Did a beach shoot the other day with the digi and just for fun shot off a roll of Portra 160VC in an old Minolta. I was amazed by how good the film shots came out. I'm seriously thinking of going to film again. I have found a good local lab so no worries about quality. But I am not sure how the clients will react. It is bad enough now - "which do you use Canon or Nikon?". Just wondering if there are any film pro's still out there.
Not many of us around, and I usually work the exact opposite to what you've mentioned, shoot on film, and take a couple digital snaps for 'fun',
Did another shoot today and worked in a bit more film - 3 rolls as well as some digital. This time with my OM4. The big bright viewfinder was a delight to use.
Further to the original post - the client actually preferred some of the film shots to the digital ones.
I like the convenience of my digital bodies but I am most impressed when I get fresh film in the F100 and Mamiya 645. More and more of my sessions involve film. Considering adding Mamiya RZ67.
I hope to get my RZ67 out a bit more this year. Shooting MF really slows me down and makes me think a bit more. Something I should try and do when I shoot digital.
I love my RZ, it is big an heavy and a pain to carry around but the images it produces are amazing.
Just joined so i'm here now having not been before!
Went on a studio portrait workshop at the weekend and was the only one there shooting film. Told the instructor i wanted to learn how to see the studio lighting - pressing the shutter is the easy bit, it's understanding what you're going to get that's the key. Anyway, i stirred up a fair bit of interest with my old fashioned ways, especially as there were guys there with camera/lens combinations costing several grand, rapid-clicking megabytes of stuff and all coming away with brightly coloured snaps like nice adverts for breakfast cereal. They now want to see what you can get with an old OM1 and a Fuji 6x7.
Back at the ranch i have a 10x8 and want to use that for portraits when i get my lighting thoughts sorted out. Everyone i speak to thinks the time is right and that here in London there should be enough of a market. We'll see. Luckily i've got a dull desk job to pay the bills whilst i try.
Look forward to staying in touch and learning a lot from those who've trod the path before me.
I am getting rid of a digital body after seeing some great Mamiya RZ67 portraits from a recent film workshop. In the hands of a skilled photographer, a film camera is a beautiful tool. Looking forward to seeing your work.
Welcome Stephen. I have an OM 1 as well - a truly wonderful system. However, I am in a bit of a dilema as I have been wanting an F5 for a long time but logic tells me my OM's will should produce equivalent results. I have the RZ for professional film work so I can't justify it on that basis. Maybe I should look at a 4 x 5 ? I think there is a market for quality silver portraits and a 8 x 10 will certainly give you that. Looking forward to seeing some shots.
I've spent the past few afternoons in the darkroom working on prints from a recent wedding job, not my usual, nor most favourite work, but it does make a nice change from my regular commissions. 645 shots are fun to work with, and I think it's possibly the perfect format for the majority of the quicker paced portrait work (I use Pentax 645's), but, formal portraits on 4x5 are absolutely beautiful!
Have been in the studio a couple of times recently doing 10x8 portraits which everyone thinks is a great idea but, frankly, they look dead to me. Am a bit concerned that the holy grail of film photography may turn out to be a bit of a let down. Having said that, have looked at many other people's 10x8s - old Hollywood stuff and the like - and they are wonderful, so i know it's me just not getting the best out of it. The resolution is there but the zing ain't. Thought it might be the forty year old lens but if you can get zing in the 1930s, i should be able to get it now. I'll keep working at it because a 10x8 portrait is a real occasion and people are genuinely interested in it but I need to get results that justify their interest if i want them to pay for it. Right now, my friend's 5D II gives a lot more punch.
Anyone got any thoughts?
I just got my darkroom back in action and will be printing again after a lapse of 20 years. Previously, my facilities were fairly amateur and my prints always seemed a bit flat. This time around I am taking it more seriously but I expect it will be a long learning curve.
Look forward to hearing how you get on. I've been through the whole processing tests and come up with negatives that read right on the densitometer so, theoretically, i can't see the problem. My sense is to abandon the science and extend development by 20% to get some more punch. Will try and report back.
bluedog- when the ask canon or nikon - I say both...or I say neither...depends on what camera(s) I am using that day. I love shooting in older vintage cameras.
Might be an Rb 67 or a TLR or rangefinder.
I don't worry abnout the question of nikon or canon or film or digital...I changed my mindset to I am an artist....the camera , a tool... the film....is the magic...or the developers or papers are the magic depending on your point of view. I think they are just trying to find common ground or see if you are using "pro " cameras as this is what they see on tv and in magazines. Maybe they want to see if you have the same camera they have?
Either way - I do not let it bother me and in fact it makes for a great conversation starter. I never really stopped shooting film. For deadline photojournalism -I shoot digital, but for projects that do not have a deadline, I shoot film, mostly black and white,
If it makes your client nervous that you are shooting "only" digital or "only" film- go ahead and shoot both. I have found it is about educating the client and looking for folks who are a bit more of the "artsy " type;
and not the hurry up I need in 3 hours and I need it cheap type. I joke to them-- art is like a fine wine ...it takes time, say it with a big smile ! I am also branding myself more of an artist and art gallery than a photographer with a photo gallery. Sutle shift in midset, but i think it attracks a different type of client. I am looking for folks who are open minded and artsy, and want something a littlebit different and who will pay more for hand crafted photographs made by the artist in the Outer Banks. [discalimer I have relocated for the winter months to be with family- and I am not printing right now- in the OBX]