Monday, January 22, 2024

Fun with medium format film scans.

 

Calvin and Ben (in goggles) playing in the splash pool at a swim meet. 
Mamiya6 camera. 75mm lens. Film = Fuji Reala

Yes. It's a bit crazy but I used to take my medium format film cameras to swim meets and I used it for fun images that didn't require long lenses or fast frame rates. I found a couple thousand negatives done with medium format film cameras at various swim meets and decided to scan a few.  

A couple of observations about converting MF film to digital files:

If you used a good lab for film development you got back film with very little dirt or garbage on it. 

If you stored your film in archival pages, inside archival covers, you probably won't have any problems with environmental contaminants affecting the dies. At least in the short term (25 years?). 

If you work in a clean environment you'll get to spend less time cloning out dust spots. 

You don't need a stand alone app or an Adobe plug-in to invert and color correct your images. Click on the black surround (film edge = see above, bottom of the frame....) with an eyedropper for shadows (set to zero) in "levels." Then use the mid-tone eyedropper in "levels" to set a mid-tone. Tone-wise everything should fall into place. Then it's just a matter of using your color controls to zero on on color. Start with your white balance settings and once you are set there go into your magenta/green hue settings and fine tune. Add contrast (you'll likely need it), tweak exposure and color more carefully and you are done. Don't let "perfect" rob you of the pleasure of playing with your film when "good enough" is just great. 

I chose to work on this color negative today as an antidote to the cold, damp weather outside. I'm printing it out large (13x19 inches) and hanging it on my wall till the weather improves. 

Glad I ditched work to make it to every swim meet. Priorities, priorities....


On the (slightly tattered) red carpet.

"street photo" taken on a lovely afternoon in Montreal. 2023.
Yeah. It was on the desktop...

 It's been pouring down rain since late last night. Nothing around me has flooded yet but it's cold, gray, dismal and wet outside. The first day in a while that I've really just felt like staying in the studio, running the little space heater and working on scanning more old negatives. To what end? I'm not really sure but like most men I seem to enjoy the process of trying to master some things. In this case, making digital copies/files from analog film. And so far it's coming along well enough.

When I sit down at the desk to work on content I always take a look at the desktop first. The sprawl of icons that end up on my screen. The imaging icons seem to breed like little rabbits and, if left unchecked will soon cover my entire workspace. So, every once in a while (like when I am weather-limited) I take a few minutes to build a new folder on a big hard drive and put all the orphaned and recently used images them into it. Maybe I call it: "11a-Desktop Images Archive started Jan-2024, various." I have no real system so next time I'm just as likely to label a similar folder in a completely different way.

After talking to a few advertising people last week, on one of my adventures to photograph people in their locations, I got the disquieting feeling that the range of potential, human-created, real images needed for advertising content is narrowing again. Mostly due to generative artificial intelligence. The preponderance of cheaply available stock photos which can then be used as the basis for computer manipulated images is part of the trend as is the continuing spread of easy to use machine driven imaging. It's just too easy and too available for many advertising agencies (themselves struggling to profit...) to pass up. What it means for working photographers is pretty obvious. Less work. 

I seem to have, over the years, picked a niche that is still intact. That is the making of portraits of real people inside real businesses, corporations, associations, etc. Even in advertising, to this point, people have desired authentic images of real people, though this small spur specialty is sure to change. 

Were I at the starting line in the photography business I'd be concerned. Existentially concerned. But having labored so long in the vineyards of image creation I now see the trend as just another trend. And I take comfort in knowing that there are plenty of "old hands" in the adverting and marketing sectors who will likely always prefer the ways of doing stuff that they grew up with. And are growing older with. And as some have said, maybe photographing real people in authentic situations will become a popular push back to the generative A.I. technology wave in the same way as vinyl is to the music industry. Or film photography is to digital. It'll be a small part of the overall market but the reality is that smaller trends like these have mostly been rich veins for people that can figure out both the appeal and the markets. 

