Over the years I’ve acquired a fairly random collection of cameras alongside the day-to-day “system”. One that only gets the occasional outing is the half-frame, 35mm Olympus Pen EE3. I loaded it with a roll of high-contrast Rollei Blackbird recently and it spent three weeks in my bag being used as and when I got the inspiration.
The Pen EE-3 is a compact, yet tough little half-frame camera from the 1970s and as with all half-frame cameras, you get two pictures on a single 35mm frame. The EE-3 has fully-automatic exposure with the EE standing for Electronic Eye. It measures the available light with the selenium cell meter which surrounds the lens and chooses between two shutter speeds: 1/125th and 1/30th of a second. The aperture is fixed via the ISO/ASA rating of the film which is set just below the lens.
My method of using this camera has evolved since I’ve had it. I started by making individual pics in the same way as I would use any other camera. However, I’d not had it long before I realised there was, for me, a better way. In-camera diptychs. Pairs of complementary images occupying a single 35mm frame.
More recently I’ve taken that further and have made three-, four-, five- and six-frame sequences. This takes the diptych concept further and the four-plus sequences fit the panoramic format very nicely.
For the last three weeks I’ve picked this little camera out of my bag on around half a dozen occasions slowly using the 72 frames at my disposal. Mostly pairs and triplets but also plenty of four-, five- and even six-frame sets. The biggest problem is cutting the negatives to fit into a conventional sleeve. My solution is to scan the full roll before cutting it and ensuring I have full runs of consecutive negatives captured.
I will write a few notes on scanning at another time although I will just say that I used a Pixl-Latr for the three- to six-frame sequences and an Essential Film Holder for the diptychs.
Three images from a recent visit to Scammonden Water, within sight and sound of the busy M62 motorway. I was on my way home from a local reservoir where I had been practising with the Intrepid 5×4. Like many of us I do practice setting the camera up whilst I’m at home, developing muscle memory as it were. However, being out in the field is a different experience, especially stood a few feet from a busy road hence the occasional trip out. I will (hopefully!) be going to the coast for a few days at the end of the month and will be taking the Intrepid for some long exposure photography.
Whilst my main purpose for the short trip was practising with the 5×4 I still had a couple of other cameras in the boot of the car, one of which was the Horizon S3. Having spent around six months making urban panoramic images with the Horizons it was a joy to point the camera at something that was living.
I have mentioned in the past that I have been making an image a day since October 2017 as part of a 365 Challenge. On Saturday I wandered down to make that day’s photograph with just the Fuji X100T in my pocket and a vague idea of photographing the virtually derelict garages behind the petrol station. In the end I saw a different composition and left the garages for another day.
When I made the image of the scene for my 365 (above) I had to compromise on the composition slightly in order to mask a couple of cars behind the bushes to the right. With that in mind, when I returned early Sunday morning I was hoping the cars would be gone so I could get the view I wanted with the church tower clearly visible.
I was lucky. Not only were the cars gone but conditions were similar, if not slightly better in terms of the light. I was pleased therefore to create the version I’d hoped for.
I was actually out that morning on a mission to make four pinhole photographs. so this was an adjunct to my main purpose. Of course, I couldn’t resist making a version of this image on 5×4 film.
Not unexpectedly there is a world of difference between the very clean, almost clinical, digital images and the extremely wide version created with the Zero Image. In hindsight I could have added the other two frames I had with me to narrow the field of view of the pinhole but I was hoping for a uniform look to the pinhole series. A possibility for another morning perhaps?
I shared my thoughts on this film as part of my semi-stand series. Unlike some online resources I’m not claiming that the single roll I’ve exposed makes me an expert on the film by the way. These were very much first impressions based on using semi-stand development. I have one other roll in the fridge which I will use at some point and I will probably develop that with another process to compare and contrast. First impressions are that this is a very contrasty film but with the right subject it will probably deliver some very nice results. Definitely not an everyday film.
A single image from yesterdays wander with the Horizon S3 and a roll of Orwo UN54. I talk about it a little in yesterdays blog post too. I bought a single roll of this film to see how it would work for me and my urban photography – I’d seen evidence of why a lot of my friends like the film from pictures they’ve shared on Twitter and the like but would it work for me?
