A Case for 35mm Film

Introduction

This article is a written collection of thoughts explored in an attempt to think through some recent considerations. Every once in a while I get the itch to explore different film formats. The initial inspiration for this article was the recent consideration of diving in to large format film photography.

I’m approaching this from the standpoint of which film format works best for my type of shooting, and why. Not film vs. digital, which grew tired years ago. Both have merits, both are worthwhile. Exploring the choice of film format though, to me has merit. It’s an investment. Not just the film itself but the infrastructure/gear to shoot, process, scan and archive. There are advantages and disadvantages to each format depending on what/how I’m shooting.

I began thinking through buying, outfitting, then hauling around and using a large format system. I considered the benefits and weighed the cost. With that – this article isn’t a attempt to establish the “best” film for everyone to shoot, but the best film for me to shoot based on my own personal creative goals. My hope is this might help others who’ve considered different formats, and they’re able to glean any insights to draw their own conclusions.

SIZE

One foundational question when choosing a camera system is what type of photography you’re interested in. If you’re strictly a landscape photographer making very large prints, a 35mm film camera probably isn’t your best option. Answering the question of what you’re planning to do with the photographs is important before making the commitment to a system.

Besides prints, printed books are one of my favorite applications for photographs. The ideal resolution of a 35mm photograph is far more than adequate to print any reasonably sized book, even large, coffee table books.

When's the last time you popped some corn and fired up the slide projector?
When’s the last time you popped some corn and fired up the slide projector?

Of course, if you want to go totally old school, pop some corn and fire up the projector, you could have a good old-fashioned slide show (who remembers that distinct smell of the projector bulb as it heats up to throw your beautiful images across a dark room)?

Sheet Film & Large Format

Sheet film’s immense size has obvious advantages to image quality due to the amount of information contained. There’s nothing like it. Gorgeous, super high-resolution images you can zoom into various parts and form compositions within compositions allow printing gigantic prints people will ooh and ah at. It’s truly spectacular. Another advantage to sheet film is the processing. Because you’re not developing 12, 16 or 36 different exposures at a time – and just one – you’re able to customize development for that one, specific shot. This allows custom processing and tremendous creative control for each frame. The down side is, sheet film is expensive and a bit cumbersome to work with. A 20-sheet box of 4″ x 5″ Velvia 100 runs about $72. That’s about $3.60 per shutter release. A 20-sheet box of 8″ x 10″ Velvia runs about $255. That’s almost $13/shot. That’s some pretty serious dough if you’re going to shoot a lot. There’s also the idea that – because something is so expensive to shoot, and you’re only carrying so much film at a time – one may be reluctant to make an image they’re not sure whether it’s worthwhile or not. No one is right every time they decide to frame up and shoot – or pass it up because it’s just not happening.

A few years ago we were climbing Independence Pass returning from a fall colors trip. It was near the end of the trip and colors were in their prime. Light was gorgeous and leaves were twinkling in the breeze. We pulled over just as two large format shooters were breaking down their large, heavy cameras off their large, heavy tripods. They’d pulled over and seen the same forest – but when it came time to frame up – I heard one say it just wasn’t happening; it’s time to move on. My friend and I spent some time nosing around and I came away with this:

Fall colors, Sawatch Mountains, Independence Pass, Colorado.
Fall colors, Sawatch Mountains, Independence Pass, Colorado. Velvia 100 35mm.

This image was made with the superb Micro Nikkor 105VR to reach into the inner depths of what I found interesting in the forest, and compress the layers of trees into an expressionistic style montage. It was also shot with a shallow depth of field because I wanted to accentuate the abstract, expressionistic feel to the foreground leaves. The bokeh on the 105VR is super smooth and optics with ED glass are super sharp. It was the perfect lens for the composition I saw. The image is crisp enough to be enlarged quite large without quality loss.

If I were a large format shooter with only so many sheets of film at the end of a week-long trip and limited focal length lens, would I have been willing to make this shot? Hard to say – but those two guys walked away from the same scene without an image. I was glad to have had enough of the right film and a lens with the right reach to frame up what I saw in that forest, which turned out to be one of the best images from the trip.

Packing Photographic Gear for Haiti 2010 Post Earthquake Relief Trip from CRANEDIGITAL on Vimeo.

Large format is also a bit cumbersome to haul around quantities for extended trips. I know people do it and get some great images – but as much as I admire and respect the image quality of the good shots resulting from such an investment of time, money and energy – I guess it’s just not something I’m willing to do.

120 Roll Film and Medium Format

Mamiya RZ67 System
The Mamiya RZ67 System: capable of tremendous image quality – if you can get it out into the field.

Medium format roll film is a higher-volume alternative to sheet film, coming primarily in two flavors: 120/220. 220 provides the same physical frame size as 120 but provides twice as many shots because the roll is twice as long. But it’s tough to find these days – and doesn’t alleviate what I view as the more significant problem of shooting medium format: the larger size of the cameras.

