Film Friday Guest Post from Photographer Jan Scholz

I started photography after moving to Maastricht in the Netherlands, as a spare time activity, taking pictures around town with a digital SLR. Soon afterwards I turned towards portraits. From then on photography became almost an obsession, consuming most of my spare time.
5946102431_537d1aaef1_b
The main reason why photography is so fascinating to me, is that I can create my own world and use it as a stage for emotions, stories and scenes, that matter to me, that I find beautiful. I often do not have a defined concept for a shoot and just let myself be driven by what I find, the location, the light, the model.
6411403411_eecdb43872_b

I switched to film after I already had a very good grasp on digital cameras and photoshop. The reasons are multifold, and include: I love the look of film right from the scanner. I always loved black and white photography, but when I was shooting digitally I was never happy with the conversion and the resulting tones, regardless of the tools used. My first scan of a simple black and white negative was already a revelation. Film is like a beautiful canvas the image is painted upon.

7129456163_f2cebe963b_b

Another reason are the beauty of old film cameras. They are a joy to use, their simplicity, their vintage feel, the big, bright view finders to look through, the sound of the shutters, the feel of the mechanics when forwarding the film. All these factors are not measurable in megapixels, dynamic range or frames per second, but they inspire me and contribute to the joy I have when photographing. Maybe I am stretching it a bit, but I think they also have a positive impact on most people I photograph. Especially using a large format camera tends to fascinate people, they feel like being part of something special.

7414386376_367fa0bdaa_b

The limitations of each camera, each format is forcing me to approach photography in a different way. I take different pictures with a fast and mobile 35mm SLR than with a slow and stationary Large Format Camera. Going out with such a tripod based camera and knowing that I have just 10 or maybe 20 pictures to take, will make me photograph completely differently than with a 8GB card in the DSLR. It turned the way I photograph upside down. I look a lot more carefully, re-consider every composition and pose again and again before clicking (or not clicking) the shutter. This taught me a lot and I believe I learned most I know about photography and composition after switching to film.

7566678972_f82356157c_b

For most formats and applications, it’s probably true that digital has outrun film in terms of resolution, but in terms of “look” and tonality I am yet to be convinced. It’s a very personal opinion and decision. There are good reasons for digital and film, and everybody has the liberty to use whatever one likes and finds convincing. You can throw a lot of reasons pro-digital at me, it will not change how I feel about using film, for a multitude of reasons.

8310742909_b31f921130_b
My choice of film has been a little journey. I started out by buying and trying all sorts of films and after some time settled for a small selection suited for the situations I mainly photograph in. I believe my “signature film” is KODAK PROFESSIONAL Tri-X Film, developed in HC110. It offers smooth tones, with the right amount of “punch” in the contrast.
- Jan Scholz

Film Friday: An Interview with Ryan Muirhead

This Sunday, the final episode of FILM! will air, bringing to a close another season filled with not just beautiful photographs, but also with emotions, insights and advice from some wildly talented photographers.  We got to spend some time with Ryan Muirhead, one of the original hosts of the series, who we were fortunate enough to meet a few years ago. One of the things we’ve admired so much about Ryan, beyond his gift for photography, is his willingness to share, teach and inspire others with his work.

Q: What camera and equipment do you use?

A: I shoot with a Leica M7, a Pentax 67ii, a Pentax 67, a Nikon fe2 and a Contax T2. I love trying everything.

blog_RyanMuirhead_01_800

Q: What are you trying to achieve with your photography?

A: I have always wanted it to feel like song lyrics — relatable yet unspecific. I really don’t know what I am trying to achieve yet, right now I just want to make beautiful, meaningful images and share my passion for film and photography.

Q: When did you first discover your passion for photography?

A: My father was a camera operator on movies and TV shows as I was growing up. I worked for a few years as a camera assistant in Utah and California, but never in a creative capacity. I took my first creative picture ever in 2006 on the set of a movie during lunch. About a month after that photography was consuming all of my free time.

Q: How did you first become interested in KODAK Film?

A: I enrolled in a class about shooting film in school kind of out of the blue. The teacher was adamant that everyone should be shooting Fuji but I had grown up using and loading KODAK Film on movies and I loved the look. A few years ago, I met reps from Kodak Alaris, who gave me some KODAK Film to start using. A few months later my images were used for the ad campaigns for the new Portra 400 and 160 films. I now shoot almost exclusively KODAK Films with a few very low speed or very high-speed exceptions. I have also been using KODAK 500T movie film in my still cameras.