I feel insulated from the shock of changing markets at this point. But I'm interested in seeing where the wave is going. Working with old film negatives from big medium format cameras is certainly piquing my interest in going backwards for some of the personal work I'd like to do. So far using the MF digital cameras in the way I always used MF film cameras is keeping the desire to retrograde to film gear in check but... we'll see how long the resistance persists. 

I keep thinking I should pare down my camera inventory but .... to what end? I like the stuff I have and until Leica makes something really enticing I don't have much motivation to change up or down. I'm reasonably certain that we'll see an SL3 in the next few months. Equally convinced that it will have a 61 megapixel sensor and phase detect AF. All very nice. But I'm not getting the full impact of the 47 megapixel cameras I already have. Still, it's fun to see the slow motion churn of Leica products while knowing full well that the waiting lists for them will make actually owning one something to look forward to in about a year from now. Or longer. 

In the meantime my love affair with the 10+ year old Leica M240 cameras continue unabated. I seem to have maxed out the useful collection of lenses for the little system and I'm a bit embarrassed that none of the lenses is from Leica. Two of the lenses I use for that system are from Carl Zeiss (28, 35) while the other two (50, 75) are from Voigtlander. Ah, the beauty of a mount no longer protected by patents.... 

All four of the lenses are wonderful. All work well now that I've profiled the wide angles. The M cameras are wonderful to shoot, hold and fondle. And, at around $2500 for good, used examples, they are actually affordable --- especially when paired with used, non-Leica lenses. So much fun. 

Well. Back to work. I've got film to scan. Or copy. Suit yourself when it comes to terminology. I know I will. 

About to schedule the third big tranche of work for January. Amazing to me.

Saturday, January 20, 2024

Just thinking about what it must have been like to grow up with a photographer father...


 All my other careers; the advertising agency, teaching at the University of Texas at Austin, short order cook and teaching assistant, were long relegated to the rear view mirror before Mr. B. arrived on the scene. By the time he joined the family I had been doing photography as my sole source of income for something like ten years. I never stopped to think about how different our lives were from families in which the parents had "real" jobs. 9 to 5. Two weeks of vacation. Some sort of financial security. Not a lot of free time.

For most of his life at home I worked in the same office I do now. It's a converted garage and storage building that's situated about 12 steps from the front door of the house. Sometimes, when I was playing around with a camera in the office I'd remember that I had a "model" right across the walkway and I'd grab the camera and head into the house. B. was usually very patient and understanding. At least in his younger years. Of course, there were a few times in those teenaged years when he wasn't thrilled about being unpaid talent. 

He always has had a very practical bent which is something I first became aware of when he was quite young. Maybe four or five years old. I was out working in the studio with a marketing director from Zach Theater. We were making photographs of cute, female models (young adults) dressed up as Santa's elves to promote the perennial holiday season productions. The marketing director was also a family friend and, on the spur of the moment he decided that the perfect addition to one of our shots would be to have a cute, young child kiss one of Santa's elves on the cheek. 

I told the ad guy, Jim, that a house policy was that we couldn't push Mr. B. into being talent for anything he didn't want to do and that, additionally, he would negotiate his own terms having learned early on that all clients have budgets and no one should give away time, talent or content for free (if only I had learned that lesson I would have saved a lot of time by not blogging....). 

I went in the house to ask B. if he would come out and listen to Jim's proposal for an ad. He was happy to. Jim walked him through the concept and then my four or five year old exclaimed, "Kiss a girl??? No way. Sorry." Jim was persistent and started offering the kind of payment he thought would appeal to a young child. He suggested that after the shoot we could all go to Amy's Ice Cream (an Austin legendary ice cream shop/the best!!!) and he could get anything he wanted. 

B. smiled and said, "I can already get that from my parents. No deal." To this day I'm not sure any amount of bribery would have been enough to move him off dead center. I was proud though that he stuck to his guns and didn't crumble. He politely excused himself and went back into the house. I made a note that in the future we'd always offer him scale if we asked him to be talent on a real shoot...

