A Lomo-Day

I met up with good friend Jon in Leeds recently for a photo-walk and darn good natter. As has become traditional on these occasions, Jon brought a camera from his collection for me to play with.

Lomo LC-A 120 | Fomapan 100 | Pyrocat-HD

This time it was a Lomo LC-A 120 medium format camera and I’d come armed with a couple of rolls of Fomapan 100. As an aside I’m trying a new-to-me film/developer combination at the moment (Fomapan 100 and Pyrocat-HD) and it was this project rather than the light which drove my choice.

Lomo LC-A 120

We met as always on the train, which I catch in Halifax and Jon in Bramley and upon arriving in Leeds made the, also-traditional, visit to a coffee shop. We like to start with a brew, a quick catch-up, a chance to load up the film cameras (always plural) and decide on a plan of action. I had my KMZ FT2 with a half roll of Adox CHS 100 II as well as my Rollei Magic (in 645 configuration) with a half roll of Fomapan 200 loaded. I planned to finish both rolls during the walk. So, with the Fomapan 100 in the LC-A 120 that Jon lent me I was ready. Jon was in colour-mode with a lovely Olympus XA4 (Lomo Metropolis if I recall) and a new-to-him Leica rangefinder (Kodak Colour 200) getting a maiden outing.

KMZ FT2 | Adox CHS 100 II | Adox FX39 II

Our walks usually start and finish in the centre of Leeds but this time we opted for a linear walk. Along the Leeds and Liverpool Canal to Kirkstall Brewery Bridge at which point we would leave the canal and walk on to Bramley railway station where I could catch a train back to Halifax. It was going to be a longer walk than either of us had done for a while! Indeed, checking my pedometer before bed that evening I found that I’d covered around ten miles in total throughout the day.

Lomo LC-A 120

Since first chatting in an online forum a few years back Jon and I have become good friends in real life too, initially through the shared interest of film photography. However, these days our conversation ranges widely, covering the domestic and current affairs as well as film photography. That to me is a sign of true friendship as is the fact that whenever we meet it’s like resuming a conversation you’d only finished ten minutes before … even though it’s been a few months since we last met in person.

As with many urban waterways the Leeds and Liverpool canal offers up many interesting scenes to the photographer, not the least of which is the inevitable graffiti. It would’ve been rude not to make some images, even if I was using black & white rather than colour.

Lomo LC-A 120

At Kirkstall we left the canal and forced ourselves to have a couple of pints in a local pub before the near-two miles walk (including around five hundred feet of ascent) that was needed to get me across town to the railway station. I saved £1 by catching the train from Bramley rather than Leeds although I’m not convinced that the uphill slog was worth the single pound sterling!

Rollei Magic | Fomapan 200 | Rodinal (1+50)

My impressions of the Lomo LC-A 120? Well, it’s definitely a fun camera to use. Basically it’s a medium format point and shoot camera that is lightweight and easy to carry. It doesn’t feel very robust, being largely plastic and as I’ve said very light. It’s definitely not a camera I’d throw loose in my shoulder bag.

Loading the film wasn’t the smoothest and it’s fair to say that the wind-on and spacing of negatives isn’t the most consistent. I lost the first frame on both rolls and varying parts of the second too.

Left: Lomo LC-A 120. Right: Rollei Magic
The part-frame from roll two – Lomo LC-A 120

I’m not one to cry over lost frames, it’s part of the experience of film photography, but the first frame and a half that I lost from the first roll were disappointing as it was a scene I very much liked (see above). Luckily I liked the scene enough to photograph it with the Rollei Magic too.

Lomo LC-A 120

One thing that very pleasantly surprised me about the LC-A 120 was how well the meter coped with everything I asked it to deal with. All of the frames are well exposed even when I probably was expecting a bit too much from the camera. From an exposure point of view I could have shared any of the images and not been embarrassed. A small aside here, the Fomapan 100/Pyrocat-HD experiment is going well!

All that said, I did enjoy using it even if at the end of the day I won’t be putting my hand in my pocket for the £450+ needed to buy my own.

A couple of tricky scenes but the meter handled it very well I thought – Lomo LC-A 120

So, another good day out with the camera. Good conversation, an enjoyable walk and a couple of lunchtime pints – what’s not to like? I hope you enjoy the images I created along the way.

The Challenge of 617

My interest in the panoramic format is well documented throughout my blog especially with regard to the Reality So Subtle 617 pinhole camera and more recently the Chroma 617 in its standalone and Graflok-back guises. To me the format comes reasonably naturally and it’s fair to say it’s become my go-to format when I get the opportunity for some dedicated photography time. However, I know from chatting to others that the format can be challenging, not least in terms of composition.

But why is this I wonder? To be honest I’m not sure I have the answer. I have been making photographs since the 1970s, some times more active than others, and over the course of fifty-odd years I’ve read more guidance and advice on the subject of composition than I care to think about. Indeed, I no longer think about it if I’m honest. The Golden Ratio, the Rule of Thirds, the Rule of Odds, Leading Lines … the list goes on.

