by Tim Gander

First Film Results!

Last week I told you about my new adventures in black and white film photography, well here’s a selection of the results. I need to work on my digitisation process a bit more because of course this is all still a bit trial and error.

I’ve owned a scanner in the past, but the results were never more than “ok” in spite of it being quite a high-end Nikon machine, so I’m using a digital camera and a copy box which I constructed myself.

As much as possible I want to preserve the beauty of the negatives (and they are quite lovely) and while this might only be truly possible by making direct prints from them, that’s not so practical when it comes to showing them on my blog.

But away with all this technical talk, what about the subjects of the photos?

There’s the shopfitter in Bath who didn’t mind me taking a few frames while he was on his cigarette break, but wasn’t going to pose. That’s ok, I just wanted an interesting face and some half-decent light for my test photos. He was the perfect candidate.

Then, back in Frome, I met Bad Rasta who travels the country selling balloons and novelty toys at carnivals. He was on a break before the start of the evening carnival in the town and was great fun to chat to and was very happy to pose for me with his van and balloons.

Finally Geoff, a Frome local who I met while wandering around the funfair in Frome. Full of interesting reminiscences, a face full of character, and a pig skin jacket that belonged to his father.

There are more photos of course, but some were just tests to check the camera metering and to see how the Kodak Tri-X film would handle different lighting situations. I wanted to make sure I had a few engaging portraits to share.

A shopfitter takes a cigarette break in Bath.
Shopfitter on a break, Bath
Bad Rasta travels the country selling merchandise at carnivals. Pictured here at Frome Carnival, Somerset, UK.
Bad Rasta and balloons, Frome
Geoff, aged 64, portrait taken in the old cattle market in Frome, Somerset with the funfair in the background.
Geoff at the fair

Of course the question has to be is this worth all the effort and expense? And of course the answer is yes. Ok, I could have taken these photos digitally with better technical quality for web, but these negatives would print beautifully well, and even if I never get the pleasure of doing that, it does give me satisfaction.

There is also the fact that knowing how to do this improves my work as a digital photographer. I’ve always firmly believed that having a background in processing and printing my own film work back when I started has always been a big advantage over photographers who didn’t get that grounding. So to continue it now is helping me keep in touch with the basics.

And besides all that, getting out and about to discover personal stories and just talking to people I wouldn’t otherwise get to photograph makes the whole exercise utterly, utterly worth it.

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 by Tim Gander

Back to Black (and white)

For the past 16 years I’ve shot exclusively digital images for my clients which is brilliant for client work.

Deadlines have reached a stage where pictures are sometimes needed for social media even before an event has finished, and even for more polished work the turnaround required often needs to be pretty rapid. It’s also fair to say that on a purely technical level, digital has matched or exceeded that which was ever possible with film.

And of course I can do so much more with digital than I ever could with film, but whatever my medium I work hard to keep things “honest”. I don’t use filters or add grain to my digital images. My style is in the lighting, composition and final presentation of my work. Anything else risks dishonesty in my view, and even when I’ve shot digital and converted to black and white, it’s not the same as shooting a black and white original.

Ah, but film. I spent the first 13 years of my career shooting film; the first couple of years shooting only black and white. In recent years I’ve had a real itch to get back to film one way or another. I doubt I will ever have another client request that I shoot film, though I’d be delighted if the opportunity arose, so it has to be a self-motivated project.

Finally, a couple of weeks ago I could take it no more. I started to research what I needed. I still had my old film processing tanks, measures, thermometer and bits and pieces, so just needed film and chemicals to get started again.

To be fair, it had been so long that I had to remind myself of exactly what was required – vague memories of Ilford ID-11, stop bath, fixer were all very well, but I needed to refresh my memory of the specifics. As an initial competency test I found an out-of-date roll of colour film that had been languishing in the back of my fridge which I sacrificed to practicing loading film onto a spool in the dark bag. It all came back like I’d never stopped, so that was a good start.

Of course film is no good without a camera. I still have my Canon EOS 1N which must be 20 years old, but works with all my current lenses so I dusted that off, popped a new battery in and it still works perfectly. I confess I spent a while lusting over old Nikon and Leica mechanical SLR cameras on eBay, but collectors have turned these into objects of fetish obsession and the prices are ridiculous for anything which hasn’t been dropped in salt water or run over by a bus.

Film and chemicals arrive. Exciting!
My Canon EOS 1N with EF 40mm f/2.8 pancake lens.
My Canon EOS 1N with EF 40mm f/2.8 pancake lens.

The EOS 1N isn’t a “refined” camera, but it’s solid and dependable and I could spend £450.00 on an old, mechanical Nikon (not including a lens) or replace mine (if it ever dies) for about £90.00 because it doesn’t look cool and retro enough for collectors to lust after it.

Now this is the point at which I’m going to tease you to death because I have already shot and processed my first two rolls of Kodak Tri-X film, but they’re not yet digitised (oh the irony) for display here. Looking at them on my old Cabin light panel they look pretty damn lovely. Film really does have something digital lacks; the difference is greater than that between vinyl and mp3s in the music world and it’s just a shame that short of mounting an exhibition there’s no getting away from digital if I want anyone to see the photos. I guess I’ll just have to mount an exhibition then.

Seriously though, in an ideal world I would get myself into a darkroom with a Durst enlarger with a Schneider Kreuznach lens and make beautiful prints on fibre-based paper, but if I can manage that ever at all it’s unlikely to be in the next few weeks. In the meantime I’m working out a system for achieving the best possible digital versions of the negatives.

When that’s done, I’ll definitely update you with images here. I honestly can’t wait. It’ll be interesting to see if the conversion to digital retains any of the character of the film. I do hope so!

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