The Mamiya RZ67 Pro II at work in North Park, Colorado. If you can get the RZ into the field it can produce tremendous images.
The Mamiya RZ67 Pro II at work in North Park, Colorado. If you can get the RZ into the field it’s capable of tremendous images.

The technical attributes of a medium format system are impressive. Initially I thought of it as the “goldie locks” format: not too big and cumbersome, higher number of shots per load, more detail in the negative… was it just right? It was clinically perfect; large negatives providing way more detail and information than the resulting print required. Beautiful, yes. But was it getting the proverbial drink of water from a fire hose?

The Mamiya RZ with medium format film is an amazing photographic tool.
The Mamiya RZ with medium format film is an amazing photographic tool, especially with a high-grade film like this Portra 160VC.

I enjoyed my Mamiya RZ67 system- until it came time to use it the field. At that point it became a boxy, cumbersome beast. And even with a good assortment of high-quality lenses the RZ never was quite as wide – or close – as I wanted.

Then when I’d go out to shoot there was the internal struggle with what system to bring. After all – because of its flexibility, bringing the smaller format kit was a given. Its smaller form factor and a mind-numbing array of lenses and accessories provided a clear advantage. Bringing the medium format system too, meant doubling the amount of gear I had to fumble through when it came time to shoot. I’ve lost count of how many times I’ve fumbled through bags of  gear searching for a doodad in the dark. Just too much stuff, I’d mutter under my breath as a headlamp flickered on low batteries and fingers hoped to land on the one item so I could get back to work.

The Spear Head, Rocky Mountain National Park, Colorado
The Spear Head, Rocky Mountain National Park, Colorado

In 2009 I took a backpacking trip into Rocky Mountain National Park to photograph the Spear Head, a gorgeous, granite blade jutting out of Glacier Basin. I was a little younger and stronger then and figured what the heck, I’d just bring it all. I intentionally didn’t weigh my pack until after the trip. It weighed nearly 100 pounds. I’ll never do that again – I was miserable. I got some decent photos but really struggled beneath the weight.

Dynamic, Fluid Compositions

For me artistically – somehow the content of the medium format frame usually lacked something; a spontaneity, a whimsy, surprise. Larger format systems often lack the ability shoot off the hand; to respond to fleeting or decisive moments worth photographing as they appear.

Street Photography in Memphis, Tennesse
Street Flipper, Beale Street, Memphis, Tennessee (2014). Nikon F6 and Portra 400.

To fully realize the benefits of the larger film size, shooting from a tripod is often required. This usually (but not always) means slow to set up and often resulting in a somewhat rigid, undynamic angle resulting from reluctance to mess with a perfectly level horizon, for example. The net result is a well-structured but often stiff, stagnent image. Still, I kept trying to talk myself into believing the larger, ‘higher quality’ image was worth the trade off. In the end, with reservations, I sold the RZ system. I’ve missed it occasionally but believe I made the right decision.

So then, lets take stock so far: 1) It seems one of the things I value is portability, and the ability to remain flexible to my environment – and have a camera in-hand when it yields an image. 2) I also value consolidating systems and gear as much as possible to avoid hauling around too much incompatible “stuff.” 3)Having the flexibility to shoot a larger number of images per load has also proven valuable. 4) While I do use a tripod, I also value the fluid, dynamic composition shooting off the hand allows. 5) And the ability to fine-tune composition through focal length (which by the way is one of the reasons I prefer SLR cameras instead of rangefinders) is a real plus.

Nikon F6 35mm film camera packed and ready to travel in the Lowe Pro Photo Trekker AW.
Nikon F6 35mm film camera packed and ready to travel in the Lowe Pro Photo Trekker AW.

35mm Cameras, systems and Great Design

The early Canon AE-1/AT-1 system was my first experience with 35mm SLR film cameras many years ago. To this day I admire the 35mm SLR design and form factor.
The early Canon AE-1/AT-1 system was my first experience with 35mm SLR film cameras many years ago. To this day I admire the 35mm SLR design and form factor.

OK, if portability is so important why not a point and shoot camera? This introduces the idea of aesthetics and style to the equation; the tactile component; what brings beauty, elegance and joy to the process. Photography isn’t bereft of beauty; not simply an analytical equation or assortment of facts and figures. It’s art.

To shun the aesthetic component of photography is to strip the very essence of its role as art. This aesthetic component extends to the tools used in the process… it doesn’t mean you can’t make a good photo with an ugly camera – but why would you want to?

Stripping photography of aesthetic value and trying to turn it into pure pragmatism is like eating bread and water all the days of life because it’s convenient. Give me a solid, well-designed, well-built, rugged tool over a fragile, plastic box any time. Yes – the point and shoot will fit in my pocket and be very portable. But the aesthetic and flexibility hits are just too great.

The design of cameras; their usability, tactile layout, human engineering, curb appeal and just joy-in-hand is a real thing. It’s why some cameras resonate with some but not others; why people collect – but don’t use – cameras. The engineering, thought, devotion to manufacturing excellence and even quirkiness/funkiness – is all a real thing. Art, beauty and great design are most excellent qualities in life.