Most kids have parents who go away to work. When the kids get older they also go away to school. Everyone meets back at the house in time for dinner. Not so at our house. If I wasn't booked I'd be in the office doing paperwork or marketing or something else to move the whole enterprise of photography along. Most days either me or my assistant was there to meet the school bus in the afternoon.  I was at home/in the office on both occasions of my kiddo breaking an arm at school (3rd grade). His mom was working a "real" job in downtown by then so I was usually on call for school emergencies. Each time I was over to his school in minutes. Single digit minutes. On one broken arm (falling from the top of the jungle gym...) episode my team and I were in the middle of a shoot. We were using our large living room in the house. We had three or four people from the ad agency, a stream of models coming and going, a make up person and my cracker jack assistant, Renae. 

In the middle of the shoot Renae walked over and handed me the phone. "Can you take a message?" I asked. "No! You'll want to take this call." She said, emphatically. She was right. It was the elementary school principal calling to let me know that B. had possibly broken his arm at recess. I was out the door so fast it was like a cartoon. I got to the school. Evaluated B. Splinted his arm with a magazine (Thank You! Boy Scouts of America. And thanks for the first aid merit badge!!!) and rushed him to the hospital. Platinum level parenting service. The pediatric orthopedic surgeon on call was someone I knew from the pool. And someone B. also knew and was comfortable with (kids the same age). 

I was thrilled to secure the volunteer job of official photographer for ten years in a row for B.'s summer swim team at our club. I did the group shots of 150+ kids ranging from 4 to 18, and I photographed all the kids swimming their events at the swim meets. It was a big job but I got to watch every race B. and his friends swam... and it was a blast. 

Later, once he was in high school, B. took a semester of video production and video editing. We did a role reversal. Now he was the expert and I was the student. He fixed more of my videos for clients with a keen eye and a strong arm on the tiller than I would really like to admit. 

For the last three years of high school he ran cross country. I never missed a meet. I also never missed getting up at some ungodly hour of the morning and driving him to 6:30 a.m. cross country practice at Zilker Park. I really had to. My dad did the same for me when I swam in middle school and high school. Only back then our workouts started at 5:30 a.m. Paying it forward? At least after delivering him to cross country workouts I could head straight to the pool and begin my own exercise...

We talked often about freelance work, photography work, video work, writing, and how all the finances worked. He paid attention. If there is one thing I think I taught him it's that you can do whatever you like in life and you can figure out how to make it successful, if you want to. Sometimes it's up to doing hard work and long hours, sometimes it's more important to be a good negotiator, but mostly it's critical to believe in yourself and to set boundaries for those with whom you work. Good relationships with clients and crew are the glue that binds everything together at work.

I have mountains of photos of the kid but I'm very careul about what I post because I know his privacy is important to him. He's not a typical millennial. You won't find much of him on social media. He's okay being mostly off the grid. 

I'm happy he moved back to Austin after his four years at universities, split between the North East U.S. and also Seoul, S. Korea. It means we get to see him at least every Sunday evening for a family dinner. More often if we have something special to celebrate. Or if I can wrangle him for a weekday lunch halfway between our houses. With a few exceptions we haven't missed a Sunday in at least three years. And always we're talking about my work and his work. And where marketing is headed. And how photography has changed. And how tech companies are using images. And, sadly or happily (not sure), I've come to grips with the realization that he's far smarter and more capable than I was at his age. More grounded and focused. A better skier, runner and rock climber too. Gosh, now I feel like such a fitness slacker...

The image at the top was taken on one of those easy Summer afternoons when I stepped into the house to grab a cold drink from the fridge. The light was coming through the double French doors in the dining room and I picked up the Hasselblad camera that was usually sitting on the dining room table, figured the exposure in my head and asked him to stand still. I shot five frames and then we were both off again, back on our own projects. It was nice to be around for the photo opportunities. It's easy to miss stuff; important stuff, if work is always the priority. 