Q: How do you have your film developed and scanned?

A: I currently use Indie Film Lab in Montgomery, Alabama for all of my color and black and white film scanning/developing.

Q: What approach do you take with your photography or what does photography mean to you?

A: I try to shoot as much as I can. I think it’s the only way to have a personal style. To shoot so often and in enough varied circumstances so that your style has a chance to find you. I have very documentary tendencies. Even in the shoots I am staging or directing I still try to wait and capture how people move or stand naturally.

blog_RyanMuirhead_02_800

Q: That’s a very intriguing comment. Can you say something more about how that process of self-discovery seems to be working out for you?

A: I have been thinking about this a lot lately. Photography is so dependent on science that there seems to be two different halves to the experience, the gear side and the expressive side. So much is said back and forth about how much the gear you are using matters and it is, of course, all-important and not at all important. If we didn’t have cameras we would make no pictures, but when we worry exclusively about what our gear can do we lose what we are bringing to the table.

This is the most attractive element of film and Leica to me. I load the camera with a specific film type and then I can set my aperture and shutter speed and that is it. Everything else that comes to the image must come from me. I love forcing myself into that minimalism so that what I am feeling has the best chance to incorporate itself into the image. Finding that this was the best way for me to shoot was not always clear to me. None of us begin shooting knowing what the best way for us to express ourselves will be. I think that is the greatest drawback to the DSLR revolution. Millions of unique and nuanced artists are shooting on the exact same camera with the same three zoom lenses. Many of them produce amazing work, but I wonder how their vision might change if they picked up a field camera, a TLR, a rangefinder, a Polaroid camera. Filmʼs greatest strength seems to be that there are so many ways of arriving at an image.

Q:  As a photographer who came of age in the digital era, what particularly attracted you to film and why do you shoot it exclusively? What color films do you like? How about black-and-white?

A: I love film both for the look of it and for how it makes me shoot. Portraits are all about connection with the subject and I find all the menu items, buttons and, of course, the screen to be a distraction. I like everything stripped down: minimal lighting, simple settings, honest moments. I want this to apply to my cameras too — an aperture setting and a shutter speed setting is enough for me. As far as color negative films go, my favorites are KODAK PROFESSIONAL PORTRA 160 and 800 Films. The new PORTRA films are styled after the Kodak cinema films that I grew up around. I love the latitude, the fine grain, the performance under mixed light, everything. Lately I have re-fallen-in-love with KODAK PROFESSIONAL TRI-X Film. It’s just so perfectly classic. If I could only shoot one film for the rest of my life it would be TRI-X without a doubt.

blog_RyanMuirhead_03_800

Q: Several of your images can be described as fashion portraits. What has drawn you to that genre which you say youʼve “never felt a part of” and what is motivating you to explore documentary photography?

A: I really struggle to place myself within a genre. I shoot a lot of models and work with a lot of stylists, but I have never felt my work really fit into the fashion or editorial genres. Fashion photography is inherently about the clothes and my work is inherently about the face. Everything I love about photography is in capturing the human face. It is endlessly diverse and expressive. I love the challenge that documentary photography presents. One of my favorite ways to practice or learn is to limit the amount of control I have. To shoot one camera, or one film, or one lens; to try and take away all the options we are constantly presented with and make my mind the only variable. With documentary photography you traditionally have very little control over many of the elements and you really have to assert yourself to make it your photograph.

Q: How do you think the courses in your photography program have influenced your work? Have you been exposed to any photographic work that you see as a source of inspiration?

A: School has been a blessing and a curse to me. I love the exposure to other artists and professors and how it forces you to work, but I have never performed well in a structured environment. I was constantly shooting what I wanted and trying to bend the assignments to fit what I was going to shoot anyway. One of the best things about school was being exposed to the work of the masters. Seeing and studying Avedonʼs “In the American West” has been the single most influential moment of my photographic life. It embodied everything I wanted my work to be.

blog_RyanMuirhead_04_800

Q: You stated that you shoot “people almost exclusively.” What is it about photographing people that you find especially compelling and satisfying? Do you think that the discipline of shooting abstract compositions, nature subjects, scenic vistas, etc. can be helpful in developing techniques for shooting better people pictures?

