I’m really struggling to shoot film at the moment, so here are some more digital snapshots from what felt like the longest month ever.
An update on where lockdown 2.0 finds me in terms of photography, and some snapshots I’ve taken over the last month.
Shooting portraits on film has a number of advantages, but isn’t without risk. I talk through my experience of this and give a bit of advice based on shooting it ‘in the field’.
I want to make it clear right at the start that I don’t only shoot film, but it’s the format I like most at the moment. It’s also the thing I get asked about the most by non-photographers. If you’re a film photographer, you’ll get asked these questions a lot…
Shooting film during lockdown has been a bit difficult for me. I’ve got a new baby and my film lab closed for 2 months meaning that even when I did manage to get some rolls finished, they just sat looking at me on my desk.
After how much I enjoyed using the 50mm 1.1 by 7artisans, it’ll come as no shock that I also wanted to pick up the 35mm f2 from the same brand. I think I managed to restrain myself for about 6 months, and then I caved.
I’ve written a few times about small cameras and not really seeing the appeal. Well, I may now have seen the light, and all it took was my entire life changing.
I’ve blogged about Ilford’s HP5 before and how disappointed I was in the results. I suspected at the time that this was down to the shop I picked to develop it rather than the film itself, and I’ve now had those suspicions pretty much confirmed.
I’ve mentioned in a previous blog post that I picked up a Bronica SQ-A a little while ago having long been tempted into shooting Medium Format film. I’m still getting to grips with it, and as a result I would say my results have been mixed.
The Olympus Trip 35 was one of the first unorthodox film cameras I ever bought. I had owned an SLR before and a point and shoot where everything was in focus so all you do is press the shutter button, but nothing like this.