

wAist-lEVEl ViEwFiNDER. If you don’t want to be shooting at

waist level all the live-long day, you’ll want to pick up a prism to shoot like an ordinary camera. That adds about one pound to the weight of this camera, though, so start eating your Wheaties.

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mAXimum shuttER sPEED. The biggest drawback of the Mamiya is its maximum shutter speed. The fastest you can capture an image is 1/400 of a second, which means you lose three stops of shutter speed versus Contax. mAmiyA RZ. While searching for the RZ Pro II, you might

stumble upon the plain ol’ RZ. The biggest difference between this and the RZ Pro II is the half-stops in the shutter speeds. I know, you think that doesn’t really mean much, but it’s awesome to have the option of going between 1/60 and 1/125 of a second if you want.

mAmiyA RB. Extreme bargain hunters will find the Mamiya RB—which was made in the ’80s—and be tempted to pick it up for next to nothing. Unfortunately, this camera is huge and clunky. It also refuses to play with the RZ lenses, so any modern lenses you find will be useless when you try to attach them to this camera.

Mamiya RZ Pro II, Kodak Portra 400, 110mm lens, f/2.8. Fort Cove, UT.

All: Hasselblad 500C, Kodak BW400CN, 80mm lens, f/5.6. Saratoga Springs, UT.

HasselBlad NiFty stuFF. It is Zeiss glass, so the bokeh on this camera – especially

shooting the 80mm f/2.8 lens – is like nothing you’ve seen before. I totally bought this camera for the glass.

It’s also a workhorse. Solid and sturdy, starting at $800 for a basic kit. Plus the sound of the shutter is one of the coolest things you’ve ever heard. Not-so-NiFty stuFF. It’s square format. This can be a plus or a minus, depending on what you’re shooting and how inspired you’re feeling. If you’re into landscapes and horizontal shots of groups, well – you’re in for a challenge.

6x4.5 backs are available for the Hassy, but then you have to tilt the camera (super-awkward!) to shoot a vertical image. Doesn’t work for me, might be perfect for you. It’s also tough to nail the focus. This is coming from a guy who’s pretty damn good at focusing a Contax 645 quickly – focusing is hard. It is slow and meticulous, and would make action shots really hard with this camera.

THE Cameras

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62 Hasselblad FILM 500C, ISFuji NOT 400H, DEAD 80mm lens, f/5.6. Provo, UT.

Hasselblad 500C, Fuji 400H, 80mm lens, f/8. Singapore.

yasHiCa mat 124-G The Yashica Mat 124-G is not made anymore, so you’ll be scouring antique shops and eBay to find one. It’s a twin lens reflex camera that’s super cheap, making it ideal for getting into medium format. It has no interchangeable lenses, so it’s much easier to focus than a Hasselblad. While the Yashica Mat 124-G is an inexpensive way to get started in the land of medium format, it isn’t as wow-inducing as the other cameras mentioned. Going for under $300 on eBay at the time of writing, it typically comes in mint condition with a broken light meter. (Since you’ll be shooting with a hand-held light meter, you don’t care! What a bargain!) Yashica Mat 124-G, Fuji 400H, f/8. San Francisco, CA.

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THE yASHICA MAT 124-G IS NOT MADE ANyMORE, SO yOU’LL BE SCOURING ANTIqUE SHOPS AND EBAy TO FIND ONE.

Both: Yashica Mat 124-G, Fuji 400H, f/8. Huntington Beach, CA.

Like the Hasselblad, the Yashica operates with a square format. This camera can’t focus any closer than about three feet, so I strongly suggest picking up a pair of Bay 30 Close-up Filters to correct parallax error. You’ll get two Bay 30 filters, one for the viewing lens and one for the taking lens, so what you see is what you get. At about $100, they’re totally worth the ability to be able to photograph close-up. (Search “Bay 30 close up filter” on eBay for a quick peek at what’s available.) Since the Yashica Mat 124-G is a twin lens reflex, you’re looking down into the camera to take photos. The average person will think you’re just fiddling with your camera, but you’re actually shooting the whole time. Stealth. (Unless you’re shooting grandparents, because they’ll know what you’re up to. No stealth.) Like any Twin Lens Reflex camera, the Yashica rocks a fixed lens. The 124-G has a leaf shutter, so you can hand-hold down to 1/8 of a second if you are steady or 1/15 if you’ve had too much caffeine. The Yashica shoots both 120 and 220 film formats, but you can’t switch from black and white to color film once a roll is loaded because the camera has no interchangeable backs. Yashica Mat 124-G, Kodak BW400CN, f/3.5. Laie, HI.

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Yashica Mat 124-G, Kodak Portra 400VC, THE f/3.5. GUIDE Pearl Harbor,67 HI

Yashica Mat 124-G, Kodak BW400CN, f/8. Oahu, HI.

PARALLAx ERROR IS NO BUENO. wAit wAit wAit...whAt’s PARAllAX ERRoR? Parallax error means that, when looking

through the viewfinder of a twin lens reflex camera, what you see is not what you get. Parallax error happens because the viewing lens is directly above the taking lens. If you get close to a subject, this means that what appears to be at the top of your frame is not at the top of your frame, as the viewing lens is above the taking lens. So, I’m within a few feet of Bernina the bride, and I’m trying to cut the frame off at her forehead, as I so often do. With a twin lens reflex camera, due to parallax error, I’ll end up cutting the portrait off at the eyeballs – since the top of my frame in the viewfinder isn’t actually the top of my frame. (Not going to be selling any prints of that portrait....) Remember, the viewing lens is up top and the taking lens is down low, so the closer you get in on a subject, the more it crops from the top and is looser on the bottom than what you are seeing through the taking lens unless you have something to correct for parallax error. Like Bay 30 Filters! They account for and correct this problem with twin lens reflex cameras like the Yashica Mat 124-G. More sophisticated cameras have parallax error compensation. Like my Girlfriend – she has parallax error compensation out the wazoo. Read on to find out all about her.

Yashica Mat 124-G, Kodak 400UC, f/11. Pearl Harbor, HI.

THE Cameras

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70 Yashica All: FILM MatIS 124-G, NOTKodak DEAD BW400CN, f/3.5. Springfield, MO.

My mother was a nurse in the nursing home where my grandfather spent his last days. Whenever I was home, I’d come and visit and do my best to learn about our family history while his roommate, Pete, would lie in his bed and yell at us. (That’s Pete in the photo above.) I’d check Grandpa out of the home and head to Sonic to pick up a burger — his choice. ALWAYS. Or we’d see a movie. Like Titanic, which my grandfather called “the movie with all the boobs in it.” These photos, of just a random visit, mean the world to me. And to my family.

FuJi GF670. tHe GirlFriend.

THE GF HAS PARALLAx ERROR COMPENSATION, SO wHEN I LOOK THROUGH THE vIEwFINDER – wHAT I SEE IS wHAT I GET.

Both: Fuji GF670, Kodak BW400CN, f/3.5. Lehi, UT.

Since the Contax isn’t great for shooting in a photojournalistic manner (Contax = s-l-o-w, precise focusing), I had to introduce the Fuji GF670 into my life. The GF (get it: girlfriend?) is a phenomenal rangefinder camera with fast manual focusing.

find candid moments with this camera. It shoots square (6x6 cm format — my preference) or rectangular (6x7 cm format) photos. Your choice.

how Do i loVE my gF? lEt mE CouNt thE wAys. It’s a rangefinder, which puts me

It’s perfect for larger groups of family formals. The Contax isn’t so great at f/4-f/16 — in my opinion, that Zeiss glass is meant to be shot at f/2. But with the Girlfriend, it seems impossible to get any image out of focus.

into candid-hunting mode. Maybe it’s because all the world’s greatest photojournalists shot with rangefinders. Maybe it’s my imagination. Whatever. I

It’s super-sharp at all f/stops. It doesn’t have a sweet spot, it IS a sweet spot.

It’s super-lightweight and therefore, super-stealthy. Though it has fantastic optics and isn’t a cheap camera, the GF doesn’t look any more intimidating than your Grandpa’s point and shoot. The GF has parallax error compensation, so when I look through the viewfinder – what I see is what I get. Even when I move closer to the subject, change my focal point, etc., it keeps up with me. There are guides that move in and out, telling me what is inside and outside of the frame. It’s compact. Like, fits-in-my-coatpocket compact. This makes it ideal for shooting editorial portraiture, travel, and candids. The viewfinder is super-bright. The internal light meter is spot. On. Like, I think it’d be okay to just shoot this in A mode. (Which is my biggest no-no.)

Both: Fuji GF670, Fuji 400H, f/3.5. Lehi, UT.

THE Cameras

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74 GF670, Fuji FILM Kodak IS Portra NOT400 DEAD (converted to B/W), f/3.5. Pearl Harbor, HI.

It’s super-quiet. My first five shots on the thing were ruined because I didn’t know I had taken any pictures. That quiet. You can hand-hold down to 1/8 of a second — my favorite feature of a leaf shutter! Oh, and like all girlfriends, I look cooler when I’m with it. Freaking bellows and a lens that folds in and out? Sexy. why woulD i ChEAt oN my gF with my CoNtAX? The GF can’t compete with the Contax Zeiss glass at f/2. (Heck, it’s not even made for f/2 – more like f/8 or f/11 for insane results.) The Girlfriend can’t produce the creamy buttery goodness and soft tones of the Contax, complete with bokeh that’s to die for. I would never shoot details at a wedding with this camera!

It rings in at just under $2000. Not cheap, and not likely to go down in price anytime soon. Fuji GF670, Kodak Portra 400, f/3.5. Laie, HI.

THE Cameras

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T

T

T

77 Fuji GF670, Kodak Portra THE 800, GUIDE f/8. Lehi, UT.

78 GF670, Fuji FILM Fuji IS 400H, NOT f/16.DEAD Saratoga Spring, UT.

Both: Fuji GF670, Kodak Portra 800, f/3.5. Provo, UT.

6

MM

i’ve Been Known to Call 35mm tHe red-Headed stePCHild oF Film and otHer nasty names. i Just Plain don’t liKe tHe 4X6 Format oF 35mm Film, and tHinK it’s Grainy in ComParison to my medium Format neGatives. i don’t sHoot it oFten — But every Film Has its PlaCe and PurPose. 35mm film is much easier to get developed and scanned than medium format film. The prices of 35mm SLR bodies are still falling, so you can score an outfit that would have cost as much as a new car a few years ago for well under $1000. (Seriously. Less than $1000 for an incredible body and a new lens or two.) thE BAsiC RulE oF 35mm: loVE thE oNE you’RE with.

If you have an “old” 35mm camera body sitting around at home, it’ll do the trick. Pop your best glass onto it and get shooting. You can rough it with the in-camera meter at first. Of course, I encourage busting out your light meter to get absolutely fantastic results from the get-go.

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thE most imPoRtANt thiNg to oVERComE whEN shootiNg 35mm Film is youR miNDsEt.

Ignore the voices that say film is scary or hard or difficult or outdated or that you can’t do it. If you bought this book, I know you want to shoot film. So grab what you’ve got, or round up a 35mm body on KEH.com — my friend scored a perfectly acceptable 35mm Nikon body for $37 last week — and get shooting. my go-to RECommENDAtioN FoR A 35mm BoDy is thE NiKoN F100. It’s fast and

user-friendly. Aside from being extremely durable, it has both fast primes and Zeiss glass available.

thE F100 REtAils FoR uNDER $200 At thE timE oF wRitiNg. it’s Built liKE A tANK.

why Not RECommEND thE F5? The F5 has

a built-in battery grip, making it much heavier than the F100. At the end of an event, I don’t care about having a battery grip on my camera so much as I care about how my neck, back, and feet feel. Lighter equipment = happier neck, back, and feet. Standard Nikon lenses will mount onto the F100 body, so there’s no loss of lens investment by purchasing a film body.

Nikon F100, 50mm lens, Fuji Press 800, pushed to 6400, f/1.4. Salt Lake City, UT. Opposite Page: Nikon F5, 70-200mm lens, Kodak TMZ 3200, pushed to 6400, f/2.8. Salt Lake City, UT.

I recommend a few prime lenses for getting going in the film world, too. The Nikon 50mm f/1.4 is ideal for portraits and details. The Nikon 85mm f/1.8 is just plain perfect for capturing candid expressions and portraits shot up to f/2.8. Finally, the Sigma 20mm f/1.8 nails wide establishing shots that capture a sense of place and story.

THE Cameras

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GIvE AUTOFOCUS A wHIRL IF yOU MUST, BUT LEARNING TO FOCUS EvERyTHING IN MANUAL wILL MAKE yOU AN EvEN BETTER PHOTOGRAPHER. thE tRANsitioN FRom DigitAl to 35mm Film shootiNg will PRoBABly FEEl thE most NAtuRAl – sAmE lENsEs, sAmE AsPECt RAtio, just No moRE ChimPiNg AFtER thE imAgE is shot!

Those who can tolerate manual winding and advancing may also enjoy the Nikon FE line of cameras. I absolutely hate having to advance or wind manually. FE cameras are also loud. Loud, like expect to get withering looks from the mother of the bride if you’re shooting with one during a ceremony. Oh, and the F100 and F5 are completely responsible for me shooting everything in manual focus. (read: autofocus is horrendous.) Give autofocus a whirl if you must, but learning to focus everything in manual will make you an even better photographer. i’m Not A CANoN shootER. iF you ARE, AND you’D liKE to KEEP youR glAss, i RECommEND thE Eos3.