A: The human form and more specifically the human face is the ultimate subject.

Hamlet put it best:

“What a piece of work is a man! How noble in reason, how infinite in faculties, in form and moving how express and admirable, in action how like an angel, in apprehension how like a god! The beauty of the world…” I am constantly and consistently drawn to the face. I love the connection that happens when I try to express something I am feeling via another person. The connection and validation experienced at its most successful is unsurpassed.

Q: How do you see your photography evolving in the immediate future and over the next few years?

A: I am hoping to do more documentary and large format work in the coming months. I also hope to rededicate myself to taking even more pictures of my friends and family, as they are the most important part of my life. Above all I want my work to be personal.

You follow Ryan Muirhead on Twitter (@rnmphotography), Instagram (@ryanmuirhead)  and Facebook  https://www.facebook.com/ryanmuirheadphotography

Film Friday: Shooting film by Ronan Guillou

Film photography is very much art, there’s lots to see and learn: with time, effort and dedication a photographer can create some amazing images that tell a story.   With film photography the saying ‘pictures speak a thousand words’ really becomes a truth.

Today, Ronan Guillou a photographer from France tells us about his experiences with film photography, shares some of his images and offers us some great hints and tips to get the most out of shooting film.

Enjoy, Lars Fiedler

RonanGuillou-David's Farm, Alabama 2012

Shooting film by Ronan Guillou, France

I’ve been shooting with Kodak negative colour films since I started working as a professional photographer in 1997. Using film doesn’t necessarily mean you don’t want to go with digital. I consider both mediums have their place in photography, depending on the fields of application. For my commissioned works, clients expect an immediate view of what is being shot. Fair enough: digital photography is great for this use. It also allows me and the team I work with to check quickly if what we’ve been doing sticks with the brief.

 

As for the artistic work, I don’t need to instantly see what I just shot. I believe photographers know what they do at the very moment they take a photograph. Above all, what I aim at is high flexibility and freedom in the way I work. The camera I’ve been using for years is a medium format Hasselblad 501cm, mounted with an 80mm lens. My favourite film is Kodak Portra 400/120. That film is just great; it fits perfectly with my expectations.

Ronan Guillou - Meridian, Mississippi 2012

What I like about using film with a medium format camera, especially Kodak Portra 400/120:

- Photographing with film doesn’t require any batteries or connections whatsoever with the camera I use. That particular point gives unlimited autonomy on my trips, which I definitely appreciate. The only battery needed for my work is for the light-meter travelling with me.

- I don’t have to upload pictures daily on a computer, then on a second back-up hard-drive.

- If needed, I can shoot fast without constraint.

- Using medium-format films provides very high resolution results.

- You can speed up Kodak Portra 400 to 800 or 1600 ISO.

- Film is stable, flexible and has great latitudes. In case of wrong exposures, you still have a chance to save your shots.

- Kodak Portra gives consistent and accurate colours, with beautiful and almost invisible grain when it comes to large prints.

- Once they’ve been processed, films are easy to keep safe and easy to archive, with an infinite lifetime.

- They can handle very high or very low outdoor temperatures.

- You don’t want to waste films, which means you need to keep focused on what you do and shoot only when your soul or instinct tell you to do so.

- Exposed correctly, films capture highlight and shadow details in some situations that digital struggles with.

- I think the rendering of the depth of field with film looks great.

Ronan Guillou - Junk Valley, Wyoming 2012

Few tips on using film:

- Most of the time, I use Kodak Portra 400 at its standard rating. Then I ask the lab to push the film at plus one half stop in the process. It brings a slight contrast to the film and makes it a little punchier.

- Or you could rate the Portra 400 at 250 ISO, and process it “normal” at the lab.

- If you have enough room in your fridge, I recommend you store your films in it so they can live a bit longer than the expiration dates.

- It’s better being on the over-exposed than on the under-exposed side.

- Just as for digital, I recommend you organise a back-up with scanning the negatives of your main photographs (in case of unfortunate accidents such as fire or robbery).