When I first started taking photography seriously I followed these rules very assiduously, especially the Rule of Thirds, and with the benefit of hindsight missed plenty of opportunities by following the “rules” so slavishly. On the plus side I do think that by using these concepts as a guide I accelerated my learning and development as a thoughtful photographer.

Mid-way twixt centre and the third perhaps?

Never Put the Subject in the Centre. Well, putting your subject centrally does contradict the Rule of Thirds I guess. But I’ve made plenty of images by putting the subject in the centre thus creating a very pleasing image to my eye. Including panoramic images. In particular, the square format really lends itself to central positioning of the subject to my mind.

My main criticism of this is the patch of sky top left … not the central placement of the yacht.

That said, when I look at my more recent images, all made intuitively without and conscious thought about “rules”, it’s amazing how often I compose things in what might be, indeed has been, described as “formal”.

Another central point of interest although the overall composition does provide a traditional foreground (albeit reasonably central), mid-ground and background

Perhaps it’s partly that when we start out in photography we are influenced by the inbuilt format of the film stock or digital sensor. Three by two is a typical format as is four by three. If we start by using one of these exclusively our eye becomes accustomed to seeing in that format I suspect, making the transition to another image format problematical. Kind of like returning to the start perhaps?

Then, of course, there is the sheer amount of real estate that a 6cm x 17cm negative provides. With so much space to fill it becomes trickier to eliminate extraneous elements that disrupt the image.

That said, I firmly believe that the 6×17 format can be mastered by all. It’s a matter of practice and experience I think. Over the Summer I hope to get out more with the 617 kit so I will share more images on my blog which hopefully will serve to inspire and encourage others to embrace this challenging but incomparably rewarding format.

You did what?

I woke early on Saturday so whilst the household slept I picked up the nearest camera, the Leica iiif as it happened, checked it had a film in, then wrapped up warm and headed out for a morning stoat before breakfast.

Toned to add to the “old” aesthetic

It wasn’t until I took the camera out of my pocket to make the first exposure of the day that I realised it was loaded with a roll of Kodak P3200. I’d loaded it a few days earlier for an evening walk which never happened; it’s certainly not a film stock I habitually use, nor one I’d have chosen for a morning walk. Rather than return home however, I opted to rate it at 1600 ISO, set the lens to f11 and simply vary the shutter speed as required.

Later in the day when I mentioned to a good friend that I’d taken a roll of P3200 out on a bright sunny morning he replied – “you did what?” hence the title of this post.

I’ve don’t recall having used P3200 in proper daylight before so I was intrigued as to what I’d end up with. It’s nominally an 800 ISO film but is designed to be pushed (hence the P) to 3200. I’ve used it a couple of times in very low light but never in full-on daylight. First job when I returned home was to attend to some domestic matters but my next task was to decide how and with what to develop the film.

Of the developers recommended on Kodak’s data sheet the only one I had in stock was HC-110, or to be precise, Euro HC which is the clone from Bellini. Dilution B for 9.25 minutes at 20° was their recommendation and I saw no need to stray from this suggestion so I went ahead and developed the roll.

As you will have noticed the results are somewhat on the “crunchy” side, very noticeable grain which some will not like. Indeed, anyone brought up on a digital-only photographic menu will consider them “noisy”. But this isn’t a digital artefact, it’s an organic element of the actual film itself.

Rather than try to use the magic of Lightroom to tame the grain I opted to not only leave it but to a small degree emphasise it for creative effect. These are all digicam-scans of the 35mm negatives that have been inverted and gently tweaked in Lightroom. I’ve not yet had a chance to get them into the darkroom but these negatives are my next darkroom subjects.

So, all in all I’m reasonably happy with how these turned out. It could’ve been a proverbial road crash but the images, as scanned, have plenty of character and a certain look that is not unpleasant. They’ve definitely got an aesthetic that I am enjoying. Sometimes the polar opposite to digitally clinical images can be very appealing.

Will this become a regular combination? Well, no. That said I do have a roll of P3200 loaded in my KMZ FT2 at present although my intention is to expose that at ISO 800.

The moral of the story however is don’t be afraid to try something different. You might be pleasantly surprised!

All images: Leica iiif | Kodak P3200 | Euro HC (1+31)

A Pinhole Interlude

First stop the churchyard.
All images: ONDU 6×6 Rise | Rollei Retro 80S | Rodinal (1+50)

Half-term for us spanned three weeks with the grandchildren at different schools in different parts of the county. Photographic excursions were therefore limited but on one day, finding myself with just one grandson in tow, I ventured out for a walk through town and along the local canal. My chosen camera was a favourite – the ONDU 6×6 Rise pinhole camera, loaded with a gifted roll of Rollei Retro 80S (thank you Andy), together with a mini tripod.

I might have pushed the sliders a bit far on this!
Grandson “holding still” for thirty seconds

I lent the grandson a digicam to keep him amused whilst I exposed my roll of film. We made images in the churchyard, the street, views from the bridge over the river, the towpath and views over the valley from part way up Gog Hill.