Nice now to have a kind, bright and well launched kid. (oops. Adult). Wouldn't trade that feeling for all the Leicas in the world. 

Tech: Available light. Tripod. Medium format camera. Short telephoto lens. Tri-X film. Scanned from the negative here in the office. 

Friday, January 19, 2024

Portrait scanned from medium format Kodak Portra B&W 400. And also colorized....

Ize.

Playing around with the scanning rig again today after lunch. I was curious how chromogenic black and white film would look when scanned so I dug into the files and found a nice negative of Ize and fired everything up. I started with a 7200+ x 7200+ multi-res scan, inverted it in Photoshop and then started playing around. 

I go into levels and pick up the eyedropper tool for the shadows. I click it on the film edge that's supposed to be black and turn it black. I use the mid-tone eyedropper tool and use it on Ize's forehead to get into the middle gray range. Oh, and I convert the image from a color file to a black and white file. The files always come out with a little color cast if I don't make them black and white. 

I went into the neural filters and selected "skin smoothing" and used that at a 25% setting. It seems to work well. Everything else is just small tweaks. 

I wanted to show you how well the scanning rig handles detail so I included a 100% crop into her right eye for some kind of reference. The original negative was shot with a Rollei 6008i and the Rollei 150mm f4.0 lens. 


When I was in the neural filters, just noodling around, the "colorize" filter caught my eye and just out of curiosity I thought I should give it a whirl. The image just below is what the program rendered from the original black and white file I gave it. While the lipstick color is a bit over the top the rest of the image looks pretty cool. I think you could actually get away with colorization of some older black and white portraits in a pinch! But calm down, I'm not going to start making all of my old black and white work into colorized versions. 


Ize was invited into my studio by an advertising guy who thought she was beautiful. I couldn't disagree. She came along with her mother and her younger sister. It was a fun and unexpected session devised by an ad guy who took a chance that I might have a break in my schedule. We did this portrait about 15 years ago. I still like it. 

I keep getting comments and emails asking, demanding and cajoling me to post more portraits. I thought I may as well comply. And now? Back to work. 



Thursday, January 18, 2024

Having fun working on projects. Beats sitting around waiting for the pipes to freeze...

 


I spent time last year conjecturing about retirement. I was a bit premature. At least as far as my clients are concerned. We started off 2024 with a project for a tech start up. Five portraits in the studio over the course of two days. When they selected their finals I retouched them and composited them into urban landscape backgrounds (mostly against tall, out of focus buildings).  I wrapped up the final processing on them last night and sent the large .Tiff files off to an art director in NYC. All good there. 

The photography for the second project of the month started yesterday morning and wrapped up just before lunch time today. Five advertising partners against green screen. I've just finished creating galleries for each person and once they make their selections I'll composite them into defocused industrial backgrounds. It's a style they wanted from the outset. 

We did the first shoot here in my studio just before the weather went bad. It was very straightforward and went smoothly but nothing compares to photographing on site at a very fun advertising and public relations agency's headquarters. That's where we did the second shoot. 

Sure, I have to pack stuff up and transport it. I have to snag just the right conference room for my temporary studio and set up equipment. But the energy in a bustling ad agency is so much fun. These are people I have known and worked with, in some fashion, for nearly 30 years (the principals...) and they are surrounded by young creatives and marketing people. The conversations we have during sessions are eye-opening and totally at odds with the understanding of the markets and the trends that most of my peers cling to. Wanna know what's trending? Ask a 28 year old, social media ad buyer. And they don't work on conjecture or anecdotal evidence --- they've got the data to back up their viewpoints. Data, not opinions.