- Find a good lab to process your films, and then find a good printing lab. As I live in Paris, Publimod is processing my negatives, and Mupson Lab is doing the prints on the enlarger. I get my films scanned at Picto or Dupon. I believe it’s important to have a close relationship with your lab(s).

- I try to keep in mind the number of frames I have left in the film back.

- Though I know it’s riskless, I always ask my films to be hand-checked instead of going through the X-rays before boarding on a plane.

- Once in a while, I check my camera gear on slow speeds before loading a new roll, so I know if my equipment works properly (speed and f shutters). I had a bad experience one day – the speed shutter was jammed, and I kept shooting for one week without knowing about it – and I don’t want it to happen again!

- Lastly, I’d say taking a good photograph is not related with the ability to see it right after you shot it!

——-

Ronan Guillou

http://www.ronanguillou.com

Ronan Guillou - Trailer Sisters, Alabama 2012

Guest Post for Film Friday: Photographer Tanja Lippert

My name is Tanja Lippert and I am a 100% film photographer specializing in weddings, fashion, commercial, music & fine art photography. I’m also one of the hosts of a very special show on the Framed Network called FILM!

nautical-00071  000090850016 Tanja_Lippert1_1501

I live in sunny California, but travel worldwide for photography assignments. I am very passionate and committed to my craft. I love adventure, creativity, traveling, spontaneity, teaching and inspiring others. I am a dreamer and a hopeless romantic at heart. I thank God that he has blessed me with creative gifts and abundant love. On top of all that, I am pretty much a big dork!! I often get asked, “Why do you still shoot with film?” The answer is pretty simple. I am a huge fan of the quality, richness & “magical” look that film has to offer. My favorite films to shoot include Kodak BWCN 400, PORTRA 160 and PORTRA 800.  I love the creaminess of the BWCN 400 and the fact that it is process C41 makes it easy for labs to scan this film and it is really beautiful!  The PORTRA 160 is my favorite portrait film to shoot, the skin tones are beautiful and it has a creaminess to it that I love.  The PORTRA 800 is wonderful film to shoot in both low light and sunlight, it has a beautiful saturation to it, while still keeping skin tones looking natural and amazing!  Shooting film “connects” me to my subject and surroundings and makes me more acute to what is happening in front of my camera. There is no reason for me to be distracted by viewing the images in the back of my camera all day, so instead, I am focused on looking through the viewfinder; waiting for just the right moments to capture.

tanjalippert6-00014 oj013

So many of those moments came during the filming of this season’s FILM Show. We spent eight days in the desert of Las Vegas shooting everything from muscle guys and muscle cars to beautiful models and beautiful scenery to a real wedding to getting shoot whatever makes our hearts happy.  I chose to shoot one of the Assistant Producers in a series of “beauty” pictures because one of my favorite things to shoot are women.  I love to make them feel special and beautiful in their own skin.

39820032 tanja_lippert-0058

When I started shooting fashion work back in 2001, digital was not even an option. I learned photography on film and have NEVER switched. Despite the pressure of the photographic industries and all my fellow photographers, I have held steadfast and true to my love of film and have NO plans on ever switching. By using one of the best film labs in the world to scan my film into high-resolution digital files- I get the best of both worlds, film & digital. I get the look and beauty of FILM CAPTURE along with the convenience of digital (like utilizing Photo Shop when needed and being able to show my work on the internet and share digital files with my clients). Yes, it is true that film is more expensive to shoot and requires me to be an EXPERT at my craft. That is exactly why I will continue to shoot with it. For me, photography is still an art. It’s MY art. It’s my blood, my sweat and my tears. It’s also my joy and my love. I would NEVER dream of sacrificing the quality and look of the images I produce for anything. I know that every photographer has his or her opinion about which is superior, film or digital. For me, film is what makes my heart happy and emotionally ties me to my images.

http://www.tanjalippertphotography.com

http://instagram.com/tanjalippert

https://twitter.com/TanjaLippert

Sharing Our Images – post from Reid Callanan

“We’ve enjoyed a long relationship with the Santa Fe Workshop, led by Reid Callanan and we’re thrilled to have a blog post from him today. Reid’s passion for photography is matched only by his desire to help others become better at it. In addition to the many workshops his organization runs, he runs Photo Teens, which introduces young adults to the world of photography. Reid tells us a bit more about the program, and why film is an important part of that  workshop.” – Audrey

**************************************

When I was a young man (40 years ago) I grew up in a photographic world of film and black-and-white prints made in a darkroom. I learned the craft of photography getting my hands wet. Fast forward to 2013, and today’s youth are growing up in photographic universe almost completely unrecognizable from a technology standpoint. Their world of pictures is a digital one using cell phones to post their pictures to Facebook and Instagram. What a world of difference in a few short years!

