I had a photo walk scheduled this past weekend with a couple local photographers but the weather had other plans. I was pretty bummed, but I’ve had the idea of making a camera strap for a while. A week prior I had already ordered a couple Horween CXL leather strips but I needed a few other things. So off to Tandy Leather we go! Went. We went, past tense.
Having a local Tandy is handy (heh.) I still needed some antique rivets and a rivet setter. Also fully planned on using round rings, but they had these nice triangular ones that fit the strip perfect. The strips I ordered were both 1⁄2” in width but I got one 4.5-5oz and one 7oz thickness. The difference is definitely noticeable.
We actually bought a lot of stuff from Tandy Leather months ago so I had a lot of the tools we needed already.
Lessons Learned:
No need to bevel the top of a nicely finished strip like this
No need to burnish the edges I was told (but isn’t a terrible idea)
Leather bumpers would be nice to silence the triangle rings
Going to try my hand at the 7oz strip next and see if I can do better.
This may work out as a nice little side project. There are so many combinations of things you can make. Shoulder pads, wrist straps, adjustable, with buckles of you’d like. This was my first venture into leathercrafting and I quite enjoyed it.
So the last post was more about my little adventure in acquiring my “forever” camera. Forever 35mm camera, anyway. But what has it been like to actually shoot film rather than digital these days? It’s been expensive, slow, sometimes frustrating and I’ve probably lost or ruined a few too many shots. What I’m trying to say is that it’s been super fun and I’m enjoying it now more than ever.
It definitely costs more to get back into it than I was initially expecting. Especially at first. You have to buy your film which comes in a range of prices. It really just depends. Do you want to go consumer-grade or professional? Do you want to try some unique stock like CineStill 800t? Color or black and white?
After I got my camera I bought a 5 pack of Portra 400. Excellent film, fine grain, beautiful colors and about $60 for 5 rolls. Does film slow you down because you really want to think of the shot, or does it slow you down because you don’t feel like paying for it so often? Eh? You definitely don’t want to waste it, so maybe a little of both.
After you buy film, pay for development, scans and shipping (if your lab isn’t local) and then to ship the negatives back, shooting film is looking pretty pricey. This soon led me to buying a bunch of Ilford HP5 and supplies to develop my film at home. Developing your film at home not only saves a lot of money but I feel like it’s a lot more rewarding. You made that photo from start to finish.
Ilford HP5 pushed to 1600
Developing black and white film isn’t all that difficult if you make sure you have the right supplies. I learned how in college and it was like riding a bike, you pick it back up fairly quickly. I currently use Ilford’s Ilfotec DD-X and Ilford’s Rapid Fixer. I just use tap water for a stop bath. It’s fine, really. Kodak Photo-Flo is an absolute must when you’re done. For equipment I pretty much grabbed all Patterson stuff. Tanks, reels, etc. Funnels and a good thermometer are necessary, as are clips to hang your film to dry.
Developing color is a bit more involved and I wasn’t able to find any C-41 kits for a while due to Covid-19. I guess everyone decided to develop film at home at the same time?
Fuji Superia X-Tra 400
The big issue with developing color is that the temperature is a little less forgiving than with black and white. If your temps are off by more than a bit during development you can have some not-so-great color shifts. If you choose to develop color at home I can’t recommend
CineStill's chemistry
enough. It’s super easy to mix and use. You will need to get things up to temp, though, and what works best? A sous vide machine. Yeah, not only can you slow-cook your salmon to perfection, you can also raise the temperature of your C-41 chemicals. Maybe at the same time? I’m not a chef.
All-in-all the process of shooting film isn’t much different than digital. I feel like the more hands-on approach to developingg and scanning your own photos is where the real fun is. And speaking of scanning film? That’s been an adventure in and of itself. I will surely cover my process in Getting Back Into Film Photography III: The Scanninning.
We bought a pressure washer the other day. Well, a few weeks ago at this point. I’ve been pretty slow to get to film development lately.
Anywho, pressure washers are amazing. Like, amazing. I honestly didn’t think our driveway was so dirty. Boy was I wrong. You can see a difference at the end of the driveway.
Ilford HP5 pushed to 1600
The patio makes me proud to look at. Now if we can just keep up with the flowers falling from the mimosa tree.
On a side note, I really gotta start remembering when I take these photos so I can post with the correct dates. If there’s one modern feature film is lacking, it would definitely be EXIF data.
Tuesday, June 9, multiple local artists were commissioned by the city of Charlotte to create a large mural that read “BLACK LIVES MATTER” between 3rd and 4th streets on S. Tryon. Each artist or team of artists took a letter and went to work. The entire mural was finished in a day and from what I’ve read they had little time to prepare. The result is quite amazing. Each letter very different reflecting each artist or artists’ styles.
Ilford HP5 pushed to 1600
By the time I arrived the mural was finished and a large crowd had gathered to check it out. The whole area was overflowing with positive vibes. Lots of smiles, people dancing in the street, people taking photos and drones getting ariel shots. It was really fun and great to capture some happiness after all the scenes of violence during the days prior.