I worked across two days at the agency. The first day I was still feeling the glow of the new (to me) Zeiss 50mm Milvus lens so I used that on a Leica SL2. I set the camera for APS format to get the equivalent of a 75mm lens. It worked great. But when I was in the middle of post production yesterday evening I kept looking across my desk at the older Leica SL camera and started thinking about how it might work when paired up with another recent lens acquisition; the Voigtlander 75mm f1.9 --- for the M. I tossed a Leica M to L mount adapter on the older camera, clicked on the lens and took them with me this morning. It was glorious and the photos look just as good at the ones from yesterday. 

On the job in my studio I used an FS-300 Nanlite LED fixture, aimed at a big umbrella, as the key light and on a white background I lit with two more Nanlites for even illumination. Those images were all shot on a tripod to compensate for the potential movement of the camera while using continuous lighting. 

For the job on site at the ad agency I used electronic flash instead. It's smaller, lighter, easier to carry, etc. My "go to" kit for location flash consists of three Godox AD200Pro flashes and two Godox V1 flashes. All of the AD200Pros are equipped with round flash heads which match the round heads on the V1 flashes. They all put out a nice light and all of them can be used with the same front of the flash accessories. I only used three lights yesterday and today. Two AD200 Pros, each into an umbrella. One into a 45 inch umbrella as the main light and one into a 60 inch umbrella as a fill light. I used a very small Godox TT 350 flash to light the green screen. It only needed a small splash of flash.... (see above).

On one of the days of the "big freeze" I also got an email from the marketing guy at our big radiology practice which has spread out to serve most of central Texas. Now we're trying to schedule nine individual portrait shoots between now and the end of January. These will all be done close to home; in my studio just across from the house. Since I don't see any schedule conflicts I hope to be able to light one time and then leave everything set up for successive appointments. This will be my 23rd year in a row to provide doctor and P.A. headshots to the practice. A really nice run!

It feels like a typical January month for business. It's a bit strange since I really haven't done any marketing in a long, long time. The last time I sent out a marketing blast of any kind was probably since before the start of the pandemic....

I've increased all fees and expenses by 20% this year and, so far, no one has so much as squeaked. The reality locally is that business is brisk, suppliers are hard to come by, skilled suppliers harder to come by and budgets have become largely immaterial. Surf while the waves are good. 

One rule I have been following though is that Tuesday through Saturday no job can start until after 10 a.m. I figure if I don't set boundaries people will try to schedule earlier and that will mess with my swim workouts. The swims are now much more important to me than the work so the rules are hard and fast. You need an early morning start? Try Monday. The pool is closed then. 

What does this all mean? Not much. It's just more of the same. I am kind of amazed though that I still find this to be so much fun. 

Fussing around with the lights. Waiting for the onsite barista to bring me a latté. 

the luxury of traveling light. someone should write a book about the idea.
I have a good suggestion for a title. They could call it: 
Minimalist Lighting: Professional Techniques for Location Lighting.

It might sell...




Wednesday, January 17, 2024

Strolling with the ZM 50mm f1.4 Milvus lens. First long walk in a week. First walk with the new lens. First walk since the big freeze began. A lot of firsts.

 







What if Stephen Shore and William Eggleston hooked up and then their offspring 
became fine art photographers in the modern age. Would it look like this? 
Or is this one not boring enough?


There are limits to dining al fresco. 


currently in love with the reds that result from the Leica SL2
And I think the new lens helps maintain the high level of "red overkill."

ice sculpture outside a bar on our popular Sixth St. 



if Ed Ruscha photographed buildings in Austin.... But with better technical chops.
would you believe that Frank Lloyd Wright designed this parking garage?
I didn't think so...

loose homage to Larry Sultan






Not a chance.




my friend Mary baked me a lemon cake embedded with pistachios.
made with almond flour, no white sugar and lots of ricotta cheese.
they serve this in heaven. It's amazing.

first frame out of the camera with the Carl Zeiss Milvus 50mm f1.4 distagon

Tuesday, January 16, 2024

Just in. The numbers tell all. The world famous VSL blog site just topped 31,000,000 direct page views. If you are reading via RSS feed well.... those aren't recorded by Google....


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