This camera retails for about $100. Those with a bigger budget can pick up the Canon 1V, which retails for up to $600. (Ironically, the EOS3 is a better camera – but that is an industry secret.)

Nikon F5, Fuji 400H, 85mm lens, f/8. Park City, UT. Opposite Page: Lomo LC-A, BW400CN, f/2.8. Singapore.

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ContaX G2: tHe automatiQue. The G2 is a 35mm rangefinder that I’ve come to love. First, it corrects parallax error in the viewfinder. When you change lenses, the viewfinder adjusts accordingly! I use the G2 for shooting birth stories and personal work – it’s a storyteller. With the TLA200 flash attached, it’s ideal for shooting dancing shots at receptions! thE g2 is thE oNly CAmERA i shoot oN (gAsP!) Auto.

I set it to the f/stop I want, put it on Aperture Priority, point, and shoot. The lenses for this Contax are out of this world: all Zeiss (yes, all zeiss) and super super sharp. Contrast is perfect. The rear element is so close to the film plane that it makes it almost impossible to get out-of-focus images. I rely on autofocus with this camera because when you change the focus manually, what you see through the viewfinder does not change. The little marker telling you how many meters you are away changes, but everything stays sharp. i hAVE thE 21mm, 28mm, 45mm, AND 90mm lENsEs. whiCh is my FAVoRitE? All oF thEm.

They are all rectilinear lenses. What does that mean? When I shoot with 28mm or 21mm lenses, there is no distortion whatsoever. It is absolutely unreal. If I had to vote one lens out of my gear bag, it would be the 90mm. This is a rangefinder camera (read: photojournalism), so for me, that means wide with the occasional use of the 45mm for portraits. Both: Contax G2, generic color neg B/W film from China, 21mm lens, f/2.8. Laie, HI.

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All: Contax G2, generic color neg B/W film from China, 21mm lens, f/2.8. San Francisco, CA.

I also have the TLA200 flash. It’s the the size of a small child’s palm and fits right on the hot shoe. Just put it on A and set the dial to the angle of coverage. The look of this camera with a flash is very Terry Richardson. Of course, you get to choose if you’re going to cover the same subject matter – but I hope you don’t. tRust thE CAmERA AND it tAKEs PERFECtly EXPosED imAgEs EVERy timE.

You can usually find the G2 system in a complete outfit which includes the body, 28mm, 45mm, and 90mm lenses and the occasional TLA200 flash. The outfit retails for less than $1500 at the time of writing (way cheaper than buying individually). You can get the body for less than $700 and the lenses for around $300 each. The 21mm, which has a dedicated viewfinder, goes for less than $800. Both: Contax G2, generic Chinese B/W color neg, 21mm lens, f/2.8. Lehi, UT.

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Both: Yashica T4, Fuji 400H. San Francisco, CA.

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Polaroid 600se. wHen only tHe Beast will do. First, pack film – i.e. medium format film which comes in boxes of 10 sheets per pack – is dead in Polaroid form. So the setup we’re about to go through involves a Polaroid camera using Fuji pack film. The Polaroid camera is alive and kicking in this, my favorite instant film camera. Like all Polaroid cameras, the 600SE produces instant results. Think portraits of your kids and loved ones. Think birthday parties at Chuck E. Cheese’s. Think wedding receptions. Think any freaking subject you want to capture instantly. The 600SE is a rangefinder camera. That means focusing entails you lining up two images until they overlap exactly. Focusing takes practice, but is well worth the results. Oh, and the standard outfit comes with a Mamiya

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Both: Polaroid 600SE, Fuji FP-3000B, 127mm lens, f/4.7. Arcadia, CA. Opposite Page: Polaroid 600SE, Fuji FP-3000B, 127mm lens, f/4.7. South Jordan, UT.

127mm f/4.7 lens. I love this lens, and wouldn’t recommend getting any others for this outfit. I often use the Polaroid 600SE to photograph peeps during the lull in any given wedding reception. The majority of the time, the camera jump-starts things. People flip over having a print right there in their hands. I never keep the prints — I give ’em to the portrait subject. The Beast requires carrying a portable hair dryer with you to dry the negs. When you pull the images, the negs are wet and cannot be stacked, touched, overlapped, etc., or the emulsion will be ruined. Bad emulsion = bad neg = no blogging goodness for you. Thus, the need for a blow dryer. (We’ll talk more about handling the film later.) Since mentioning this camera here and there, its price has shot through the roof. These cameras are great alternatives to the Polaroid 600SE: thE mAmiyA PREss. thE PolARoiD 195. thE PolARoiD 110A CoNVERtED to tAKE PACK Film. thE PolARoiD 185s. thE Fuji FP-1.

I would KILL for a Fuji FP-1. So if anyone has one and needs someone to die, you know who to call. If you want to shoot instant film right this second, get yourself a Fuji Instax camera. It comes in Mini or Wide options. The Mini takes photos the size of a credit card, while the Wide takes photos that measure a little over 3.5x5 inches. Read a little more about it on the following pages.

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BAD EMULSION = BAD NEG = NO BLOGGING GOODNESS FOR yOU. THUS, THE NEED FOR A BLOw DRyER.

Both: Polaroid 600SE, Fuji FP-3000B, 127mm lens, f/4.7. Artesia, MS. Opposite Page: Polaroid 600SE, Fuji FP-3000B, 127mm lens, f/4.7. South Jordan, UT.

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tHe instaX mini This camera is the gateway to more serious instant shooting, as you’ll soon be addicted to the instant prints. Cost: Around $65 online, $90-ish for Limited Edition cameras available at

specialty retailers.

Film usED: Fuji Instax Mini film. Cost PER shot: Buy in bulk and it’s about $0.70 a shot. DiFFiCulty lEVEl: Easy peasy. Your two-year-old nephew could work this camera. gREAt FoR: Indoor snapshots and goofing around. Not so gREAt FoR: Outdoor stuff in the middle of the day. The film is 800ISO and it just

gets washed out on super sunny days. Evening stuff, sunset stuff? Awesome. Pool party stuff? Not so much.

QuiCK tiP: If you shoot into the sun, the sun will turn into a black dot. No joke. BEst FEAtuRE: The flash! It’s great for exposing for shadow and for backlit subjects.

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woRst FEAtuRE: The flash! It goes off no

matter what, so sometimes it’s just too much. It also creates one-of-a-kind images. This is fine for lots of peeps, but I like having a negative to scan later. This camera is for parties and for hanging around the house. I love how the mini’s final images are the size of a business card, and my kids do, too. The Instax Mini loads with pack film – just pop it in the back and start shooting! Unused film packs should be stored in a cool, dry place, so they’ll still give you 10 cute little prints when the time comes.

Both: Instax Mini, cloudy setting. Lehi, UT/Provo, UT.

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TOY

HolGa The Holga is a plastic toy camera from China. Each one comes complete with a 60mm lens and some major personality. (Think light leaks and unpredictable results.) Since this guy is plastic and cheap, it’s not even a bit intimidating. Just get out there and have fun with your Holga. I’ve played with lots of cameras, and the only “toy” camera that I consistently use in my professional work is the Holga. Yes, it’s made of plastic, but it yields consistent results and sharp images. Sharp images. (I practically had a heart attack the first time I got Diana scans back because I was expecting similar-to-Holga results, not dreamy unicorn softness.)

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All: Holga 120S, Kodak E100VS, cross-processed, “cloudy” setting. Salt Lake City, UT.

My Holga has been modified by Randy Smith over at holgamods.com. Even modified Holgas retail for $50 or less. Mine has been changed to have two working f-stops (f/8 and f/11) and to focus at a minimum of two feet instead of the standard three feet. Usually I’m shooting things 15 feet away or more, so I set it to Mountain setting on focus and the Sunny setting for f/stop. what’s that, your Holga already has two f/stops? Wrong, my friend...if you click between Sunny and Cloudy, nothing changes. It’s the same f/stop. Randy will take care of your single-apertured Holga. whAt oN EARth Do you usE youR holgA FoR? I like to mix up wedding reception shots with a super-simple, super-fun setup for

capturing dancing candids. I pair a Holga camera with a Nikon SB-80DX flash and fire away. My Holga is loaded with Kodak BW400CN – when my stash of that film runs out, I’ll be shooting Ilford XP2.

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98 120S, Holga FILM Kodak IS NOT E100VS, DEAD cross-processed, “sunny” setting. Lehi, UT.

CAN you tEll mE moRE ABout thAt sEtuP, PlEAsE? Indoors with flash, I set the Holga to Cloudy (or f/8). I place the Nikon SB-80DX flash on the hot shoe. Since I’m generally shooting BW400CN, my ISO is 400. I turn the flash on. I put it into Manual mode. I then manually set the ISO to 400.

Next, I set the angle of coverage to 35mm. Then I set the flash-to-subject distance to 6.2 feet, which is about how far I’ll be from the subject when shooting dancing candids. From here, I go up one full stop in power (three clicks on a flash set to 1/3-stop increments) since I want to err on the side of overexposing. Holga 120S, Kodak E100VS, cross-processed, “cloudy” setting. Lehi, UT.

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I DON’T EvEN LOOK THROUGH THE vIEwFINDER – JUST POINT, MAKE A CRAzy FACE AT THE SUBJECT, AND SHOOT AwAy. you did what to your flash, and then...huh? I manually set my ISO, my flashto-subject distance, and my flash output. For help with the SB-80DX or any flash, read your manual. Google any questions you may have. Then read your manual again. Any flash can produce great results with this setup. As long as my subject is anywhere from 4-7 feet away from me, they will not only be in focus, but will be exposed well enough that the image can be scanned and left untouched in Photoshop or Lightroom. The best part? I don’t even look through the viewfinder – just point, make a crazy face at the subject, and shoot away. Makes even the dullest events look awesome. whAt ABout shootiNg holgA DuRiNg thE DAy? I set my aperture to sunny (f/11), choose my subject distance, keep the sun at my back, and fire away. During the day, the Holga is loaded with Kodak E100VS slide film. I cross-process the film to create bright, bright, bright color and crazy-heavy vignettes. I shoot this film in harsh light, which is the opposite of the way I shoot typical color negative film. You’ll want to avoid shooting this setup in the shade or you’ll have horrible green color in each and every image.

Oh, and you need to meet my friend, axis lighting. This means the sun is directly to my back, shining harshly on the subject in front of me. I only shoot the Holga (loaded with Kodak E100VS film) in an axis lighting situation. Both: Holga 120S, Kodak BW400CN, “cloudy” setting. Lehi, UT. Opposite Page: Holga 120S, Kodak E100VS, cross-processed, “sunny” setting. Provo, UT.

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Holga 120S, Kodak E100VS, cross-processed, “sunny” THE setting. GUIDEProvo,101 UT.

diana Truth be told, I had a Diana for over six years and it never left the box. Why? Because I bought matching Meg and Jack (of The White Stripes) Diana and Holga cameras. So, I busted out the Diana and gave it a go for this book. Cost: Basic ones go on eBay for as low as $60 and limited

edition ones ring in at about $100.

Film usED: 120 medium format film. DiFFiCulty: Harder than the Instax Mini, easier than all the

other cameras in this book. You’ve got to remember to take off the lens cap, then choose an “f/stop” — Sunny, Somewhat Cloudy, Cloudy, or Pinhole — and then choose your focus.

gREAt FoR: Dreamy landscapes. Not so gREAt FoR: Anything gritty, urban, dirty, or edgy, unless

you’re shooting for the irony of it.

Diana “Meg,” Kodak Portra 800, f/6.3. Lehi, UT.

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Diana “Meg,” Kodak Portra THE800, GUIDE f/13. Lehi,103 UT.

All: Diana “Meg,” Kodak Portra 800, bulb setting. Salt Lake City, UT.

BEst FEAtuRE: The lens. The Holga lens doesn’t measure up to the Diana lens, which is why I have all my Holgas modified. This puppy has real f/stops at f/6.3, f/9, and f/13(ish). woRst FEAtuRE: This dainty camera is softly colored and

makes me feel like I should be leaping through meadows and chasing unicorns instead of shooting. Also, I’m including this camera under protest. Kristen is making me do this, since she says I don’t appreciate the camera’s low-fi qualities. I say it’s soft, she says it’s dreamy. I say it feels cheap, she reminds me that it’s a toy camera. Focus is tricky if not completely impossible to achieve, and since I’m used to consistently sharp images on the Holga this made me nuts. Kristen says this is the charm of the camera – you never know what you’re going to get! If you buy a Diana, know that you’ll be getting soft images and inconsistent results. Like poetry for your camera, this won’t make sense to everyone. If you’re one of the chosen few, have fun – and happy shooting. Be warned, though: if you bump into Bigfoot or the Loch Ness Monster whilst sporting the Diana, you won’t have a sharp shot to post to Facebook later. I recommend carrying a Holga if you’re going hunting for mystical creatures that respond to the allure of toy cameras.

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106 645, Contax FILM Kodak IS NOT Portra 400, DEAD 80mm lens, f/2. San Francisco, CA.