At the same time, young adults who work with film are continually amazed by the experience and results, and react to photography created with film much differently from that created via digital. As director of the Santa Fe Photographic Workshops, I believe in getting teens excited about photography by watching an image rise and take form in a tray of developer and sharing the resulting print with their friends face-to-face. For this very reason, we teach our Photo Teens summer workshop program using film and printing paper. These silver-halide materials and the uniquely magical process in the darkroom excites and inspires these teen’s creativity and self expression unlike anything in their digital domain. This traditional photographic start opens an entirely new world for their dreams and visions.

Kodak Alaris has been a long-time supporter of our Photo Teens workshops over the past ten years and their materials have enabled our teens’ photographic vision to come to light. Here are a few images made by the participants in this summer’s Photo Teens workshop here in Santa Fe:

Michelle La Sage Ryan Williamson Sharing images is at the core of being a photographer, whether making silver prints or digital images. One fun and rewarding way to share our images is entering photography contests. Entering contests affords us an opportunity to evaluate our images and choose our best work. Then we get to see if our best work is considered by the contest judges to be the best work submitted. Being recognized and acknowledged for our best work is a rewarding experience for any photographer. And if we are so honored, we get to share our best work around the world. And the prizes are nice too.

AlmaValdezGarcia AlmaValdezGarcia2 Sarah_Surprise

Our upcoming photo contest from the Santa Fe Photographic Workshops is themed BACKYARD and will run from September 19 through November 19. Kodak Alaris has generously provided professional film as prizes for all four major contest winners, and we have provided free workshops, and many other photographic companies have provided prizes as well. Check out the details for BACKYARD here http://www.santafeworkshops.com/contest/.

Reid Callanan Director,
Santa Fe Photographic Workshops

Twitter Chat with FILM photographers Aug 20

[F]network

UPDATE! THE CHAT TIME HAS BEEN MOVED TO 4PM EST, TUESDAY, AUG 20TH. 

We have some exciting news! Remember last March when we first featured the {F} Network here on 1000Words? Well, it’s almost time for the new season. To help everyone get ready, next Tuesday, August 20th at 5pm EST 4pm EST (NOTE UPDATED TIME!), we’re teaming up with the awesome photographers from FILM! Season 2 for a Twitter Chat. That’s right – the group behind [F} Network show’s popular educational and inspirational FILM! Season 2 will join us on  Twitter to talk about their experiences and give us a sneak peak of what we can expect in the new season. Wondering when Season 2 starts? They’ll tell us that, too.

Oh, and at the end of the chat… wait for it… there will be a Kodak film giveaway!

So next Tuesday at 5pm, fire up TweetDeck, TwitterChat or your Twitter app of choice, and follow the hashtag #KFchat to catch the conversation. Include #KFchat in your tweets so we can see what you have to share.

No doubt  we’ll all have lots to share after a day of picture taking on World Photography Day, the day before the chat!

Here are the photographers from FILM that will be participating so be sure to follow them on Twitter:

Tanja Lippert @tanjaLippert

Jonas Peterson @jonaspeterson

Ryan Muirhead @rnmphotography

Jan Scholz  @micmojo

And follow me @KodakCB for chat instructions, information, conversation starters and yes… the film giveaway and the schedule for FILM! Season 2.

framed1

Shooting film by Matt Osborne

The Kodak 1000 word Film Friday blog is a dedicated platform where we feature great photographers sharing our passion for film photography.

Today we’re excited to feature a photographer from the UK, Matt Osborne. We discovered Matt following a fashion film shoot in Ukraine where he shot a model in black and white on Kodak Professional T-MAX 400 film. Here, in this blog post Matt talks about his passion for film photography and his use of Kodak film. Being a professional model and wedding photographer, Matt prefers to work with a mixture of film formats and cameras for different scenarios.