At around 8:15 everyone gathered round at the end of the mural to take a knee for George Floyd. A speech was given before-hand with information on future plans and how we can help the cause. Then everyone took a knee with fists in the air for a moment of silence.
For the last few years I’ve been in a creative rut. That could be from a number of things. I’ve been trying to settle into a career after going back to school in 2010. During art school I was able to do almost anything I wanted. I had a seemingly endless amount of equipment and studio space available, plus loads of talented people pushing me to be creative. But after graduation you have to be more self-motivated. I’m fortunate to be in a career that allows me to get the creative juices flowing a bit, but it isn’t the same and it arguably isn’t as hands-on or physical. Also at work I don’t get to be weird. I missed being weird.
So I wanted to get back into photography. It’s something I did for many years and still kind of do. Typically I only carry my camera with me on trips, and we don’t make a lot of those. My only camera has been a Fuji X-Pro1 practically since it’s release date almost 10 years ago. I’ve had a single lens, the 35mm f/1.4. Stunning lens and tack sharp. But, needless to say, at about 10 years old, the Fuji was starting to feel a bit dated.
This had me looking at the Fuji X-Pro 3 that had just been released. I also knew the X100V was just around the corner, too. I really love Fuji’s X series cameras, and the rangefinder style. I did get to test an X-Pro 3 at the local camera shop, and the feeling was much like when you upgrade a smartphone you’ve had for 3+ years. It was incredibly snappy in comparison to my old Fooj. Do I scoop this up or wait for the X100V? Also ~$2,000 for a new camera body, plus I was interested in getting the smaller, 35mm equivalent 23mm f/2 lens. That’s a good amount of money for something I’d need to replace again in the future.
With that in mind I held off on the purchase. I watched countless review videos on the X100V thinking it may be the better choice. It’s certainly a bit cheaper with the lens built in. The focal length is perfect, weather-sealed with an adaptor, small size and easy to carry with arguably nicer dials and features than the X-Pro 3. But again, in the back of my mind it felt like I was going to be buying something temporary.
What I really wanted was a pure, stripped down experience when making photographs. I wanted the rangefinder style and ergonomics. I wanted a build-quality second to none. I wanted something that would last me forever. I believe what I wanted was a Leica. But which one? My only experience with Leica in the past was holding one of my art history professor’s M3. At least I’m pretty sure it was an M3. The weight alone is something I’ll never forget. How does a camera this small weigh this much? It had heft.
Kodak Portra 400
So began my research. I’ve always loved the 35mm focal length at full-frame, as in not on a cropped sensor. This right away knocked the M3 off the list. You can use it with a 35mm lens, sure, but the lack of framelines would definitely take away from the experience. This had me looking all over for an M2, which does have the framelines for 35mm. And after seeing how much Leica’s sold for on the internet, I didn’t dare look at anything above an M2.
It’s no secret that Leica’s are expensive. The price did prevent me from buying one right away. I figured I’d find a deal if I waited long enough. I felt that I was in no rush to buy a new camera so I just kept researching. After a few weeks I wasn’t so sure the M2 was for me. The lack of a lightmeter for someone getting back into purely manual photography would mean wasting film. I’m aware of the Sunny 16 method, but trust me, I’d have lost a lot of shots. And film isn’t cheap, which I soon found out.
Some how, and I’m not exactly sure why, but I started drooling over the M6 hard. And honestly at first, I thought the style of the body was kind of ugly. It has more branding, it has a weird corner film rewind knob thingy and it isn’t painted brass like the M2, M3 and some M4’s. Speaking of, why did I skip the M4 and M5? Well the M5 is ugly. Let’s just get that out of the way. It’s like the ugly Leica M stepchild. The M4 is much like the M6 in looks, features and ergonomics but no built-in lightmeter.
The Leica bug bit me even harder at this point and I just went for it. I purchased the first M6 I found for a “good price” (which is relative, I know.) I justified this by comparing it to the amount I would have spent on a new Fuji kit and a 40th birthday gift to myself. Plus I don’t have to replace a Leica. I paired it with a used Voigtlander 35mm f/1.4 Nokton Classic. I really love this lens. The aperture ring is a bit fidly, but it’ll do. The image quality is fantastic, and really, it’s the lens that’s making the image, not the camera. If I ever go for a “forever” lens it will be the Summicron 35mm f/2.
Kodak Portra 400
So, does the M6 or probably any Leica for that matter live up to the hype? After using it for a few months I’d say yes. This isn’t something I’d have bought if I were, say, 1-5 years into my photography journey. But at 15-20 years, I knew exactly what I wanted. The camera is rock-solid and feels extremely rigid in the hands. It’s features are simple and straight to the point but executed in such a way that you can’t argue with it. This is why their designs have barely changed since the 1950s. I carry it almost everywhere. I love this camera so much that if film photography dies out completely, I will happily fork over the dollars for a digital Leica M.
Originally this post was to talk about getting back into film photography and honestly this was my first step. I’ll update this post when I’ve written part two, which will talk more about my experience actually shooting film again and how things have evolved to where it is in 2020.