F THEFilm

THIS CHAPTER COULD BE A HUNDRED PAGES LONG — AND EvEN THEN, IT wOULD NOT BE ABLE TO CONTAIN My LOvE FOR FILM. SEE THE FILM STOCKS THAT TRIP My TRIGGER. FIND THE ONES THAT TRIP yOURS.

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ILM

i Get asKed, “FuJi or KodaK?” Pretty reGularly.

As much as I love Kodak’s new Portra line of films, I don’t care about name. I care about final product for my clients and for myself. I am completely dedicated to film, and will shoot whichever film works best for me in a given shooting situation. If Hershey comes out with a film in formats that I need and with the specifications I require, then you can call me Chocolate Canlas. All: Contax 645, Kodak Portra 400, 80mm lens, f/2. San Francisco, CA.

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S

Don’t be intimidated by the long names of some films – they’re easy to break down once you know what each part means. Let’s say I’m shooting a common film: Kodak Portra 400 220. Kodak is the name of the film maker. you’ll most likely encounter Kodak or Fuji as your film maker. Portra is the film stock. Different stocks have characteristics that are quite noticeable. Both: Contax 645, Fuji 400H, 80mm lens, f/2. Bali.

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DON’T BE INTIMIDATED By THE LONG NAMES OF SOME FILMS – THEy’RE EASy TO BREAK DOwN ONCE yOU KNOw wHAT EACH PART MEANS. Contax 645, Fuji 400H, 80mm lens, f/2. Oahu, HI.

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All: Contax 645, Kodak Portra 400, 80mm lens, f/2. Seattle, WA.

400 is the ISO of the film, where ISO equals light sensitivity. (you know this from your digital gear!) Film stock comes in ISO 100, 160, 200, 400, 800, 1600, and 3200, increasing in noticeable grain as the ISO gets closer to 3200. 220 is the size of the film – in this example, 30+ exposures of medium format film. 120 indicates 15+ exposures of medium format film. 35mm indicates that it’s intended for use in a 35mm camera. Pro rolls of 35mm film typically contain 36 exposures.

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114 GF670, Fuji FILM Fuji IS 400H, NOT f/3.5. DEAD Salt Lake City, UT.

All: Contax 645, Fuji 400H, 80mm lens, f/2. Provo, UT.

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S THE MAJORITy OF wHAT I SHOOT DURING EvENTS LIKE A wEDDING DAy IS KODAK PORTRA 400. HANDS DOwN, NO qUESTIONS ASKED. Before we talk in general terms about film stock, let’s cover what I shoot during any given assignment. This will serve as a real-life example of film in action. The rundown of what’s what in generic terms will follow this, so you can decide what’s best for you.

For the Holga, I bring 10 rolls of Kodak E100VS slide film. I cross-process this for all shots taken during the day in the harshest of light (read: rad vignettes and crazy color). Using this at night with a flash results in whack colors that are super-unpredictable.

First things first: my ISO of choice is 400. It’s a fast film with no grain that shows up in scans. My film stock of choice depends on who, what, and where I’m shooting.

When using the Holga with flash, I shoot 5-ish rolls of Ilford XP2 — a color negative (C-41) black and white film. If I feel like mixing it up, I throw some Kodak Portra 800 film into the Holga and fire away.

The majority of what I shoot during events like a wedding day is Kodak Portra 400. Hands down, no questions asked. As it gets later in a wedding day, I’ll break out the Kodak Portra 800 – note the Portra theme here.

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As light completely disappears in the evening, I shoot 10-ish rolls of Ilford Delta 3200. This is a high-speed black and white film in 120 format (16 exposures, remember?).

All: Contax 645, Kodak Portra 400, 80mm lens, f/2. Melbourne, Australia.

12

PROstoCK

tHe only way to Get tHe answers you really want reGardinG wHiCH Film tyPe is Best For you is to... gEt out AND shoot it FoR youRsElF.

Let this be a mere starting point for your explanation of the film world! ColoR. (DeveloPeD in C-41 PRoCess. HAs lATiTuDe, mAking iT veRy FoRgiving FoR CHoosing exPosuRe. AmAzing HigHligHT ReTenTion, sHADow DeTAil, AnD TonAl RAnge.) KoDAK PoRtRA 400: This film is new to the market, and is the

answer to serious film shooters’ dreams. Aside from Portra 160, it is the only color film available in 220. Kodak Portra 400 is RAD because it uses the vision 3 technology found in motion pictures. This means Portra 400 can be pushed and pushed well! I’ve shot it pushed to 3200, which is unheard of for color negative film – and it is gorgeous. No grain increase, color shifts, or lack of contrast and saturation. Add the fact that you can now shoot at night with this film by pushing it like crazy? Awesome.

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Great skintones, great contrast and saturation, this is the future of color film in 120, 220, and 35mm formats. (We can all shoot Portra, shazaam!) Gotta tell ya, though: when I first shot this film I did not think much of it. My test images were super yellow. Turns out, they were super yellow because I shot it the way I shoot Fuji 400H, overexposing and metering for the shadows. This new Portra 400 is more or less motion picture film. If anyone has worked on a movie set, you know when they meter they have the bulb out and meter straight up, then they expose for exactly what the meter says (more on metering a little later). I have found this is the way to meter for Portra 400. No overexposing unless you like yellow photos. KoDAK PoRtRA 800: When Fuji discontinued 800Z film, the film world had a

moment of mourning. Luckily, there’s Portra 800 to step up and handle those low-light situations. It lacks the magenta shift 800Z introduced whether you liked it or not, and Portra 800 can be pushed to 1600 without any issues. This film is great for skintones but still nice and contrasty and saturated. i loVE this Film, it’s AwEsomE. liKE Blow-youR-miND AwEsomE.

The only drawback? Kodak Portra 800 is only available in 120 and 35mm formats. I shoot this guy in 120 for about an hour at the end of the night to keep that 120 format from bothering me too much.

Contax 645, Kodak Portra 800, 80mm lens, f/2. Laie, HI. Opposite Page: Contax 645, Kodak Portra 400, 80mm lens, f/2, Melbourne, Australia.

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i Put Portra to tHe test witH a sinGle suBJeCt, tHen eXPosed it aCross an eiGHt-stoP ranGe. hERE ARE thE REsults.

As you can see, Portra 400 should alleviate your fear of getting the “wrong” exposure with film. Worry a bit less about exposure and a bit more about the subjects in front of you, focusing manually, etc., as you make your way in the world of film. You’ll find that with time and practice, your exposures will improve – but that doesn’t mean you’ll stop shooting Portra.

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uNDEREXPosED 3 stoPs

uNDEREXPosED 2 stoPs

p

L

p

pS

pS

pS

KoDAK EKtAR 100: Great for travel work, personal work, and

details. Super-saturated, super-super-super (note the use of three supers! I warned you!) contrasty, and a bit red. Red people aren’t pretty people, so this film usually doesn’t work for portraits. Available in 120 and 35mm formats. The film grain is crazy-fine — like, it just might make you weep at its grainy perfection. Or blow up an image to the size of your studio wall to test its capabilities. Want to get ballsy? These films are all available in 4x5 and 8x10 formats. Booyah.

Mamiya RZ Pro II, Kodak Ektar 100, 110mm lens, f/2.8. Aiea, HI.

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Both: Contax 645, Kodak Ektar 100, 80mm lens, f/2. Pasadena, CA.

400H IS wHAT CREATES THE SIGNATURE PASTEL LOOK IN FILM IMAGES. Fuji 400h: Available in 120 medium

format and 35mm format, this was my film of choice for years. I love the color palette, levels of saturation, and contrast I can achieve when I overexpose this film. The skintones on 400H freaking rock. 400H is what creates the signature pastel look in film images – when grouped with a Contax, the combination is crazy rad.

Both: Contax 645, Fuji 400H, 80mm lens, f/2. Groton, CT.

That ISO of 400 is versatile in lots of lighting situations, like broad daylight, open shade, and hand-held up to 1/30 sec in relatively low light. This film must be overexposed to create that pastel-y look. Depending on the lighting, I recommend overexposing this film by one to three stops. In broad daylight: +1. In open shade: +2: In really flat light: +3. The more overexposed the film, the more saturation and contrast you’re introducing into the image.

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Fuji 160C: A super-magenta, supercontrasty film much like the discontinued 800Z, just 2.3 stops slower. A discontinued-at-the-end-of-2010 film that’s readily available on eBay. Fuji 160s: Think 400H with 1.3 stops less light sensitivity. Another discontinued-at-the-end-of-2010 film that’s readily available on eBay.

If you’re going to be shooting weddings in the summer, outdoors, you can shoot 160S in 220 format and you’ll never miss your 400H. In the winter or inside? You’ll miss your 400H. Contax 645, Kodak Portra 400, 80mm lens, f/2. San Jose, CA.

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13

ILM PerFeCt For Cross-ProCessinG. very little eXPosure latitude.

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KoDAK E100Vs: I always cross-process this film after shooting it in my Holga — yes, that’s a very specific use of this film— and when you cross-process, you must overexpose. By setting the Holga to Sunny and exposing at the standard Holga shutter speed (1/100), I overexpose the film by 1 1/3 stops. The cross-processed results of Kodak E100VS in a Holga always have midnight blue skies and through-the-roof saturation. I prefer this film over other slide films because it renders the perfect color results I want straight out of camera without any fiddling in Photoshop on the back end.

what the heck is cross-processing? Instead of developing slide film in E-6, which is what it’s designed for, it’s processed in color negative (C-41) chemicals.

Oh, and I only recommend shooting this film in broad daylight (not open shade!), as the results go really green in the shade.

Holga 120S, Kodak E100VS, cross-processed, “sunny” setting. Compton, CA.

FILM IS NOT DEAD

If you develop E-6 normally, you’ll get a positive — or a slide. Remember those things you used to have to sit through as your dad hit the Next button on the slide carousel while you looked at photos of him at Yellowstone in his heyday? Yah, those kind of slides. If you develop color neg film (C-41) you get a negative, the opposite of a positive. So cross-processing means that you take C-41 film and develop it in E-6 chemistry (not so popular) or you take E-6 film and develop it in C-41 chemistry (what I do with my Holgas to get crazzzzzzzzzy color).

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Left: Holga 120S, Kodak E100VS, cross-processed, “sunny” setting. Maui, HI. Right: Holga 120S, Kodak E100VS, cross-processed, “cloudy” setting. Mira Mesa, CA.

Holga 120S, Kodak E100VS, cross-processed, “cloudy”THE setting. GUIDE Mira Mesa,129 CA.

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ILM

Has its own develoPer. more ForGivinG tHan slide Film, less ForGivinG tHan Color Film. ilFoRD DEltA 3200: The only 3200 ISO black and white film available in 120! It is fantastic pushed to 6400 as well. Grainy, romantic, awesome: the triple threat.

Also available in 35mm format. KoDAK tmZ 3200: If you want grain just plain oozing out of your image, shoot this stock. Available in 35mm. Both: Contax 645, Ilford 3200, pushed to 6400, 80mm lens, f/2. Groton, CT.

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All: Contax 645, Ilford Delta 3200, 80mm lens, pushed to 6400, f/2. Chattanooga, TN.

All: Fuji GF670, Kodak BW400CN, f/3.5. Monterey, CA.

KODAK Bw400CN ISN’T A TRUE BLACK AND wHITE FILM, SO IT HAS MORE LATITUDE wHEN SHOOTING. C-41 BlACK & whitE. (wAy FoRgiving = loTs oF lATiTuDe. sHooT wHiCHeveR one you CAn FinD, AnD you’ll be A HAPPy CAmPeR.) KoDAK Bw400CN: This is a C-41 (or color negative) black and

white film. What the what!? It isn’t a true black and white film, so it has more latitude when shooting. You can heavily overexpose without creating any weird color shifts. It has great contrast when you overexpose by a stop or two, and is my black and white film of choice for regular shooting. Available in 35mm format.

ilFoRD XP-2: Another C-41 black and white film that’s available in 120 and 35mm formats. Comes with the same latitude as KodakBW400CN, which means it’s rad.

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15

ILM ProCeed witH Caution, my Friend. First, let’s define “generic” film. Any film that is not intended for professional usage is generic. Such films are created with a higher ISO than advertised, as the manufacturer expects the film to sit for months or years before it is purchased. Since film loses sensitivity to light over time, the extra ISO balances out to what’s on the box by the time it reaches your camera. PRos: This stuff is cheap. Cheap. Things like Kodak Gold and Fuji Superia are contrasty and full of color, great for cutting your teeth on exposures as you learn the ins and outs of film. CoNs: Results are hit or miss. Some of my workshop students have produced amazing work with generic black and white film purchased in bulk from sellers in China. But I wouldn’t shoot any professional work with it unless I’ve tried other rolls from the batch and had them developed for me using personal work.

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All: Contax 645, Fuji 400H, 80mm lens, f/2. San Diego, CA.

All: Contax 645, Kodak Portra 400, 80mm lens, f/2. London.