Take a look at Matt’s images and make up your own mind, then why not pick up a camera, buy some Kodak film and take some great shots yourself.

- Lars Fiedler

*****************************************

Shooting film by Matt Osborne, Photographer, UK

I am a self taught model and wedding photographer and have been shooting for around four years. Towards the end of 2012 I was already shooting my digital Nikon D800 camera in full manual mode using some of the best legacy lenses ever produced but I needed more.  It was here that my journey with film began.  I started with a Contax 645 medium format film camera as I loved the wedding photography examples I had seen during my research shooting Kodak Professional Portra 400 film.  The skin tones are just unmatchable with digital.

Living in the UK, the light levels are often much lower especially in the winter months.  For this reason I often shoot Kodak Professional Portra 800 which allows me to photograph UK models and weddings with the same high quality and characteristic skin tones yet still with available light.  The Contax standard Carl Zeiss Planar 80mm f2 lens is a fast lens meaning it can be used in lower light situations. In this instance I can often use Kodak Professional Portra 400.  When I use my Mamiya RZ Pro II 6×7 however the lens are often f3.5 or f4.5 (200% less bright) so more light or faster film is required.  It is here than Kodak Professional Portra 800 saves me every time.   When large medium format film negatives are scanned I think it would be difficult to distinguish between Kodak Professional Portra 400 and Kodak Professional Portra 800.

Example - ARAX-CM and ARAX 80mm f2.8 lens, 120 Kodak Professional Portra 800 film, Agnieszka, Poland.

#1.Portra800,120,ARAX-CM,MatthewOsborne

My passion however is black and white film photography and I develop my own film using a mix of Kodak Professional Xtol and Agfa Rodinal.  I find I tend to see photos in black and white, pools of light and shadows.  I’m not sure if it is something I have developed or trained my eyes to see or just something I’m lucky to have.  Even with digital I tend to shoot B&W JPEGs.  For black and white film photography my favourite films are Kodak T-Max 100 and Kodak T-Max 400.  When shooting 35mm film I use a Nikon FM body then all my Nikon lenses I had invested in for digital.  As I like to use fast prime lens (85mm f1.4, 50mm f1.2, 200mm f2) I can shoot with available light more easily so I tend to use Kodak Professional T-Max 100.  This fast film gives ultrafine grain so when scanned the images look almost digital yet better as they have texture and a 3D quality.

Example – Nikon FM and Samyang 85mm f1.4 lens, 35mm Kodak Professional T-Max 100 film, Andra, UK

#2b. TMax100,35mm,NikonFM,SquCrop,MatthewOsborne

#2.TMax 100,35mm,NikonFM,MatthewOsborne

Film gives an apparent extra layer of detail that cannot be achieved with digital.  For the Contax 645 and the fast Carl Zeiss Planar 80mm f2 lens I also shoot Kodak Professional T-Max 100 however for my other medium format cameras I need faster film.

My most used film camera is a medium format re branded Russian Kiev 88 6×6 camera badged as an ARAX-CM.  The camera is also known as a Hasselbladski as is a Soviet copy of the famous Hasselblad.  I love the 6×6 format and the camera is compact so is my first choice when I need to fit a medium format film camera into my hand luggage.  I love the no frills shooting. No battery, no light meter, just a box, a lens and some film.  This lets me channel all my energy into each photo resulting in often better composed and more thought through images.  The ARAX lenses tend to be f2.8 or f3.5 but for super sharp images stopping the lenses down to f5.6 can give the most striking and high quality results.  Stopping down the lenses means I need more light or faster film.  Living in the UK the first is not an option in the winter months so I shoot Kodak T-Max 400 film.  As with the Kodak Professional Portra 800, when T-Max 400 is scanned it would be difficult to tell it from Kodak T-Max 100.  Both offer exceptional B&W tonal ranges and super film grain.

Example - ARAX-CM and Mir 38v lens, 120 Kodak Professional T-Max 400 film,  Yulya, Ukraine.

MatthewOsborne-PhotoOfMeExample - ARAX-CM and Mir 38v lens, 120 Kodak Professional T-Max 400 film,  Yulya, Ukraine.#3.TMax400,ARAX-CM, Yulya

I feel my journey with film is just beginning and I hope to enjoy many more years with Kodak.  I already offer film photography for weddings but hope to attract a niche market in the future for those who like to enjoy the finer things in life.

