So I very recently got a Leica MP Black Paint a la carte with a matching black paint Leica 35mm F2 ASPH Summicron… Nice! But what film? I’ve been shooting a lot of 4×5 film recently, mainly Kodak 160 Portra and there is NO way a 35mm negative was going to give me the tonality or depth of color that I had grown acustomed to. So what to do?!
Here are the results of my first tests…. Kodak 400TX processed 1:100 at 68F for 20 minutes with gentle agitation every 3 minutes. The negatives when scanned on my Imacon scanner at 6300 dpi were fantastic- I love grain! I made a test print at 28″ x 40″ on Canson Aquarelle 310 on my Epson 9900 using the BW mode and it was spot on. But…. was it perfect? No. Since this first test I have run many others and now feel that a bit more agitation is needed, perhaps one gentle inversion per minute. I also have ran a test with D76 1:1 using my JOBO and the results were quite nice but the grain was not as crisp as the Rodinal.
So today I am running one last test as I am leaving tomorrow for a week of shooting from FL to VT (will mainly be shooting 4×5 color but want the Leica for my reportage work.
My test today will use PMK developer which I used a lot back in 2006-2007 and I remember how amazing the never ending highlights were…. more as that test concludes.
Just finished a great trip to Cape Cod with my oldest daughter. Many wonderful conversations about film and exposure and getting her comfortable using her “new” Rollei 35S. It was very interesting watching her tune into the light and it’s subtle changes and thinking about how it would look on film- she was much more engaged to the whole process than when I see her shoot with a digital camera. Yes I am very proud!
Leaping Outside The Box: Reimagining Photography by Stephen Schaub
Rutland, Chaffee Art Center – 7 p.m., Chaffee Downtown, 75 Merchants Row, (802) 775-0356
Photography is dead… at least the photography that has existed since Joseph Necephore Niepce made his first exposure in 1826; the same photography that led so many into the darkroom of trays and chemistry; the same photography that our grandparents used to produce endless carousels of slide shows on Kodachrome.
So what is next? Photography has always been in the throes of change and evolution since its inception and this transformative, gut-wrenching period is no different. Photography- as our collective nostalgic memory remembers it-is dead. The future promises to expand our definition of what a photograph will be.