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ILM Film Can Be PurCHased By tHe roll, By tHe Pro PaCK (tyPiCally 5 rolls), or in BulK. gEt youR FEEt wEt with Film FRom REPutABlE VENDoRs. While you’re still trying out

stocks to find out which films you love best, I recommend buying a roll or two of film from dealers like Adorama Camera or B&H Photo. These dealers are top notch, and you can rest assured that you’ll be dealing with fresh film. Buy Film iN BulK to sAVE CAsh. I buy my film

on eBay in large quantities, spending at least $500 at a time. These two eBay sellers are awesome: amaan13 and ultrafineonline. I’m a level-three film hoarder, so please ignore that suitcase stuffed with film over there. And that refrigerator out in the garage that’s full of film. Oh, and that rolling bag, there. And that filing cabinet drawer. DoN’t hEsitAtE to Buy EXPiRED Film. As film gets older, two things can happen. One: it becomes more prone to color shift. Two:

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it can lose light sensitivity. That makes color negative film a lot more sensitive to expiration dates. I regularly shoot color negative film like 400H that expired in 2007. With a C-41 film like BW400CN that doesn’t have any color – thus making color shifts irrelevant – I buy as far back as 2001. Since I overexpose the hell out of that film anyway, the loss of light sensitivity doesn’t make a bit of difference. shoot EXPiRED Film just As you woulD NoRmAl Film. Assume that your expired film is fresh as a daisy and shoot away. As I mentioned above, I shoot expired film all the time without any issues. stoRE youR Film iN A Cool, DRy PlACE. Film is stored in the refrigerator if I can swing it – and a suitcase if the refrigerator is full. I live in Utah, which is the opposite of humid. If you live on a tropical island or an extremely humid place, I don’t recommend fridge storage. Upon removal from the fridge in a tropical climate, the film will start to sweat. Water + unexposed film = no bueno. Contax 645, Kodak Portra 400, 80mm lens, f/2. Melbourne, Australia.

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You can freeze film if you don’t plan on shooting it for at least six months. Frozen film should be removed from the freezer and allowed to acclimate to room temperature for a minimum of 24 hours before being popped into your camera. If you’re actively shooting, the fridge will do just fine. All: Yashica Mat 124-G, Kodak Portra 400VC, f/8. San Francisco, CA.

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wHy are you so sure Film isn’t dead? and won’t Be dead really soon? If film dies, I’ll pick you up on my unicorn and we’ll go check out double rainbows in the land of Goody Goody Gumdrops (read: not likely). Kodak just dropped a ton of cash into research and development for the new Kodak Portra 400. Plus, the motion picture industry keeps film production alive by buying a million dollars’ worth of film per movie. So long as Hollywood is cranking out motion pictures, Kodak will keep making film. whAt’s thE BEst “All ARouND” Film to PuRChAsE? oNE thAt will woRK with Both toNs oF light AND low light? This

depends entirely on the look you’re going for! If you want creamy pastel tones, shoot Fuji 400H and overexpose. If you’re looking for true-to-life color and the ability to push your film a stop Both: Contax 645, Kodak Portra 400, 80mm lens, f/2. Venice Beach, CA.

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or two or three, shoot Kodak Portra 400. These two films are apples and oranges, in terms of look, but they provide that versatile 400 ISO to handle a range of shooting situations. Do you REAlly Not hAVE to woRRy ABout sKiNtoNEs’ ColoR with Film? REAlly!? Yes

and no. You are always at the mercy of the person scanning your film. Whether that’s a lab technician or your friend Sally or even you — bad scanning makes for tons of post-production work. If you’ve exposed correctly and your lab has scanned the film with skintones in mind, you’re good to go. I’ll shoot in a myriad of lighting situations, then do a quick adjustment to levels, curves, and/or color balance if needed. Those who are less picky than me about color may not feel the need to do a darn thing after getting scans back from the lab.

Contax 645, Fuji 400H, 80mmTHE lens, GUIDE f/2. Carlsbad,143 CA.

144 Mamiya RZ FILM Pro II, ISKodak NOTPortra DEAD 160NC, 110mm lens, f/2.8. Lehi, UT.

THOSE wHO ARE LESS PICKy THAN ME ABOUT COLOR MAy NOT FEEL THE NEED TO DO A DARN THING IN POST-PRODUCTION AFTER GETTING SCANS BACK FROM THE LAB. why shoot BlACK AND whitE Film? why Not just shoot iN ColoR AND CoNVERt iN PhotoshoP? That one extra step in

post-production kills me! My whole goal is to sit behind a computer for as little time as humanly possible, so “just” converting 100 images to black and white, then tweaking them and exporting them over the course of shooting a year’s worth of weddings means a lot more time behind El Mac-o. Aside from that, it’s a lot easier to create the look of Ilford 3200 by... shooting Ilford 3200.

how mANy Rolls oF Film Do you shoot At A wEDDiNg? Forty-ish. I bring at least 60

rolls to any given wedding. Uncle Bob might be a nice dude, but he’s not going to be equipped with a few extra rolls of Kodak Portra 400 220 that I can borrow. It’s on me to be prepared. I also shoot tons of personal work outside of the wedding or event, so those “leftover”rolls are often used up before I head home.

whERE Do you stoRE Film thAt’s AlREADy BEEN shot? You can store it briefly in

the fridge, but I recommend getting exposed film developed stat.

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UNCLE BOB MIGHT BE A NICE DUDE, BUT HE’S NOT GOING TO BE EqUIPPED wITH A FEw ExTRA ROLLS OF KODAK PORTRA 400 220 THAT I CAN BORROw. BE PREPARED. Contax 645, Fuji 400H, 80mm lens, f/2. Disneyland, CA.

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ILM how Do you gEt All oF youR Film thRough AiRPoRt sECuRity? Any films rated above ISO 800 (like Ilford Delta 3200) and all instant films (Fuji FP-3000B) have to be hand-checked at security. I keep them in a separate bag that the nice security people inspect box by box and roll by roll. Again, films of ISO 1600 or 3200 and instant films simply can’t be checked in luggage or go through the x-rays at security. No, REAlly. i tRiED thAt AND thE tsA oFFiCiAls lAughED AND Put my Film thRough thE sCANNERs. how Do you gEt All oF youR Film thRough AiRPoRt sECuRity? This is one of those times when

Intimidating Jon comes out to play. Intimidating Jon does not take no for an answer. Intimidating Jon does not budge until the film is hand-checked. Intimidating Jon does not care how many people are held up in line because of the film in his luggage, as film is the way he makes his livelihood. Just become the more intimidating version of yourself. Airport officials want to move the line along, so they’ll try to minimize your requests. Don’t let them. This is important, so treat it as such and refuse to budge.

oKAy, so, thE AiRPoRt oFFiCiAls woulDN’t listEN AND sCANNED my Film. whAt’s goiNg to hAPPEN Now? Some countries jack the

x-ray juice higher than others. If we’re talking about film of ISO 800 or lower, you’re probably good to shoot that film as usual. Instant film or ISO 1600/3200? Forget it and buy film when you reach your destination to avoid tears and tantrums at developing time.

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Both: Contax 645, Fuji 400H, 80mm lens, f/2. Buenos Aires, Argentina.

INTIMIDATING JON DOES NOT CARE HOw MANy PEOPLE ARE HELD UP IN LINE BECAUSE OF THE FILM IN HIS LUGGAGE, AS FILM IS THE wAy HE MAKES HIS LIvELIHOOD. Contax 645, Kodak Portra 400, 80mm lens, f/2. Seattle, WA.

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ILM Let’s start off by talking about my favorite instant film: Fuji FP-3000B. It has an ISO of 3200, which makes it perfect for shooting just about anywhere with your Polaroid 600SE camera. Shoot an image, then let it develop for at least 30 seconds. Pull too soon and the image will solarize — your negative will be useless. When in doubt, let it develop longer! About a minute after shooting your instant film, pull the image. Separate the positive (pretty picture) from the negative (goopy mess). Give the positive to your portrait subject. Dry the negative (the goopy side) – you can hit it with a portable blow dryer or allow it to air dry. Keep the negative from touching anything else until it’s dry! Grab some glass cleaner for your scanner and a can of air for your neg to make ’em both as dust-free as possible before scanning. Scan the neg on a flatbed scanner at the highest DPI possible. (you know that crappy 3-in-1 scanner/printer/fax machine you have? That’ll do. I have an Epson 4990 Flatbed Scanner.)

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Polaroid 600SE, Fuji FP-3000B, 127mm lens, f/4.7. Lehi, UT. Opposite Page: Polaroid 600SE, Fuji FP-3000B, 127mm lens, f/4.7. Pasadena, CA.

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to BRiNg youR Fuji FP-3000B NEgAtiVE to liFE iN PhotoshoP: Open the document in Photoshop. (File>>Open) Invert it. (Image>>Adjustments>>Invert) Flip the canvas horizontally. (Image>>Image Rotation>>Flip canvas Horizontally) Adjust levels, brightness, and curves to taste. (Image>>Adjustments>>Levels) If you’ve scanned at the highest DPI possible, you can prep for prints as usual. I scan all my Fuji FP-3000B negs at 800 DPI and print 16x20s from them amazingly. Like melt-your-face awesome. to ADD RAD toNiNg to youR Fuji FP-3000B NEgAtiVE iN PhotoshoP: Convert to Grayscale. (Image>>Mode>>Grayscale) Convert to RGB. (Image>>Mode>>RGB color) Open Color Balance and add/subtract the numbers to taste. (Image>>Adjustments>>color Balance) This creates subtle toning – find your own signature formula and get down with your bad self.

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All: Polaroid 600SE, Fuji FP-3000B, 127mm lens, f/4.7. Draper, UT/Los Angeles, CA/Washington, D.C.

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ILM BLEACHED NEGATIvES LOOK COOL AND HAvE A CERTAIN DEvIL-MAy-CARE-MEETS-CALIFORNIA-DREAMIN’ FEEL TO ’EM. If you know my work at all, you know that I only shoot 3000B pack film when I’m creating instant prints. I like having a huge negative to work with, and it frees me to give prints to clients. Some of you, though, just want to make neat prints and play with bleach. I get it. Bleached negatives look cool and have a certain devil-may-care-meetsCalifornia-dreamin’ feel to ’em. to gEt A woRKABlE NEgAtiVE FRom Fuji FP-100C Film, you’ll NEED: Gel bleach A cutting board electrical tape A sponge for scrubbing the negative A sink Somewhere to dry the negatives, preferably clothes-line style A blowdryer (optional) Mamiya RZ Pro II, Fuji FP-100C, 110mm lens, f/11. Canle’ International, Orem, UT.

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AND hERE wE go: 1. Shoot FP100C (NOT 100B). 2. Wait 2x longer than the stated developing time (around three minutes depending on how cold it is. The colder it is outside, the longer you wait). 3. Allow the negs to dry, or blowdry them to speed the process. The negs are completely black. 4. Once dry, grab a cutting board (or similar surface you can use to tape the negs to). 5. Tape the negs facing down – so the negs are on the cutting board, with the back of the image facing you and tape securely fastened to the cutting board. Make sure all the edges are sealed tightly, as any rogue bleach will damage your negative. 6. Take bleach, preferably the thick gel kind, and gently rub it on the black part of the negative. If you’ve done this right, the black part is facing you, and it will start to rub away. Keep rubbing until the black part is gone entirely. Again, if you did not seal the neg down to the flat surface with the electrical tape and bleach gets to the front, it will ruin the negative. 7. Rinse the neg under lukewarm water, rubbing off any excess bleach. 8. Remove the taped, cleaned neg from the flat surface. 9. Scan. 10. Tweak levels and curves in Lightroom or Photoshop, and voila! You now have negatives that are 3.25x4.25 cm and ready for printing or posting online. All: Mamiya RZ Pro II, Fuji FP-100C, 110mm lens, f/5.6. Canle’ International, Orem, UT.

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156 645, Contax FILM Kodak IS NOT Portra 800, DEAD 80mm lens, f/2. Solona Beach, CA.

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THEEXPosiNg LEAvE THE SAFETy NET OF INSTANT DIGITAL FEEDBACK BEHIND. I GUARANTEE yOU’LL LIKE wHAT yOU DISCOvER.

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ILM BreatHe. you Can do tHis. iF you Can sHoot a Camera in manual, you Can sHoot Film liKe a CHamP. This is where you freak out. You have a camera, a lens, and film. You’re, like, a film shooter. Only you’re scared to lose the safety net of instant digital feedback. Breathe. You can do this. If you can shoot a camera in manual, you can shoot film like a champ. Let’s start with shooting color film like Kodak Portra 400. whEN shootiNg ColoR NEgAtiVE oR C-41 Film, ERR oN thE siDE oF oVEREXPosiNg thE Film.

When you overexpose your film, you are exposing for the shadows, which guarantees detail in the darkest parts of your image. Overexposing doesn’t kill your highlights, though. It is almost impossible to have blown highlights with color negative film.

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This freaks digital shooters out, as you’ve been taught to err on the side of underexposing your digital images. Underexposed film images look like crap. Underexposing can introduce noticeable grain, strange color shifts, and muddy blacks into your images. That said, Kodak Portra film can be underexposed up to three stops. (It’s the only color negative film that can be underexposed and deliver results you won’t be embarrassed to show other people.) how muCh you oVEREXPosE youR Film is A mAttER oF tAstE.

All Kodak films can be overexposed by half a stop without introducing more yellow into the image. To do this, I meter with the bulb out and held perpendicular to the ground. We’ll talk more about that later. If your style involves crazy-heavy contrast and you’re willing to color-correct for the yellow you’re introducing, overexpose your Portra by a stop or two.

Both: Contax 645, Fuji 400H, 80mm lens, f/2. San Francisco, CA.

Contax 645, Fuji 400H, 80mm lens, f/2. San Francisco, CA.