To find out more about Matt Osborne please visit:

http://www.matthewosbornephotography.co.uk/

or follow his blog and Flickr pages at

http://matthewosbornephotography.wordpress.com/

http://www.flickr.com/photos/32681588@N03/

Films Not Dead winner – Guillaume Périmony

Recently, when Film’s Not Dead (F.N.D.)ran its  Kodak Moments competition, hundreds of photographers submitted pretty amazing images shot on Kodak film. F.N.D., founded by Charlie Abiss, Tori Khambhaita and Jamie Rothwell, brings together like-minded photographers who enjoy the benefits that film photography offers and to provide information on film availability within the UK, while sharing imaginative, thought provoking images.  Together, the group, after reviewing all the submissions, named French photographer Guillaume Périmony, as the winner. We’re thrilled to feature Périmony, 28,  who tells us why he shoots film and allows us to share some of his favourite black and white pictures shot on KODAK PROFESSIONAL Tri-X film. Thank you to F.N.D. for its commitment to the film community and congratulations to Périmony on his award winning submission. – Lars

************************************************************************************

8579698769_3a2729fa8b_o

I’ve been shooting film since I took up photography in 2002, so have been using it for more than ten years. The process of using film requires much more patience,  desire and passion, however the result of shooting film gives me a unique feeling of satisfaction and professionalism about my photography skills.

8574422391_3e0353ee22_o

I shoot using an Olympus OM1 camera and most often load Kodak Tri-X, not only is it the most cost efficent black and white film to use, I also find it the easiest to shoot.  Tri-X brings a classic look and feel to my images and you can still have a good shot even if you miss your exposure.

9005236489_c5e659eb94_o

More importantly for me as an amateur film photographer is that I find that shooting film enables my cameras to have a longer usage span.  I don’t have to worry about my camera not being the latest technology, or it not supporting specific software etc. That coupled with the added benefit of knowing that my printed images will last a lot longer than digital images and aren’t going to be stored away on a drive that may become corrupt or ‘out of date’means a lot to photographers like me. Shooting film and printing images means that I can simply enjoy the camera I want, the way I want, with the film I want – which I am much more confident about and the end result is something slid and touchable!”

- Guillaume Périmony

4172192034_72b5a7bc31_o

As a keen skateboarder, Périmony spends a lot of his time on the street and this is often where he shoots, both still and action shots of the ‘life in a skate park’ etc.  When not on four small wheels, Périmony likes to shoot images of interesting people.   You can see more of Périmony’s work on his Flickr gallery http://www.flickr.com/photos/guiom/.

You can also find out more about Périmony and his winning image ‘Burmese Days’ on the Films Not Dead blog.

Kinfolk Magazine and Kodak Film

Nothing would be more tiresome than eating and drinking if God had not made them a pleasure as well as a necessity.  ~Voltaire  85250016-45

As the temperatures rise and life slows down, friends and families gather around pools, picnic tables, campfires, outdoor cafes and roof top decks to share good meals and a cold drink. Some people will stay in town. Others will hit the open road. Some will follow time honored summer traditions while others strike out in search of new adventures.

006653-R1-007

Kinfolk Magazine embodies all of these things. It’s more a keepsake coffee book than a magazine. Each issue includes, as the publisher aptly describes it “lush photography, lyrical essays, recipes, interviews, profiles, personal stories and practical tips along with a keen attention to design and details.” Woven among all of this are the themes of discovering, making and doing new things.

80510030_v1-11

We are honored that Kinfolk makes KODAK PROFESSIONAL PORTRA 160 and 400 an integral part of the creation of such a simply beautiful publication.  Its pages and website include work from a roster of talented photographers, like Parker Fitzgerald, Tec Petaja, Leo Patrone, Jay Fitzgerald, Laura Dart and Carissa Gallo.

We first learned about Kinfolk last fall when we met Parker Fitzgerald. He asked “Might Kodak have any interest in working with this magazine, Kinfolk?” After reviewing just a few images, we were hooked. Our film, put in the hands of these photographers, could only result in beautiful images. Each of their photographs inspires – a recipe to make, a gathering to host, a culture to experience, a memory to create.

