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!

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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.

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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.

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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

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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.

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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.

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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

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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.

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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

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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/

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.”

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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.”

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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.”

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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.

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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.”

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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

Building & Shooting a 3D Pinhole Camera

last year a friend found the perfect birthday gift for someone who thought he everything, a 3d pinhole camera.

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i knew pinhole cameras existed, and i have several 3d cameras, but i never imagined someone made a 3d pinhole camera. it turns out a company called recesky makes one, but it needs assembly. the camera consists of a plastic snap together body. in addition to taking stereo paris, it also has an option of taking a panoramic image.

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fortunately, the assembly instructions were illustrated, but the text was unfortunately (for me) in chinese. a trip to google solved that problem for me by finding several on line videos showing how to assemble the camera. about an hour later, i had a fully assembled, ready to go, stereo pinhole camera.

the next challenge was learning how to use it. the first question was ‘what is the f stop?’. a closer inspection of the chinese instructions revealed that the stereo pinholes were f 128 and the panoramic pinhole was f 180. those f stops are off of most light meters scales, so i had to do a bit of interpolation when calculating the exposure

normally i would go out on a shoot with a few different film speeds, and a camera where i controlled the f stop and shutter speed. with this pinhole camera, i had an unchangeable f 128 aperture, and the best control i had over shutter speed was counting mississippi’s

my first mistake after seeing an f stop of 128 was going out on a bright sunny day with fast film. that combination resulted in exposure times faster than a Mississippi. the next try was on a more overcast day with slower film. that allowed me to do a 4 or 5 second exposure using a tripod

typically I shoot on slide film and mount the slides so they can be viewed in a special stereo viewer, but you can view the image below in stereo too if you follow these instructions in one of my past blog posts on stereo photography, on how to do parallel freeviewing

as you can see with the arches of the bridge, the pinhole ‘lenses’ produce some interesting distortions

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the arches should be symmetrical, not having that pushing forward effect

the ‘focus’ also produced an interesting soft feel that is usually produced with filters on a lens or with digital post filters

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after i started to get the hang of 4 second exposures, i wanted to make good use of that exposure time with water

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and later, just for fun, i tried doing stereo fireworks shots. normally, a fireworks shot uses a long exposure, so it seemed natural to try the pinhole camera to take some stereo pairs

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after having fun assembling and shooting with that pinhole camera, our next project is a “slr” pinhole camera made by kikkerland

Josh Moates and Indie Film Lab

Josh Moates, photographer and founder of Indie Film Lab in Montgomery, shares why he got into the film processing game and how a business decision has impacted his art.

I’ve been taking pictures since my mom gave me a 35mm camera for Christmas when I was in high school and for the last 10 years, it’s how I’ve made my living. When I re-discovered film in 2004, it changed the way I thought about photography, and then it changed my business.

A big chunk of my work is weddings, which I love shooting. But in Alabama, I couldn’t charge enough to make shooting film for my clients a truly cost effective option.

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Still, I couldn’t shake my belief that shooting film for an occasion as special as a wedding was important to me and to my clients. We all know the quality of film photos outshines that of digital, and for me, the quality of my composition is better when I’m shooting film.  It stokes my creativity, and not just when shooting happy couples. I have been a 100% Kodak shooter for years because of the new PORTRA line and the classic look of TRI-X.

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When shooting weddings, I use Kodak’s PORTRA color negative films because how easily they scan and how amazing the colors are. The skin tones are truly the best of all the other film brands I have shot. Especially the new Portra 800 – it’s super awesome for lower light situations.  Thank goodness for that film, it has saved me in so many hard to shoot situations.

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And I love, love love TRI-X for black and white; it has the most classic look of any black and white film. When I look at a TRI-X photograph, it almost looks like it has a soul. I keep it loaded in my Leica M6. Not to mention it is the most versatile film ever. It can be shot at pretty much any speed. I mainly push it to 1600, but I have shot it at 3200 with great results.

I enjoy photographing anything that relates to Southern culture and history—landscapes, architecture and people. But my favorite subjects are always people. Trying to capture someone’s personality in a split second and then share that moment is a challenge that keeps me coming back.

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When I look into the faces of my portrait photos done on film, I see an added layer of depth, a layer that enhances and underscores what I’m trying to express.

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The point is I wasn’t going to stop shooting film. Instead, I decided to find a way to make it work for me. So I took a leap, gathered some partners, and we bought our own lab equipment and scanner. Kim Box, my partner in my photography company, came onboard, as did my shooting assistant, Asheley Willet, who is absolutely integral to the process. He has a degree in chemistry from the University of Alabama and is the technical guru who makes everything come out just right.

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The original intent was to just process our own film and let the equipment pay for itself. Once we started, we were really happy with the results and shared some shots on a Facebook film shooters’ group. “Who did your lab work?” kept popping up in response to our posts. When I told those asking that we did, they wanted us to process their film too. The light bulb turned on overhead, and I saw a void in the film-processing market just waiting to be filled.

To process the film, we use Kodak Flexicolor chemistry in our color processors and Duraflo RT in the BW machines. The chemistry has been consistent and very stable and we depend on it to deliver top notch negatives for our clients day in and day out. We figure why not use the best chemistry we can get.

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In response, in 2012, we created Indie Film Lab, and in less than a year, it has grown into one of the largest film-processing labs of its type in the world. We had some growing pains initially, but we’re moving full-steam ahead.

Indie Film Lab is more than a successful start-up company. It began as a business decision, but it has moved far beyond that for me. Now, it is my way to play a part in the film community and in the renaissance of film, and as a huge film fan, that’s just cool.

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Shooting film again has re-awakened my passion for photography, and I suspect it has done the same for many others who started in photography when digital was “king”. I love that now my company is a resource for other artists that shoot film and that we give them a great product. There aren’t many things that give me more satisfaction than doing what I love, on my terms, and being successful doing it.

So I guess the morals of my story if you’re looking for some, are: Don’t be afraid to walk through the doors life opens for you; if you’ve got a great idea, push to make it happen; and never underestimate the value of good partners.

Indie Film Labs road tripped to Vegas and WPPI the 2nd week in March, documenting their adventures with Kodak film. You can see the team’s journey on Instagram, Facebook and on Twitter @IndieFilmLab1

Click here to find more information on Indie Film Lab online.