Overexposing Fuji films introduces contrast and saturation to an image. With Fuji film, overexpose by two to three stops in totally flat light. If your subject is back-lit, overexpose by 1.5 to two stops. And if you’re shooting in direct sunlight — so the sun is already providing heavy contrast — overexpose by just one stop. oVEREXPosiNg sAVEs oN REtouChiNg timE, too. You’ll hide

Contax 645, Kodak Portra 400, 80mm lens, f/2. San Francisco, CA. Opposite Page: Contax 645, Fuji 400H, 80mm lens, f/2. San Francisco, CA.

blemishes or large pores on your portrait subject by overexposing an additional stop. Creamy, creamy skin with minimal retouching is the result. This is basically doing post-processing at the time of exposure — sneaky, eh? Just saved you a few hours in Photoshop, per shoot, over the course of your multi-decade career. You’re welcome. Make checks of gratitude payable to Jonathan Canlas Photography.

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YOUrBUDDYTHelightMETER

My light meter is around my neck 100% of the time that I’m shooting. Literally, 100%. It’s a Sekonic L-508. It’s less than $300 when you buy it used on eBay. (Notice the trend of buying gear on eBay? I rarely buy gear brand new, opting for used whenever possible.) The Sekonic L-508 is affordable compared to the newer models, it has spot-metering capabilities, and the ambient bulb is retractable. (This matters. You’ll find out why in a bit.) If you can’t swing the $300, you can purchase the Sekonic L-358. The L-358 doesn’t have a spot meter, which you’ll need for shooting black and white film. Worth saving up that extra $75, for sure.

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All: Contax 645, Fuji 400H, 80mm lens, f/2. San Francisco, CA.

All: Contax 645, Kodak Portra 400, 80mm lens, f/2. Melbourne, Australia.

165 Holga 120S, Kodak E100VS, cross-processed, “sunny” THE setting. GUIDE Paris, France.

166 120S, Holga FILM Kodak IS NOT E100VS, DEAD cross-processed, “sunny” setting. Lehi, UT.

i got ComFoRtABlE with my light mEtER thE olD-FAshioNED wAy: By ReADing THe mAnuAl.

You need to read the manual, too, so you know what the meter is capable of and how best to use it. After you’ve read the manual and are familiar with its basic functions, you’re ready to begin metering with film. (I never, ever recommend trying out a new tool or gadget on a client’s dime – you need to get comfortable with metering before introducing it into your paid work.) Not getting paid? Even better. Personal work is where it’s at. So, you have your meter. It’s around your neck and you’re ready to shoot color negative film.

Both: Yashica 124-G, Kodak BW400CN, f/8 (left), f/3.5 (right). Oahu, HI.

You turn it on. What now?

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I NEvER, EvER RECOMMEND TRyING OUT A NEw TOOL OR GADGET ON A CLIENT’S DIME – yOU NEED TO GET COMFORTABLE wITH METERING BEFORE INTRODUCING IT INTO yOUR PAID wORK. Contax 645, Fuji 400H, 80mm lens, f/2. San Francisco, CA.

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ouR goAl is to oVEREXPosE ouR imAgEs. how muCh wE oVEREXPosE thEm DEPENDs oN whiCh Film stoCK wE’RE shootiNg. how to mEtER FoR KoDAK ColoR NEgAtiVE Films AND Fuji 160C: 1. Set the ISO to the same ISO as your film. If we’re shooting Portra 400, that’s 400. The ISO is in the name of the film. 2. Set the meter to take an Incident reading. 3. Make sure the meter’s bulb is in and that the light you are reading is the same as the light falling on your subject. If your subject is in the shade, your bulb should be in the shade. Subject in the sun? Get that bulb into the sun! 4. Hold your meter parallel to the subject and perpendicular to the ground as the meter faces you. Remember, 90 degrees is perpendicular to the ground. 5. Take a reading. 6. Set your camera to shoot what the meter reading just told you to shoot. how to mEtER FoR Fuji 400h AND 160s: 1. Set the ISO to the same ISO as your film. If we’re shooting 400H, that’s 400. The ISO is in the name of the film. 2. Set the meter to take an Incident – NOT SPOT – reading. 3. Retract the meter’s bulb. When it is out, it’s metering 180 degrees. We don’t want to meter 180 degrees, we want to meter for the shadows. With the bulb retracted, we’re all set to overexpose our image by 1/2 to 2/3 of a stop. 4. Hold the meter AWAY from the subject and 45 degrees to the ground. Remember your basic geometry – 90 degrees is perpendicular to the ground, 0 degrees is parallel to the ground. You want 45 degrees. 5. Take a reading. That 45-degree reading you’re taking will overexpose by another 2/3 of a stop. (So, 2/3 by retracting the bulb and 2/3 by holding at 45-degree angle — we’re talking overexposing by 1 1/3 stops. It’s a perfect reading!) 6. Set your camera to shoot the f/stop that the meter reading just told you to shoot. (More on that below.)

Boom! Perfectly exposed film! Where’s that Easy button? DuDE, it just gAVE mE A NumBER liKE 2.8.5! whAt!?

The Sekonic L-508 meter gives you readings in 1/10 increments of each f/stop. So, if you’re supposed to be shooting at f/2.8, you can get readings of f/2.8.1 all the way up to f/2.8.9. You can ignore that last number entirely – so if the meter says f/2.8.1, just shoot at f/2.8. If it says f/2.8.6? Shoot at f/2.8. You’re rounding down to err on the side of overexposing.

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ILM you need to Be muCH more eXaCt wHen eXPosinG true BlaCK and wHite Film, as it is not as ForGivinG as Color neG Film.

I

II

III

IV

We’re going to use the Zone System to expose our film. The Zone System teaches us to meter for shadows and develop for highlights. Skintones are the basis of our portraits with color film, and the same goes here. Middle gray is Zone 5 — or V in the diagram above. We want our skintones to be lighter than middle gray, so we’re doing our best to place skintones in Zone 6 — or VI in the diagram above. You’re going to meter for the face (the cheek, actually) of your portrait subject to properly expose your image.

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V

VI

VII

VIII

IX

X

ouR goAl is to EXPosE FoR ouR suBjECt’s sKiNtoNE. To use your

Sekonic L-508 with true black and white film, you’ll need to bust out your Spot meter. Stick with me, here:

1. Set the ISO on the meter to be the same ISO as your film. 2. Set the reading to Spot Meter — NOT INCIDeNT. 3. Point the spot meter at the cheek of your subject. 4. If your subject is Caucasian, overexpose by 1 – 1.5 stops. (If the spot meter reading says 4.0.5, shoot at f/2.8 — that’s 1.5 stops overexposure.) Most Caucasians’ skintones fall into Zone 6. Darker-skinned people like myself are around middle gray, or Zone 5 in the Zone System.

why did I spot meter for the cheek? I take a reading for the face as I don’t really care where everything else falls in the exposure. If a face is properly exposed, all is well in my world. Again, Caucasians are Zone 6-6.5 (overexposing on your meter either 1-1.5 stops) depending on the creaminess of the white person. If a vampire attended a wedding, they would be Zone 7. Those dudes are so creamy they’re translucent. Contax 645, Ilford Delta 3200, pushed to 6400, f/2. Salt Lake City, UT.

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Left: Holga 120S, Kodak BW400CN, “cloudy” setting. Lehi, UT. Right: Fuji GF670, Kodak BW400CN, f/3.5. Provo, UT. Opposite Page: Fuji GX680, Fuji Neopan 400CN, 125mm lens, f/6.3. Lehi, UT.

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ILM Slide film is the least forgiving of all films, so it’s the last film to shoot if you’re just getting your feet wet in analog photography. You’re going to need to nail your exposure, so you’ll need a gray card and a spot meter. to mEtER FoR sliDE Film: 1. Grab your gray card and hold it close to your subject. 2. Aim your spot meter at the gray card and take a reading. 3. Adjust your exposure to match the reading and shoot. 4. Repeat each time the light shifts or your subject changes locations.

I don’t use slide films in wedding work, as weddings are super fast-paced and I’m alway in low-light situations. Most slide films are 100 ISO, which limits their usage to fairly bright shooting situations. They can be hard to scan, too, but they make for amazing landscape work. Shoot my beloved Kodak E100VS straight, without the cross-processing I typically do when shooting the Holga, and it’s the most vivid color you’ll ever see. VS stands for Very Saturated and it is no lie. Holga 120S, Kodak E100VS, cross-processed, “sunny” setting. Orem, UT.

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SLIDE FILM IS THE LEAST FORGIvING OF ALL FILMS, SO IT’S THE LAST FILM TO SHOOT IF yOU’RE JUST GETTING yOUR FEET wET IN ANALOG PHOTOGRAPHy.

Left: Holga 120S, Kodak E100VS, cross-processed, “cloudy” + bulb setting. Las Vegas, NV. Right: Holga 120S, Kodak E100VS, cross-processed, “sunny” setting. Reno, NV.

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EXPOSURE:FAQ

whAt DoEs it mEAN to RAtE my Film? When you tell the meter which ISO you’re shooting, you’re rating your film. When you load a roll of Portra 400 and set your light meter’s ISO to 400 – you’ve rated your film. how Do i Push Film? wHAT Does THAT even meAn? Pushing film is just another term

for underexposing film on purpose.

Let’s say I’m shooting Portra 400, which has an ISO of 400. If I rate my film at 800 (by entering 800 on my meter instead of 400), I’m exposing the film as if it has an ISO of 800. I just let the lab know to push the film one stop at the time of developing in order to achieve the desired results – it will look like I shot 800 film, even though

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I ran out of it yesterday. Kodak Portra 400 is fantastic for pushing. If you’re pushing film, be sure to push the entire roll. Pushing requires extra time in the developing soup, and the whole roll goes in the soup. why Do you oVEREXPosE thE wAy you Do?

There are several ways to effectively overexpose film, but I have found this to be the most reliable way. I do not use the meter in my camera as it is taking an overall reading of the scene and usually with a white dress and black tux, the meter goes a bit loco. Contax 645, Kodak Portra 400, 80mm lens, f/2. Cedar Fort, UT.

Left: Contax 645, Fuji 400H, 80mm lens, f/2. Seattle, WA. Right: Contax 645, Fuji 400H, 80mm lens, f/2. Toledo, OH.

Both: Contax 645, Ilford Delta 3200, pushed to 6400, 80mm lens, f/2. Artesia, MS.

wITH THE SEKONIC L-508, I KNOw My READING IS GOING TO BE SPOT ON. You could shoot in Aperture Priority and just put the camera to be set at +0.5 when shooting Portra or +2 when shooting 400H — but then you are at the mercy of your in-camera meter. Frankly, I don’t trust in-camera meters any more than I trust recently released ex-cons who offer to babysit my kids for free. It’s important to be in control of your camera – not the other way around – and with the Sekonic L-508 I know my reading is going to be spot on. It is fast and easy to do, and does not require you to walk up to your subject every time to take a reading. whAt ARE somE EXPosuRE ERRoRs to BE AwARE oF? Make sure your film’s ISO and

your meter’s rating match. If you don’t set your light meter to match your ISO (this is called rating your film), you could be in serious trouble. If, for

example, you’re shooting Kodak Ektar 100 and you have the meter rated at 160, you’ll be 2/3 stop underexposed. Fixable. But if you’re shooting Ilford 3200 and have the meter rated at 100, you are just plain hosed. Check and doublecheck your ISO rating when metering. Make sure you have your meter on Incident mode if shooting color neg film and on Spot mode when shooting true black and white film. Dial it in. The most common error of all? Taking a reading and forgetting to set your camera to what the meter says. (Not that it happens to me every so often...never....) Contax 645, Fuji 400H, 80mm lens, f/2. San Francisco, CA.

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Both: Fuji GF670, Ilford XP5, pushed to 6400. Salt Lake City, UT.

B

THEBACKEND THERE ARE PLENTy OF OPTIONS FOR DEvELOPING yOUR wORK. I’vE NARROwED THEM TO JUST FOUR: RICHARD PHOTO LAB, yOUR LOCAL LAB, ON THE CHEAP, AND ON yOUR OwN.

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L I recommend using Richard Photo Lab to develop and scan your film. End of story, no questions asked, forever and ever amen. They are not the cheapest lab on the block. They are the best lab on the block. Richard Photo Lab is amazing at treating everyone who works with them the same way. Whether you’re Jonathan Canlas or Jonathan Fanless, you’ll have the same customer experience with RPL. Yes, RPL is expensive, but you get what you pay for: little to no time behind the computer fidgeting to make your images look good. Get the RPL medium scans at the time of developing to print up to 11x14, and large scans if you regularly sell enlargements to clients. (This is much cheaper than sending a single neg back to RPL, paying for drum scanning, and then paying to have the neg returned to you via FedEx. Just err on the side of large scans if you regularly sell big prints.) When you get scans back from them via FTP, be sure to let them know if the color is not what you expected (too warm, too cool, etc.) and begin a dialogue with them. Talk to Bill. He’ll set you up with a profile that allows any technician who scans your work to know and dial in your scanning preferences. I tell them to process for skintones and let the rest of the color fall where it will. Richardphotolab.com Holga 120S, Kodak E100VS, cross-processed, “sunny” setting. Walt Disney World, FL. Opposite Page: Contax 645, Kodak Portra 400, 80mm lens, f/2. Walt Disney World, FL.