We invite you to grab a copy, visit the website and find your own inspiration this summer.

Kinfolk is a quarterly, 144-page, ad-free print magazine.  In addition to the print edition, Kinfolk recently launched Kinfolk Digital.

You can follow Kinfolk on Facebook (https://www.facebook.com/kinfolkmag), on Twitter (@kinfolkmag) and Instagram (@Kinfolkmag). 

Cole Barash, Iceland and Kodak Film

On the very first portrait Cole Barash went to shoot for his feature on Iceland, “64.133 ºN/21.9333 ºW” in this month’s Relapse Magazine, one of his lights blew up.  Blew. Up.

“Yeah, it’s not like you’re able to run to Adorama and pick up a new light,” said Barash. “So I just stripped my kit to basically a one-light set up with a fill option. It pushed me a little bit to use just that and not have so many options. OK.”

16352_CBA_ICELAND_29_04-Edit

At 25, Barash has photographed campaigns for Adidas, Nike, Rag and Bone, Brixton and Burton. A die-hard film user, Barash’s laid-back persona belies the strength of his creative vision, his disciplined approach to photography and respect for the medium and its history. That drew Relapse Editor Ian Frisch to his work.

“The concept of film in relationship to his photography even furthers my view of him as a true photographer,” said Frisch. “Rather than picking up the newest and flashiest equipment, Cole utilizes the history and foundations of photography, in a physical sense, to capture moments in a way that people have been doing for decades that, in some instances, the younger generation has lost touch with. His passion for photography, across the board, is something that is very rare now-a-days, and something that I hold in the highest respect.”

16352_CBA_ICELAND_21_07

Barash headed to Iceland with 100 rolls of film to shoot a personal project. When Frisch heard about Barash’s trip, he asked him to do a shoot for Relapse featuring the increasingly influential arts and fashion scene in Iceland. Relapse, founded in 2012, showcases edgy, progressive fashion photography and provocative culture journalism.

With not a lot of time or pre-planning, Barash moved quickly to find and create compelling portraits of designers and artists who make up this community and culture.  That same creative vision and work ethic he uses in the back bowls of Canada worked in the studios of Reykjavík.

“Shooting snowboarding out in the back country has taught me a lot. You can’t exactly run 200 feet through waist deep snow to go check an angle,” said Barash. “You really start to put yourself in that 200 foot position and how it’s going to frame up and what it’s going to look at. You need to go find the best angle quick.”

16352_CBA_ICELAND_99_03

In Iceland, when shooting designers, “as soon as I got into their studio, I made some quick decisions on how their brand and how they as a person would be interpreted to me – light and flashy, dark and moody, vibrant and atrocious.”

For the bands, Barash wanted to create photographs that conveyed the feeling of Iceland, as well as the band members themselves.

16352_CBA_ICELAND_77_06

In all cases, Barash moved fast – deciding how he wanted to shoot, the tools he would use to shoot and the need to focus his energy on making a connection with the subjects.

“I knew the tools I had and what I could do with them. I kind of quickly made decisions about the environment – where I wanted to shoot them and how I wanted to light it. Then I just started shooting.”

16352_CBA_ICELAND_106_04

Barash shot mostly with KODAK PROFESSIONAL PORTRA 160, with a bit of  KODAK PROFESSIONAL TRI-X thrown in.

“I love the tones on PORTRA, especially on the skin – I haven’t found anything better,” said Barash. “It’s very soft and fairly muted, but not so muted it feels desaturated; very good contrast.”

“TRI-X – generally the contrast and the grain is pretty spot on for what I like to shoot. Especially when you start developing different filters and process,” said Barash. “I think I’ve been shooting it for so long that I know how something’s going to look on a negative.”

The latest issue of Relapse Magazine is available now in New York at Barnes and Noble Union Square, Soho International News, McNally Jackson Bookstore, Lafayette Smokeshop, Bouwerie Iconic, and Bedford Exotics in Williamsburg, Brooklyn. It is also available through the iTunes Store on all participating mobile devices.

For more on Cole Barash, visit

ColeBarash.com

Nomadda.tumblr.com

Instagram: @nomadda.

And for more on Relapse Magazine, visit

http://relapsemag.com.

Instagram: @relapsemagazine