In this third installment to this series on visualization and film photography, I have selected a sample of photographs (mostly made in the 35mm format) to share and discuss. Although I heavily focused on technical aspects in film photography in Part I and Part II of this series, my goal with this article is to provide a more aesthetic description and simplified approach to the construction of photographs. I thought it would be of interest to beginning 35mm photographers to briefly discuss some of the film choices available. Although the choices of film stocks have dwindled over the years, fortunately there remain a plethora of excellent professional and consumer 35mm films from which to choose and enjoy. Even though I have used many – but not all – of the available film stocks, I cannot possibly discuss all of them here. For one particular film stock, I am delighted to share a pair of interviews with more experienced photographers that readers might find interesting and helpful. Of note, Photography Life contributor Vaibhav Tripathi has previously shared his experiences and beautiful photographs made on 35mm with Fuji’s Velvia 50 and Kodak’s Portra stocks in his inspiring photo essays on Acadia National Park, landscape photography, and Waterfalls of New England series that may also be of interest.
In this second installment to this series on visualization and film photography, I have selected two photographs, “Gravida” and “Pyramis” (both architecture), to share and discuss. As in Part I to this series, I will provide a detailed description of the thought process behind the construction of the photographs, the choice of tools, and the technical considerations involved.
As a follow-up to my previous essays on visualization, in this article I will share select photographs made on film with a detailed description of the thought process, the choice of tools, and technical considerations that were involved. I have chosen two starkly different photographs (both landscapes) to discuss. I hope that these photos with the accompanying narrative will prove interesting and helpful to beginning film photographers and perhaps guide more experienced photographers in advanced techniques and approaches. Of note, Photography Life contributors John Bosley, Laura Murray and Vaibhav Tripathi have previously written excellent essays on film photography that may also be of interest.
A couple of weeks ago, I shared the first part of my exploration of the waterfalls of New England here on Photography Life and promised that there will be a part two. This write up fulfills the promise and continues the story further. My focus this time were the forests of Western Massachusetts, especially those around Route 2 West from Boston. This freeway is also known as the Mohawk Scenic Byway and is a very beautiful drive once you get little beyond the Greater Boston area.
It is the month of May and spring has finally taken over from winter in New England. With the woods turning green again, color has returned to the landscape. Most of the creeks and brooks that crisscross the region and give rise to hundreds of waterfalls are flowing reasonably well. Together this combination of silver and fluorescent (almost) green highlights the effervescence of spring and I, together with a friend, decided to explore this juxtaposition one weekend at a
When I submitted my photos of Acadia National Park as a guest submission on Photography Life, I was amazed at the response, especially on the fact that the majority of photos were shot using a Nikon F100 with Fuji Velvia 50. Nasim contacted me to do an article on film considerations for landscape photography as a follow up. So this is my stab at it.
As the maximum temperatures slowly drop below 40 F (6 C), the ephemeral autumn silently gives way to a long winter in New England; but not before weaving its colorful magic yet again. This year, I was fortunate to witness this magic from up close during a weekend camping trip in Acadia National Park in Maine. Colors in Acadia usually peak around mid-October, which roughly coincided with my trip and I found the foliage in good shape: either peaking or just past peak. Moreover, the forecast called for cloudy skies and occasional rain with breaks both in morning and evenings, which meant I can photograph all day: golden light at the fringes and soft, overcast light in between. My equipment was a Nikon D610 and a Nikon F100 (loaded with Velvia 50) along with the a host of Nikkor lenses (with polarizers): Nikon 24mm f/2.8 AI, Nikon 24-120 f/4G VR, Nikon 18-35mm, Nikon 50mm f/1.2 AIs, Nikon 85mm f/1.8G and Nikon 70-200mm f/4G VR.
At a time when the digital photography world was buzzing with new gear announcements, I managed to fall in love with some of Nikon’s very old and cheap lenses, the E Series lenses. My experience with these lenses taught me a great lesson: it is really not about the gear. It is rather about being creative with what gear we already have, despite how limited and incapable we might think of it. This was a great inspiration to me, especially with my nagging habit of lusting after the latest and greatest gear announcements. The fact that I’m writing this article goes to show that I still struggle with GAS (gear acquisition syndrome), but for a change, this is a case about some of the cheapest lenses available.
This is a review of the Leica M7 TTL .72 rangefinder film camera that I used with the Leica 35mm f/2.0 Summicron M Aspherical Manual Focus Lens. I had the two for about a month and had a chance to shoot with the Leica gear in different conditions and shoots. Prior to the M7, I never had a chance to shoot with any Leica gear, but heard so much about them from other photographers and industry peers. So I decided to give Leica a try and see how it would fit my film photography needs. Below is a summary of my findings with the camera.
In the beginning of 2012, I knew I wanted to buy a Polaroid camera. There is something so irresistibly fun about taking a photograph and having the print in front of you instantaneously. I considered several options, but ultimately decided on the Polaroid 180 Land Camera with a 114mm Tominon Lens.