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RICHARD PHOTO LAB IS NOT THE CHEAPEST LAB IN THE wORLD, BUT IT IS THE BEST.

Both: Mamiya RZ Pro II, Kodak Ektar 100, 110mm lens, f/2.8. Kahuku, HI. Opposite Page: Contax 645, Kodak Portra 400, 80mm lens, f/2. Kauai, HI.

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DEVELOPING:YOURLOCALlAB

If you’re not yet ready for RPL, take a drive to your local camera lab and see what they’re capable of doing. Start a conversation about scan sizes and film types – they’ll be happy to chat with you. Does the lab develop color and C-41 film? How about medium format? what about true black and white? what sizes of scans do they offer, and for how much? Do they push and pull film? At what charge? what’s their turnaround time? How much are proof prints? Be prepared to ask questions and record the answers, then give the lab a try if you like their work as well as their answers.

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AGAIN, GOOD FILM SCANNING COMES FROM HAvING A DIALOGUE wITH yOUR LAB. LET THEM KNOw wHAT’S wORKING AND wHAT ISN’T. Contax 645, Kodak Portra 400, 80mm lens, f/2. Kauai, HI. Opposite Page All: Contax 645, Fuji 400H, 80mm lens, f/2. Oahu, HI.

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Both: Contax 645, Kodak BW400CN, 80mm lens, f/2. Baltimore, MD.

All: Fuji GF670, Kodak BW400CN, f/8. American Fork, UT.

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All: Contax 645, Fuji 400H, 80mm lens, f/2. Balboa Park, CA.

THESE IMAGES CAN’T BE PRINTED LARGER THAN 8x10 – BUT wALGREENS PHOTO LABS ARE GREAT FOR GETTING THE HANG OF FILM. If you’ve just shot a few rolls of film and you need to know if you nailed your exposures or failed miserably, you don’t want to find out to the tune of $30 a roll. For 35mm shooters, you have a secret ally in the land of film. walgreens. Yes, Walgreens. Develop and scan your 35mm rolls to CD for less than $7 in the continental U.S. These images can’t be printed larger than 8x10 – but Walgreens photo labs are great for getting the hang of film.

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192 645, Contax FILM FujiIS 400H, NOT 80mm DEAD lens, f/2. Haleiwa, HI.

DON’T HAvE A wALGREENS? ANy LOCAL DRUGSTORE wITH A LAB CAN TURN yOUR FILM AROUND qUICKLy AND CHEAPLy. THIS ALLOwS yOU NEAR-INSTANT FEEDBACK FOR MAKING CORRECTIONS AND IMPROvEMENTS.

All: Contax 645, Fuji 400H, 80mm lens, f/2. Laie, HI.

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DEVELOPING:ONYOURowN Scanning your own work is not for the faint of heart, but it can work if you’re dedicated to film and on a tight budget. Get your film developed in good soup, then bring home the negs and get your scan on. My go-to recommendation, the Epson Perfection V700 Photo Scanner, will cost almost $600. I encourage you to explore used scanners before making this investment, as these scanners are readily available on eBay. Know this: there’s a big learning curve to the fine art of scanning your negatives on a home scanner. I bought a flatbed film scanner a couple years ago and still don’t feel comfortable scanning my own negs on that machine. Dust will forever be your enemy. You will learn to loathe it like accidentally stepping in dog poop before you arrive at your girlfriend’s house to meet her parents for the first time. (Yeah, that bad.) Beyond the cost and the dust, there’s the issue of time. It can take up to an hour to scan a roll of film, depending on how many exposures and what format you are shooting. If you’re aware of the cost, dust, and time drawbacks, have at it. Grab the V700 and go to town. If you just want to scan instant film negs, any old scanner will do. There’s no need for specialty scanners if that’s the only way you’ll be using the machine.

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Both: Mamiya RZ Pro II, Kodak Portra 160NC, 110mm lens, f/2.8. St. Louis, MO. Opposite Page: Contax 645, Fuji 400H, 80mm lens, f/2. Oceanside, CA.

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NINTENDOtimE

tHe waitinG Game The waiting portion of film developing doesn’t bother me in the slightest. When I send it off, I get to forget about it. I would hate having to come home from an event, download the images and start editing right then and there. Because things get scanned on the Frontier, I have to wait three weeks to get scans back from RPL.

You’ll come to notice that you’re having trouble exposing in certain lighting situations or when you feel rushed, pushed, etc., and this will help you make corrections that lead to better exposures on your next roll.

I know people complain about the wait time, but I freaking love it. I get three weeks off from said event, so when I download it’s like Christmas for a 12-year-old kid in 1987 who is getting a Nintendo for the first time. It is that good. Better, it’s that good every time. The time makes you forget what you shot, so when you get it back it’s a great surprise.

you uNDEREXPosED. I’ve never seen a film image that was too

But I sent film off and it came back and it sucks, Jon. Any words of wisdom? So, this hasn’t happened to me in a long time, but it can happen. If it happened, on the next shoot I would have a plan. No matter what, I’d record the shots in a notebook. Frame by frame exposures, notes on the lighting situations, and the stock of film that’s in the camera. (If you suspect camera malfunction, take note of the particular camera you’re using, too.)

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iF you gEt BACK BAD imAgEs, this is whAt CoulD hAVE goNE wRoNg:

overexposed that looked bad. Underexposed? It looks icky all the time. Remember to err on the side of overexposure, which is the exact opposite of digital. This takes some getting used to....

you got A BAD sCAN. Whoever scanned the film might have no idea what he or she is doing, so your images look like ass soup. You could do everything right on your end, but if someone drops the ball in developing and scanning, you’re out of luck. you’RE A ViCtim oF olD oR gENERiC Film. Color shifts and grain

from super-outdated film happen all the time, and generic film is likely to be outdated film. Keep it fresh.

Both: Mamiya RZ Pro II, Kodak Portra 160NC, 110mm lens, f/2.8. St. Louis, MO. othER QuEstioNs to hElP you hoNE iN oN thE PRoBlEm:

were you metering correctly? Be sure to overexpose if you’re unsure of a meter reading. were you having focus issues? Practice will take care of this. Promise. Did you load the film correctly? This is a one-time problem. You’ll load it wrong once, realize you did, and make extra-sure that you’ve done it right before sending your film off again.

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198 GF670, Fuji FILM Kodak IS Portra NOT800, DEAD f/16. Waiamea, HI.

Both: Contax 645, Fuji 400H, 80mm lens, f/2. San Diego, CA.

DEvELOPING TIME MAKES yOU FORGET wHAT yOU SHOT, SO GETTING IMAGES BACK IS ALwAyS A GREAT SURPRISE.

Left: Holga 120S, Kodak E100VS, cross-processed, “sunny” setting. Las Vegas, NV. Right: Holga 120S, Kodak E100VS, cross-processed, “sunny” setting. Orem, UT. Opposite Page: Holga 120S, Kodak E100VS, cross-processed, “sunny” setting. Tijuana, Mexico.

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G

my worKFlow is so stinKinG simPle! Here Goes...

1. Shoot. 2. Develop and scan. (For you, this will be Richard Photo Lab’s job.) 3. Do quick edit of keepers, deleting blinks and unwanted images. 4. As an event shooter, I take the time to organize images into sub-folders at this point (Details, Getting Ready, Family Formals, etc.). 5. edit any dust out of scans. 6. Correct scans for levels, curves, and color balance. 7. Batch process jpegs to smaller upload size in preparation for Instaproofs in separate folder. 8. Upload to client proofing site – instaproofs.com. 9. Archive to DVD and hard drive. Add sleeved negs and DVD to event folder in filing system. (We’ll get to that in a few.) Contax 645, Fuji 400H, 35mm lens, f/8, Artesia, MS.

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Yashica Mat 124-G, Kodak BW400CN, f/3.5, UT. THEAmerican GUIDEFork,203

NO MATTER wHICH PROGRAM yOU’RE USING TO EDIT, I’LL BET yOU SPEND 75% LESS TIME BEHIND THE COMPUTER EDITING wHEN yOU START SHOOTING FILM. whAt Do you usE to EDit youR Photos? I

use Photoshop to tweak levels (making blacks darker and lifting midtones if necessary), to tweak curves (adding a bit of contrast when necessary) – and finally, to color balance. Color balance is always last, and the whole process is lightning-fast. Why is color balance always last? Because messing with levels and curves often alters your color. This comes with practice, but anyone can color balance. I’m colorblind. Levels, curves, color balance. Five seconds per image.

Both: Contax 645, Kodak Portra 400, 80mm lens, f/2. St. George, UT.

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how Do you gEt thosE FAB toNEs iN youR imAgEs? Proper exposure + Contax +

Zeiss glass + film. Good soup (i.e., spot-on chemistry at time of processing). Good scanning. The tones are taken care of before I ever get my hands on the image.

why Not lightRoom? I found a system

that worked for me and stuck with it. If you love Lightroom, use it. No matter which program you’re using to edit, I’ll bet you spend 75% less time behind the computer editing when you start shooting film. And that’s the goal here.

whAt ABout shARPENiNg FoR wEB? I don’t

sharpen for web because I find that my images don’t need it. This may be difficult for you die-hard digital peeps to get used to, so sharpen for web to your liking. Contax 645, Fuji 800Z, converted to B/W, 80mm lens, f/2. Orem, UT.

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stoRAgE onCe your Film Has Been sCanned and tHe neGatives Have Been diGitized, you’ll need to Create a storaGe system For your neGatives. Your lab will cut and sleeve the negatives for you. Grab a file folder and label it with an event’s details and date, then place it in a filing cabinet. Store your event folders chronologically, and voila! Film storage system! The better part of my office is full of filing cabinets. I only keep event negs for one year, then mail them to the client on their first wedding anniversary. (What the hell do I want their negs for, anyway? I have the DVD of each event. I don’t need them sitting around my office.) You’ll need anywhere from one to three filing cabinets stacked two tall, depending on how much you shoot. That houses one year’s worth of my negs, and I shoot a ton.

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All: Contax 645, Kodak Portra 400, 80mm lens, f/2. Melbourne, Australia.

208 GF670, Fuji FILM Kodak IS Portra NOT800, DEAD f/8. Lehi, UT.

P

THEPERSONALPRojECts AND NOw, My FAvORITE PART OF THE wHOLE BOOK BEGINS...

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S Personal ProJeCts are an inteGral Part oF my worK and my everyday liFe. how Do you go ABout DECiDiNg whAt to shoot? I have recurring themes, for sure, like making the mundane interesting. I truly believe there is a great photo five feet from you at all times. And I am in search of said photo when I shoot personal work. Do suBjECts ChoosE you, oR Do you ChoosE thEm? I choose them. Do you EVER Do VoluNtEER woRK with youR PhotogRAPhy? Absolutely. I’ve donated

session fees and print sales to causes over the years.

iF i Can Give BaCK, i do. how Do you DECiDE whiCh PRojECts ARE A gooD Fit AND whiCh ARE Not? I go with my gut. I’m a pretty happy guy, so I shoot pretty happy stuff. No nudes, it’s just not what I do. No dark conceptual stuff that requires lots of setup. I’m more of a photo hunter, finding the perfect image given any set of circumstances, than I am a photo maker, meaning I put tons of thought into production. Both: Contax 645, Kodak Portra 400, 80mm lens, f/2. Melbourne, Australia.

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I AM SHOOTING AT LEAST ONCE A wEEK PERSONALLy FOR PROJECTS, AND THEN ONCE wITH My FAMILy, NO MATTER wHAT. how Do you CREAtE A BuDgEt FoR thE PRojECt oR DECiDE how muCh Film to shoot FoR EACh oNE? I don’t create a budget, I

just shoot until I get what I need. If I was working on projects requiring crews or teams, I’d be a bit more worried about budget — but this is just a few rolls of film a week. No biggie.

how muCh timE Do you DEVotE to PERsoNAl VERsus PRoFEssioNAl shootiNg PER wEEK? I am shooting at least once a

week personally for projects, and then once with my family, no matter what. Professional work depends on the season — in 2010 I was in three countries and 18 states while opening my own studio and lab. “Free time” is not in my vocabulary. Both: Yashica Mat 124-G, Fuji 400H, f/8. Paris, France.

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II

Both: Contax 645, Kodak Portra 800, 80mm lens, f/2. Laie, HI.

I moved to Hawaii when I was 15, a total punk kid wrapped up in a lifestyle that was going to take me nowhere fast. The Wells family had just moved to the islands from St. Louis because their dad was hired to teach at BYU Hawaii. They took me in and did not tolerate my shenanigans. Long story short, I turned my life around with the help of this family in a town called Laie, which means “City of Refuge.” Literally, it was a place of refuge. The North Shore of Oahu is where I discovered who I was as a person and better still, who I wanted to be. There is an inexplicable feeling the second I come down Kamehameha Highway from the H2 and see the ocean.

Nothing describes it better than heaven on earth. (And if heaven is anything less than the north shore of Oahu, I don’t want to go there – heaven had better have Spam Musubi, too.) Shooting in Hawaii is one of the only times in my travels that I really concentrate on landscape photography. I’m looking for light and for scenes that seem untouched by man. Epic ocean views, rolling hills, the shape of the land before the country club moves in. The entirety of the North Shore is very country – think wandering chickens and broken-down ’86 Caravans rusted on the side of the road – and simple, too. The people who live in Laie aren’t flashy. They’re my kind of people.