If I’m honest, this was not my best ever outing with the pinhole. Keeping an eye on an eight year old, especially by a main road and then a canal, and keeping on the move to keep him from getting bored were with hindsight not the most conducive conditions for pinhole photography. In particular the ones taken from the bridge, where I had to steady the mini-tripod, do seem to be suffering from a little camera shake!i

Next time I will simply take a 35mm rangefinder!

Nice detail in the trunk – no camera shake here,

One of the things I enjoy about pinhole film photography is what I think of as the organic look it produces. This is never more evident than when photographing trees and the canal side is a great spot for this.

From the canal we made our way up Gog Hill. This cobbled hill is a real lung-buster for us Oldies but thankfully there’s a few nice views out over the valley to afford respite if needed.

So, in conclusion, not my best day in the field but nevertheless the images still have “something”. What it is though I shall leave to my reader!

510 pyro – one roll is not a proper test

All images: Canon VL2 | Jupiter 12 (unless stated) | Fomapan 100 | 510 Pyro

It was inevitable that I’d eventually give the 510 Pyro developer a try and back in May 2023 I donned the nitrile gloves and made up a batch.

Before … and After

I clearly got distracted during this test, as not only did I only develop two rolls (one 35mm and one 120) I also left the draft blog post barely started and only picked it up again ten months later. Looking back through my notes for last year these were the only two rolls that I developed in 510 Pyro throughout the whole year.

Negative and simple inversion in Snapseed

Now, despite what some “influencers” on social media would like you to believe, it takes more than a couple of rolls and one film stock to truly judge a developer. So far, what I’ve seen hasn’t deterred me and I will hopefully make some further tests later this year. Until then I’m simply making a line in the sand as it were and registering my intent to finally finish this experiment.

This staining developer is both much hyped and also it seems a divisive one. Some people I know swear by it whilst others of my acquaintances can’t really see what the fuss is about.

For the reasons already expressed I’m sat on the fence I’m afraid.

For now.

Inspiration

A flâneur and photographer, Eugène Atget was I have recently learnt obsessed with walking the streets. I was introduced to his work only recently too, and as I started to look through images online I realised that many of them I’d seen before without having attributed them to any individual. He was fated to become famous only after his death but his legacy was to influence the Surrealists in the 1920s and famous American photographers such as Walker Evans and Lee Friedlander.

In 1931, four years after Atget’s death, the photographer Ansel Adam’s wrote, “The Atget prints are direct and emotionally clean records of a rare and subtle perception, and represent perhaps the earliest expression of true photographic art.” So, as anonymous as he was in life, in death he was to become what we would call these days an influencer of some standing.

But why have I suddenly taken an interest in Atget?

Zorki 4, Chroma Double Glass, yellow filter, Ilford HP5+

I was out recently trying a Chroma Double Glass, one of the images is shown above and as can be seen I chose to process the image using a vintage toning. I then shared it on social media and was surprised to receive the following comment:

“A bit reminiscent of a Eugene Atget print from his disappearing Paris series.”

“Jimmy” via Twitter

I was rather taken aback, despite it not being a name I knew, it was clearly a huge compliment and it set me off on an internet search as you’d imagine. And I was stunned. Not only was Atget a flâneur, something I strongly relate to as I’ve commented upon before, but he was most famous for his photographers of the old Paris. Urban photography.

I’ve since done a fair bit of reading upon the subject and I have become fascinated. And in a very modest way inspired too.

I’ve noticed a big change in my photography over the last couple of years. Largely driven by the pandemic, three lockdowns and shielding to be fair which largely restricted me to my own local, urban patch. The influence of Bill Brandt is one I’m conscious of but Atget has clearly provided some subliminal influence too.

Which photographers inspire you?


I originally wrote this post almost a year ago and found it a few days in the pending list!

One from the archive

Having completed my mammoth Scottish blog series recently I have been deleting the temporary files stored on my tablet and in doing so I have also been rediscovering some images from the last year or so which are still floating around in temporary folders.

This one jumped out at me as soon as I opened the folder. It’s one of those happy accidents that we pray for with expired film. The film stock was Perutz Primera 200 a C41 process film that I exposed at ISO 100. The camera was the Leica IIIf with the lovely Elmar 50 lens. I home-developed the film with the Bellini C41 kit which has become my go-to for home processed colour film.

I hope you enjoy this as much as I do.

I Leica these

Way back in August 2023 I took a brief walk around the back streets close to the hospital in Halifax. With time to kill before a routine appointment I made use of the opportunity to make some images. Despite developing the film that afternoon I have never got round to sharing any so today I’m putting that right with four images I rather like.

I was quite surprised at the time to note how many images on the roll were in the vertical/portrait orientation. Looking at my notes I was also using the idiosyncratic KMZ FT2 that day and several of those images are vertoramas too.

All images: Leica iiif / Elmar 50 / Kodak 400
Home-developed in Bellini C41 chemicals

Storm warning

Yesterday whilst running errands I took a quick drive through Halifax and up to Mount Tabor to check out a couple of locations for some panoramic film photography. Despite being retired I still only get limited opportunities for “serious” photography so it’s good to have a few ideas tucked away ready to follow up when the right conditions coincide with some free time.

I didn’t make any photographs apart from the one above which I made with the ever-present Fuji X100T and used for my 366 project/challenge.