Look at those textures! It’s also held up very well in challenging conditions as the fence on the right is in the sun and everything on the left in shade. I’ve burned-in the fence a touch as I would do in the darkroom.
Fair to say this film is on my shopping list and I’m very tempted to use semi-stand again when I do get some if these results are typical.
West Vale is a village in Calderdale, West Yorkshire, England. The village falls within the Greetland and Stainland parish of the Calderdale Council. West Vale is part of Greetland. The reason it is not called East Vale is because it used to be part of Elland District Council who historically ‘gave’ the area to Greetland.
This panoramic was taken from the edge of Elland which overlooks West Vale.
No, not an Alanis Morissette reference but rather a comment upon the irony of choosing to shoot film as an aesthetic choice and as an alternative to digital only to need to digitise the images to share them to a wider audience. Even creating a book of photographs to be printed requires digitising these days.
So, to compound the irony, here’s a small selection of recent Sprocket Rocket images that ram home the irony by including the sprocket holes of the 35mm film within the frame! All are scans of the negatives; I use an Epson V550 with Silverfast and NLP software..
It’s not often I shoot 35mm film these days despite a drawer full of film and twenty-plus 35mm cameras to chose from. However, on a whim, I picked up the Nikon FM2n over the weekend and noticed it had a part exposed roll of film in. It was also fitted with a 24-70 zoom lens I had been sent aa while back but not yet tested so I decided to finish the roll.
Nothing formal however, the live-in grandsons were playing in the back yard, in and out of their paddling pool, so I took a few snaps of them first. When they saw what I was doing they both wanted a go too, so that used a few more frames. Harry then decided to pose; composing a fast-moving, naked subject so as to preserve everyone’s modesty was a challenge. That the lens was manual focus with a sloppy focus ring just added to the fun!
Reaching the end of the roll I decided that, as everyone was outside and the kitchen therefore empty , this would be a good time to develop the film and see what I had. The first surprise was that I had loaded Rollei Retro 100 in the camera. Why that had been so I couldn’t decide and having now seen what the first few frames were I still don’t know why I had a 100 speed film in the camera. I’ve been using Perceptol a lot recently, mainly because I’ve been shooting mainly Ilford PanF+ and FP4+ in my Bronica ETRS but reached for the Rodinal, mainly because I wouldn’t have to make up a new batch of Perceptol rather than any aesthetic choice on this occasion.
After consulting my notes I settled on 13 minutes at 20 degrees C in Rodinal diluted 1+50. The result was, as expected, good negatives with a reasonable amount of contrast. I left them hanging to dry in the bathroom and later in the day cut and sleeved them ready for a proper look on the light pad the following day.
As soon as I placed the first strip on the light pad I knew that all was not well. I had a good range of tones and the negatives were not overly contrasty so I was confident that they would print well in the darkroom. They also scanned well it turned out. Even from inspecting the negatives however, I could see immediately that the lens was, to say the least, a little “soft”. Excluding the frames ruined by camera shake (due to the low shutter speeds the 100 film required) and the erratic mobility of my subjects, very few of the images were the crisp, sharply focused negatives I had expected. That was disappointing especially as there appeared to be some nice images at the first glance of the still-wet negatives the afternoon before. But not the fault of the film.
So, frustrations with the now-discarded lens aside, what did I make of the out of date Rollei Retro 100 (also known as Agfa APX 100)?
Despite the film being out of date, I made no compensation in respect of exposure, mainly because I didn’t know what film was in the camera and the ISO dial was set to what I realised afterwards was box speed. I liked the “look” of the images from the film, although defining “look” is a futile exercise as it will vary from person to person. The grain is very apparent in these negatives but I don’t mind that at all; as someone who used to regularly shoot Kodak Tri-X at 6400 ISO in the 1970s I’m used to a bit of grain! Purely digital shooters with no history of working with film will probably be horrified at all the “noise” however.
It‘s a thumbs up therefore from me. I shoot mainly 120 film and my emulsions of choice are Ilford PanF+ and HP5 but I would not be averse to putting a roll or two through the Bronicas if the subject was right.