It is as tangible as a person and I can literally feel it. It is a place where I can completely unplug. When I’m there, I’m not thinking about work, business, bills, or responsibilities. I’m there in the moment.

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216 645, Contax FILM Kodak IS NOT Portra 800, DEAD 80mm lens, f/2. Oahu, HI.

I TURNED My LIFE AROUND IN A TOwN CALLED LAIE, wHICH MEANS “CITy OF REFUGE.”

Contax 645, Kodak Portra 400, 80mm lens, f/2. Kauai, HI.

DETAILS Do you hAVE AN uNDERwAtER CAsiNg FoR youR CAmERA? No, I don’t.

Underwater is not my forte. It’s kind of like a fisheye lens. I can handle maybe one or two images in my whole portfolio then it just feels gimmicky.

how Do you PRotECt youR gEAR FRom thE ElEmENts whEN shootiNg oN thE BEACh? I don’t go in the water with the camera. (If you

do, you better have steady legs.)

The Contax is super temperamental when it comes to water/ humidity/anything wet. If that camera even senses anything wet, or senses you thinking about anything wet, the prism stops working and the shutter starts to lag. That means you can’t see any readings and you’ll hit the shutter, but it won’t go off until about a second after you push it. Since I find that sort of thing frustrating, I’m not getting in the sand or rolling around in the water. Do you hAVE A mEthoD FoR DEAliNg with humiDity iNsiDE thE CAmERA? how ABout humiDity AND Film? You have to acclimate

your films as you move between temperatures. If you go from a super air-conditioned area to outside where it’s hot, or from the fridge to room temperature, both your camera and the film in your camera will start to literally sweat with condensation. No bueno.

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IF yOU SUBJECT yOUR CAMERA TO ExTREME TEMPERATURE SHIFTS, BOTH yOUR CAMERA AND THE FILM IN yOUR CAMERA wILL START TO SwEAT wITH CONDENSATION.

All: Contax 645, Kodak Portra 800, 80mm lens, f/2. Oahu, HI.

When I did my first workshop in Laie, I brought all the film with me and put it in the fridge. The day before, I brought it out to acclimate and it was wet. Like soaking wet. It started sweating going from the fridge to the 80-degree humid air of the North Shore. Now, imagine that situation happening IN your camera. If you are in an airconditioned place and then take it outside, the lens fogs up on the front element and quite possibly the rear element of the lens. If that is the case, you are SOL and have to wait until your camera acclimates. If you wipe it away too soon, it will just come right back. Patience and planning any indoor/ outdoor parts of a shoot carefully are the name of the game, in Hawaii, or any other humid, hot climate. Contax 645, Kodak Portra 800, 80mm lens, f/2. Laie, HI.

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AIN

PERSONAL wORK. PROJECTS. THESE wILL FEED yOUR SOUL — AND IF yOU’RE LIKE ME, yOUR BELLy, TOO. If you’re a pro photographer, personal work can benefit your professional life. How? Take, for example, this shot to the right. I was out of stuff to post on my blog and I needed something quick. This was a test shot I had taken with a fisheye lens, so I threw it into a post and went about my life. A result of this personal work? The corporation that owns a majority of Park City, UT, contacted me to shoot their properties. Which led to work with another local lifestyle company, which led to a huge lifestyle/commercial shoot on the island of Kauai. I approach every commercial shoot the way I approach personal projects: storytelling through details. I also come back to the theme of family, which sells “lifestyle” multimillion-dollar plots of lands on islands in Hawaii, apparently. Personal work. Projects. Shooting when you’re not getting paid. These will feed your soul – and if you’re like me, your belly, too.

Bronica ETRSi, Kodak Portra 400VC, 30mm lens, f/8. Wolf Creek, UT.

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All: Contax 645, Kodak Portra 400, 80mm lens, f/2. Kukui’ula, HI.

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MILY Family is an obvious choice for personal projects, as I have six kids and a wife I adore. (Yep, s-i-x.) The camera is with me more times than not. It is very hard for me to leave the camera, and I often regret it if I do. Callie knows that photography is not a job to me. It is part of who I am. I’d be doing it whether I was being paid or not. I will never apologize for documenting the most important thing to me — my family — and encourage you to document yours as well. I’d always rather document than not. I shoot my kids at least once a week, averaging 10 rolls of 220 shot per month on family alone. I print my favorites on an Epson 3800 and then store them in clam shell boxes. Mamiya RZ Pro II, Kodak Portra 800, 110mm lens, f/2.8. Ogden, UT.

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I have 8.5x11, 13x17, and 17x22 sizes and print when the mood strikes. (See Resources for vendor info.) It’s funny, Isaac has his own album because he was first – but that was a long time ago, and it’s a super expensive album chock full of crappy images. Thus, the clam shell boxes. If I don’t like a print 10 years from now, I can just pop it in the garbage can. No one has broken anything, knock on wood. The gear isn’t in the house most of the time. When there’s gear in the house, it’s in a shoulder bag in my bedroom with the door closed, as high up as I can get it. hAs ANyoNE EVER BRoKEN youR gEAR?

I will admit this, though: once when Isaac was eighteen months old, I came home between a wedding and a reception at the Salt Lake City temple.

I went upstairs to put something in my office and came downstairs to find Isaac unraveling all of the film. And I mean ALL of the film I had just shot at the wedding. I thought I was going to have a coronary right then and there. (Also, I blame Kodak for having brightly colored paper on their 220 film.) Lesson learned. Film is never out in the open for kids to touch. They do know what film is and don’t ask to see the back of my camera when I take photos of them. Most importantly, they know not to touch my gear or film. Isaac will be mowing our lawn well into his adult years to pay me back for what he did...things like that only need to happen once to teach a lifelong lesson. (For him and for me.)

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TIME GOES By SO qUICKLy, AND THEy DON’T STAy SMALL FOREvER.

Both: Mamiya RZ Pro II, Kodak Portra 800, 110mm lens, f/2.8. Santaquin, UT.

Mamiya RZ Pro II, Kodak Portra 160NC, 110mm lens, f/2.8. Lehi, UT.

Contax 645, Fuji 400H, 80mm lens, f/2. Park City, UT.

Left: Mamiya RZ Pro II, 110mm lens, Kodak Portra 160NC, f/2.8. Lehi, UT. Right: Fuji GF670, Kodak Portra 800, f/3.5. Kahuku, HI.

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HI Turns out, you don’t need to travel all over the world to find beauty. It is in your backyard. You just need to take the glasses of familiarity off and see it as something new, not the same place you drive by Every. Single. Day. I live in Lehi, Utah. I have so many images from places I’ve traveled for work: East Coast, West Coast, Europe, big city, small town, and everything in between. I built this crazy portfolio of images but when someone asked to see a picture of where I live, I literally had nothing to show them.

Fuji GF670, Fuji 400H, f/11. Lehi, UT.

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Literally, nothing. Unacceptable. Your voice and vision have a lot to do with your environment, and living in Lehi, UT, for the last six years certainly informs the way I see the world. It seeps into my vision, my approach, and who I am as a person. It was and continues to be something I need to pursue and document.

Fuji GF670, Kodak Portra 800, f/8. Lehi, UT.

Both: Fuji GF670, Fuji 400H, f/11. Lehi, UT. Opposite Page Both: Mamiya 7II, Kodak Ektar 100, 80mm lens, f/22. Lehi, UT.

AS MUCH AS I AM A wORLD TRAvELER, I AM A SMALL TOwN GUy AT HEART. I’ve been slowly building this project by shooting inanimate objects. Homes, landscapes, street scenes...and I hope to move into people soon. Documenting Lehi allowed me to get comfortable with the Fuji GF670, and I’m looking forward to shooting a lot of the Mamiya 7II, which is a 6x7 medium format rangefinder (!!). This project has helped me to realize that as much as I am a world traveler, I am a small town guy at heart. I like the openness of the west, the country feel of things. I am not entirely at home in any big city and I gravitate toward the simple things in life. Normal folk, normal lives, no big rich fancy shiz. After shooting and scanning Lehi images, I choose my favorites to print out. Otherwise, I don’t have photographs, I have files.

NEED TITLES HERE

I use the gallery space in my studio to hang a rotating gallery of 30 16x20 images. They’re hung with clips on a wire system I picked up at Ikea (see Resources). Super cheap, super effective, and perfect for providing blog fodder when the snows outside are four feet deep.

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Fuji GF670, Fuji 400H, f/4. Lehi, UT.

Both: Fuji GF670, Fuji 400H, f/11. Lehi, UT.

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PrOJECTcMN

My son, Weston, spent most of the first year of his life in the Primary Children’s Hospital of Salt Lake City, Utah. He was born without a pulmonary valve, and with both a hole and extra arteries in his heart. This led to many medical problems and culminated in open heart surgery. The Children’s Miracle Network made the harrowing experience of teetering between life and death with a newborn so incredible that I jumped at the chance to give back. In this case, “giving back” involved seven full days of shooting 50 CMN “Champions” as they visited Orlando and the nation’s capitol. These 50 kids from all 50 states have either overcome or are still living with a major illness or injury. For one full week, these “Champions” and their family members were able to forget daily struggles and celebrate the pure joy of just being kids. Contax 645, Kodak Portra 160, 80mm lens, f/2. Orlando, FL. Opposite Page: Holga 120S, Kodak Portra 800, “cloudy” setting. Washington, D.C.

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Needs Title Here

238 645, Contax FILM Ilford ISDelta NOT3200, DEAD pushed to 6400, 45mm lens, f/2.8. Washington, D.C.

THIS wAS ONE OF THE MOST AMAzING ExPERIENCES I’vE HAD AS BOTH A FATHER AND A PHOTOGRAPHER. Everyone participated in award ceremonies for the kids, doctors, volunteers, and donors throughout the Children’s Miracle Network Gala week. The “Champions” were also taken to Disney World, where they were the Grand Marshals of the daily parade. They hugged their favorite Disney characters and met celebrities, too. Contax 645, Kodak Portra 400, 80mm lens, f/2. Orlando, FL.

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HUGGING MARy LOU RETTON, MEREDITH vIEIRA, STEvE yOUNG, MARK wILLS, AND MISS AMERICA BETwEEN HITTING UP RIDES? NOT TOO SHABBy. Contax 645, Kodak Portra 400, 80mm lens, f/2. Orlando, FL.

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Left: Contax 645, Kodak Portra 400, 80mm lens, f/2. Orlando, FL. Right: Left Contax 645, Kodak Portra 400, 140mm lens, f/2.8. Orlando, FL.

Both: Contax 645, Kodak Portra 400, 80mm lens, f/2. Orlando, FL.

Both: Contax 645, Ilford Delta 3200, pushed to 6400, 80mm lens, f/2. Orlando, FL.

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Hugging Mary Lou Retton, Meredith Vieira, Steve Young, Mark Wills, and Miss America between hitting up rides? Not too shabby. After their Orlando adventures, the kids and their families boarded a Delta plane reserved specifically for the CMN. No security, they just drove up to the tarmac and got on the plane. The group went to various monuments in D.C., including the White House, and participated in the Changing of the Guard at the Tomb of the Unknown Soldier. Left: Contax 645, Kodak Portra 400, 140mm lens, f/2.8. Washington, D.C. Right: Contax 645, Kodak Portra 400, 80mm lens, f/2. Washington, D.C. Opposite Page: Contax 645, Kodak Portra 400, 80mm lens, f/2. Washington, D.C.

This was one of the most amazing experiences I’ve had as both a father and a photographer. Learning of these kids’ lives, conditions, and triumphs – as well as their ability to have hope no matter what – was incredible.

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All: Contax 645, Kodak Portra 400, 80mm lens, f/2. Orlando, FL.

The moral of the story? Go find some thing you truly believe in. Something that makes you want to be a better person. Then, give of your time and talents to that organization in any way possible. There is no better feeling in this world than giving back and helping others.

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Contax 645, Kodak Portra 400, 45mm lens, f/2.8. Orlando, FL.

Both: Contax 645, Kodak Portra 400, 80mm lens, f/2. Washington, D.C.

THERE IS NO BETTER FEELING IN THIS wORLD THAN GIvING BACK AND HELPING OTHERS.

Both: Contax 645, Kodak Portra 400, 80mm lens, f/2. Washington, D.C. Opposite Page: Contax 645, Kodak Portra 160, 45mm lens, f/2.8. Washington, D.C.

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Both: Contax 645, Ilford 3200, pushed to 6400, 80mm lens, f/2. Salt Lake City, UT.

T

THEtutoRiAls READ, FOLLOw, SHOOT. EASy PEASy.

INSERTS

THE SECRETS TO LOADING FILM AND SwAPPING INSERTS ARE ABOUT TO BE REvEALED. 1. To open the back, check out its left side. On the left side, there is a little knob with a lip. Flip the lip up and turn clockwise. This pops open the back. 2. To remove the insert, squeeze the two tabs on either side of where it states “For 120/220” (on inserts that take both formats) or “For 220 only” (on inserts dedicated to 220). Pull the insert out while you’re squeezing. 3. If it is a “For 120/220” insert, flip it over and make sure the arrow is pointing to the format you are shooting. If you are shooting 220, the arrow should point to 220. Shooting 120? Make sure it’s set to 120. easy peasy, yo. 4. To load the film, hold the insert so that you can read “For 120/220” or “For 220 only” clearly. The film goes on the top spool. It should be loaded so that when you break the paper and roll it out, you see the black underside of the film. You should NOT see the yellow portion of the film paper at all — that means you’re trying to put the film into the receiving end. You want black. Black is what you want! BLACK! (Can you tell I’ve answered this question 4,000 times?) 5. Advance the film until the arrow printed on the film lines up with the white mark on the top right. This means you have advanced the film far enough in the camera to be properly loaded. 6. Place the loaded insert into the camera and make sure it “clicks in” all the way. 7. Close the back and then hit the shutter. The film will advance to 1 all by itself. Zzzzzip! 8. Here’s the test of whether you actually followed my instructions on step 3: if you’ve loaded 220 film with the back set to 120, you’ll get an error. Slow down, read the instructions, and remember: wasting film kills unicorns. Wasted film = dead unicorns = no bueno.

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How to load a yasHiCa mat 124-G

TO LOAD yOUR FILM INTO THE yASHICA MAT 124-G, JUST FOLLOw THESE STEPS. 1. Turn the knob at the bottom of the camera in the direction of the “O.” “O” means Open and “C” means Closed. 2. Make sure your pressure plate has been switched to the format you’ll be shooting. If it is 220, slide it to “24 exp” as shown. If you’re loading 120 film, slide it to “12 exp.” 3. Pull the knob and twist it until it stays out. This is a nice feature, as otherwise you’ll just have to hold that knob while you fumble around putting the film in. Just pull, twist, then place your film in the camera. Turn the knob to release it and lock the film in place. 4. Break the seal of the film, then take the paper end and feed it into the other spool whilst winding the crank to advance the film. If you’re shooting 220, there is an arrow indicating where to advance your film: to the “24 exp” mark. If you’re shooting 120, the “12 exp” mark is located about an inch closer to where you load the film. 5. Once you’ve reached the marker for your film format (220 or 120, haven’t you been paying attention?), close the back. Turn the knob at the bottom to “C” for Closed. Look straight at the crank and imagine it as the face of a clock. Advance the crank so that it comes to rest at about two o’clock. This is the position the crank has to be in to take photos. 6. Shoot away!

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How to load Film into your GirlFriend

I MEAN THE GF670, GET yOUR MIND OUT OF THE GUTTER. wHEN LOADING FILM, IT’S EASIEST AND SAFEST TO DO SO wHILE THE CAMERA IS COMPACT. NOT wHILE THE LENS IS PULLED OUT. 1. To open the camera, push the button on the right side of the camera. This will release the back. 2. Check to make sure your pressure plate is set to the right format: 120 or 220. 3. The film will go on the left side of the camera if you are looking at the back of the camera with its back open. To load the film, push the red button. This will pop out the notch that hooks into the film spool. Once the film is in, push the notch you just popped out back in. 4. Tear the paper holding the film closed. BeFORe you load the film onto the taking spool on the right, make sure the format dial is on your desired format. You can choose between 66 (square) or 67 (rectangle) formats. 5. Load the film over to the taking spool and advance until the arrow reaches your chosen format indication marker: 66 or 67. 6. Close the camera and advance until you see the number 1 in the counter. Then get to shooting!

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oPeratinG tHe Polaroid 600se

NO BATTERIES PLUS PACK FILM? THIS REqUIRES AN ExPLANATION.

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1. Open the Polaroid back by lifting the latch that keeps the back closed. 2. Insert the pack film with the image facing the camera. The protective paper will curl toward the front of the camera. Curling away from it is backwards. 3. Before you close the Polaroid back, make sure the white tabs are not stuck under the latch. This can be done by just lifting them up with your finger. 4. When you close the Polaroid back, ensure that both the white tabs and the black lip of the protective paper were not caught under the Polaroid back. 5. Pull the black lip of the protective paper out and throw it away. Once pulled, a white tab with the number 1 on it should be hanging out where the black lip once was. 6. Pull out your dark slide. I repeat, PULL OUT YOUR DARK SLIDe. Skip this step and you’ll be taking photos of nothing. 7. Cock the shutter of the camera, then set your aperture and shutter speed. 8. Focus and release the shutter. 9. Pull the white tab STRAIGHT out of the Polaroid back. This will bring out a triangle-shaped lip. 10. Pull the triangle-shaped lip again straight out of the Polaroid back smoothly and quickly. Do not hesitate midway through pulling – just zzzzip! The rollers break the developer pod and spread the developer evenly over the image during this step. 11. For 3000B film, wait at least 30 seconds before peeling. For 100B and 100C films, wait at least two minutes to be safe. If you pull too quickly on 100B or 100C, there will be no image. If you pull too quickly on 3000B, your negative will solarize and NOT look like your print. 12. After the development time has passed, separate the print (positive) from the negative by pulling on one of the corners. If you plan on using the negatives, let them dry without allowing anything to contact them.

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loadinG tHe HolGa

HERE wE GO! 1. Slide the silver tabs down to release the back. While you’re holding the camera with the back open, turn it upside down. You’ll notice two black holes on the top (er, bottom of the camera because you’re holding it upside down). Grab some electrical tape and cover those two holes. Goodbye light leaks for life! No need to tape your Holga up like the bumper on the $300 special at the car lot — do this once and it’s done. 2. Place your film on the left side of the camera. If you still have the foam that comes inside the camera meant to “keep the film in place,” rip it out. Don’t give me that look, just rip the foam out because one day that foam will betray you. It will end up in the middle of your roll, ruining the best shot of your friend doing that horribly embarrassing thing he always does. If you don’t trust me and don’t get rid of the foam, there will be nothing to post on Facebook later. For shame. 3. With no foam, your film is going to be loose. Don’t fret! Grab the box the film came in. Rip it into strips, fold it over itself two times and use that as a sweet little shunt on the side. Slip it in to keep the film taut. 4. Tear the seal of the film and put the end of the film in the other taking spool. You want to see anything but black paper right now. If you see black paper, you loaded this wrong. It should look just like the photo. 5. Advance the film two to three turns, then return the back to the camera. 6. Make sure the counter is either pointed to 12 (if you want square images) or 16 (if you want 6x4.5 images). I promise you want square images! While we’re inspecting settings, make sure your camera is on N, not B. N means you’ll get a normal exposure of around 1/100 of a second. B means Bulb, and the shutter will stay open as long as you hold the shutter. Don’t forget to set your aperture to Sunny or Shade, too! 7. Advance your film until you see the number 1 in the little red box on the back.

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c

THE MOST COMMONLy ASKED qUESTION I GET IS ANSwERED ON THESE TwO PAGES. PLEASE PAy ATTENTION, My FRIEND. 1.

1. For any color negative film, you’ll want the meter to face you. You’ll also want to make sure the light falling on the meter is the same as the light falling on the subject. If your subject is in the shade, get your meter in the shade! 2. To meter for FUJI film like 400H, see image 2. Set your meter to take an Incident reading and hold the meter 45 degrees away from the subject and 45 degrees from the ground. You take your reading with the meter held at the angle shown. 3. To meter for Kodak and other color negative films, you’ll want to set the meter to take an Incident reading. This means the dial is pointed to the bulb (down) and the meter is held parallel to the subject, as shown in image 1. 4. To meter for black and white or slide film, you’ll have to get your Spot meter on. The dial should be pointed to the eye-looking logo (as seen in image 4). 5. To spot meter, look through the meter at your subject’s cheek, push the button, and voila. You’ve got a perfect reading. When in doubt, meter as shown to the left.

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266 645, Contax FILM Kodak IS NOT Portra 800, DEAD 80mm lens, f/4.5. New York, NY.

SHOTS Film is not dead, and tHis BooK is ProoF oF it. may your Journey into sHootinG Film Be every Bit as rewardinG as mine Has Been, and Continues to Be. There are lots of ways to keep up with the Film Is Not Dead movement, which is much bigger than just me and a few cameras. It’s all about film – and the community we’re building around it! - Jonathan & Kristen

Crown Graphic, 154mm lens, Polaroid Type 55, f/4.7. Lehi, UT. Shot by Mitch Issel.

FilmisNotDEAD.Com Film is Not DEAD oN FACEBooK: facebook.com/filmisnotdead twittER: twitter.com/jonathancanlas EmAil: [email protected]

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GOOGLETHIS,stAt! Questions aBout Cameras:

Questions aBout Film:

Questions aBout eXPosure:

General Questions:

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S Buy Film.

Adorama: adorama.com Unique Photo: uniquephoto.com Freestyle Photographic: freestylephoto.biz B&H: bhphotovideo.com Ebay: ebay.com othER CAmERAs. Lomo LC-A: http://usa.shop.lomography.com/ Yashica T4: A quick search of eBay will overwhelm you with options for purchasing this gem! gEt Film PRoCEssED without hAsslE + goRgEously. iN gooD souP. Richard Photo Lab: richardphotolab.com Both: Contax 645, Kodak Portra 800, 80mm lens, f/2. Waikiki, HI. gEt lEARNED At thE Film is Not DEAD woRKshoP.

filmisnotdead.com sEE Film siZEs + FoRmAts ComPARED iN A hANDy-DANDy DiAgRAm.

design215.com/toolbox/film_chart.php Buy CAmERA gEAR. KEH: keh.com Adorama: adorama.com

gEt youR CoNtAX sCREEN to BE BRightER + moRE usEFul.

Maxwell Precision Optics: Bill Maxwell. (404) 244-0095 [email protected] gEt youR CoNtAX FiXED.

Kew’s Camera Service in Provo, UT, can help you out. (801) 373-5873

stoRE AND DisPlAy Photos.

Calumet: calumetphoto.com B&H: bhphotovideo.com

Clam Shell Boxes from Kolo: kolo.com Gallery system for hanging prints: Dignitet system from ikea.com

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A THEACKNowlEDgmENts I want (and need!) to publicly thank the following people, all of whom have contributed to the making of this book.

Thank you to the love of my life, Callie, for being the mother and wife you are — for sacrificing all you have to let this dream of being a photographer come to fruition. You’ve spent many nights sleeping alone while I burn the midnight oil, and I want to let you know that I love you, boo. Forever. A huge thank you to Kristen Kalp (brandcampblog.com) for seeing the big picture. For going out on a limb and not being afraid of asking the right questions. Let’s be honest, I am no writer. You took my jumbled words and ideas, then made them into something beyond a coloring book or a choose-your-own-adventure tale. This book simply would not have been possible without the tireless efforts of my graphic designer, Natalie Christensen (coppertopstudios.com). Your attention to detail is legendary, and your design ethos holds the book together on every. Single. Page. I cannot wait to see what is on the horizon with you on board.

I would like to publicly thank Cole Nielsen (colenielsen.com), who birthed the brand and design of Film Is Not Dead. Your relentless pursuit of design perfection formed the foundation the rest of the brand has been built upon, even as it evolves.

Eriko Aoya, thank you for putting a Canon AE-1 in my hands in 1995, right in the middle of Tokyo, Japan. Had that act of kindness never happened, I would not be writing these words. My career began with your generosity. For that, I am forever grateful and strive to be as generous and kind as you have been. Thank you to Kodak for truly believing in film. Thank you for putting in the R&D into bringing new film stocks to the world in this digital day and age. I am beyond humbled to have my name associated with a company so steeped in photographic history. To my Brigham young University professors: val Brinkerhoff, thanks for teaching me the base of my photographic knowledge. John Telford, thank you for teaching me about the kind of photographer and person I would like to be.

A big thank you to Heather Howard, my studio manager, without whom I would be completely lost and unorganized. To my assistants over the years: Leo Patrone, Kristopher Orr, Ryan Muirhead, Tavis Johnson, Joe Amundsen, Becky Earl, and the dozen or so interns— thank you. It takes an army... Finally, to my dear mother, who went through hell and back raising me. Thank you for not killing me when I told you I was going to finish my two degrees in Japanese and Asian studies, then abandon them to start a BFA in photography. I love you, Mom.

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Film is Not DEAD: A DigitAl PhotogRAPhER’s guiDE to shootiNg Film joNAthAN CANlAs AND KRistEN KAlP New Riders 1249 Eighth Street Berkeley, CA 94710 510/524-2178 510/524-2221 (fax) Find us on the Web at www.newriders.com To report errors, please send a note to [email protected] New Riders is an imprint of Peachpit, a division of Pearson Education Copyright © 2012 by Jonathan Canlas All photography © Jonathan Canlas except where noted Acquisitions Editor: Ted Waitt Production Editor: Tracey Croom Cover and Interior Design: Natalie Christensen Layout and Composition: Natalie Christensen NotiCE oF Rights All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information on getting permission for reprints and excerpts, contact [email protected]. NotiCE oF liABility The information in this book is distributed on an “As Is” basis without warranty. While every precaution has been taken in the preparation of the book, neither the authors nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it. tRADEmARKs Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and Peachpit was aware of a trademark claim, the designations appear as requested by the owner of the trademark. All other product names and services identified throughout this book are used in editorial fashion only and for the benefit of such companies with no intention of infringement of the trademark. No such use, or the use of any trade name, is intended to convey endorsement or other affiliation with this book. ISBN-13 978-0-321-81280-3 ISBN-10 0-321-81280-8

987654321 Printed and bound in the United States of America