A few cameras out for a little TLC. Though there are favorites reached for time after time, they're all wonderful tools. At the end of the day it doesn't really matter what camera you use. It's about the whole experience of lining something up in the viewfinder and - if even just for a moment - identifying it as worthy of your attention.
A few cameras out for a little TLC. Though there are favorites reached for time after time, they’re all wonderful tools. At the end of the day it doesn’t really matter what camera you use. It’s about the whole experience of lining something up in the viewfinder and – if even just for a moment – identifying it as worthy of attention.

O.K. you say… beauty is in the eye of the beholder. Where’s the beef? What about the practical, the functional side of shooting a 35mm film camera?

Weather sealing on the Nikon F6 is as good as it gets. This image is from one of Nikon's advertising pamphlets describing how the camera was immersed in intense dust for prolonged periods with no ill-affects.
Weather sealing on the Nikon F6 is as good as it gets. This image is from one of Nikon’s advertising brochures describing how the camera was immersed in intense dust for prolonged periods with no ill-affects.

How about weather sealing? Fatigue-minimizing ergonomics? Drop-resistance? A mind-boggling assortment of lens? Modern benefits like super sensitive electromagnetic shutters made of space-age materials? How about low operational noise? Rapid frame rates? Underwater housings? Interval exposures? Remote triggering for positioning in difficult or dangerous places or to capture wildlife.? And of course the aforementioned accessories? Interchangeable backs and viewfinders, for example. The list goes on and on because the 35mm system has been so popular for so long, and so many have wanted to do so much with it.

Rapid frames rates like the F5's amazing 8fps let you burn through a roll of film before you think to lift your finger off the shutter release.
Skipping Lake Tahoe. Rapid frames rates like the F5’s amazing 8fps let you burn through a roll of film before you think to lift your finger off the shutter release.

When initially exploring a system the first temptation may be to think “oh, I don’t need anything fancy…” But as your passion for the art of photography grows and you want to experiment, wouldn’t it be nice to not have to start all over again with a new system? The benefits of a contemporary 35mm film camera combined with today’s film is an awesome total photographic experience.

OK, so along with the points raised before, some sense of style, design and aesthetic appreciation is important to me. Got it.

So let’s look at the attributes of 35mm film itself and see if they line up with creative goals:

35mm roll film attributes

35mm is convenient. Not as convenient as digital, but more convenient than large or medium format. As roll film (not sheet film) with 36 frames available on a roll, you can load it and shoot a good many pictures before it runs out. When it does, because it’s so tuckable; stowable, it’s easy to have another roll or 3 in your pocket, ready. So being able to take a few rolls on a hike, for example, is pretty nice. It doesn’t mean you need to shoot it all – but if you need it, it’s there.

35mm still relatively inexpensive and available. Even if your local drug store no longer stocks/develops film, it’s easily obtained in quantities at a moderate cost. So if you pick up a brick or two, store it in the ‘fridge and use it over a span of time – it’s a great value.

Fall colors in Gunnison National Forest, Kebler Pass, Colorado. Velvia 100 and the Nikon 28-70 ED zoom, tripod-mounted and cable release.
Fall colors in Gunnison National Forest, Kebler Pass, Colorado. Velvia 100 and the Nikon 28-70 ED zoom, tripod-mounted and cable release, mirror-up.

35mm has a 3:2 aspect ratio that’s pleasing to some and not others. Some call the 6:7 aspect “perfect” (i’m guessing it’s the ones who developed the camera who decided it was perfect)… because you don’t have to crop for 8″ x 10.” Others say 6:45, which is pretty close to 3:2. Still others site the advantages to the square format because you don’t have to turn the camera on its side to shoot portrait. Whatever… I don’t know if it’s an old habits die hard thing or what, but I find the shape of the 3:2 frame agreeable to virtually any composition; either horizontal or vertical. Some things frame up better side to side, others top to bottom. And turning the camera on its side to shoot vertically being labeled “too difficult or inconvenient” reminds me a Seinfeld episode where Elaine complains about having to shake the juice before opening it. It’s not complicated.

The L-bracket makes mounting the camera on a tripod horizontally or vertically quick and easy.
The L-bracket makes mounting the camera on a tripod horizontally or vertically quick and easy. the L-bracket also provides additional attachment points for accessories.

I’m a believer in the L-bracket because with certain cameras I do shoot on the tripod regularly. The L-bracket provides fast, sure, solid mounting in either horizontal or vertical position. But the real power of the 35mm form factor is being able to easily hand-hold the camera.

The future of film

There are still plenty of different emulsions available from which to choose. It’s true – chrome (slide) films have taken a hit in past years. But other films are emerging in their place, and they’re really, really good. Still – Velvia 50 on a tripod with a good lens is capable of amazing image quality. Today’s 35mm film is relevant because it’s better than anything produced in the past. Kodak’s Portra line, for example, has been completely retooled, and it’s awesome. Portra 400 is not the same 400 speed film as yesteryear.

When I visit one of the few remaining camera stores in my area I ask how film sales are going. Every time I’m told the same thing: we can’t keep it on the shelves. People are still buying lots and lots of film whenever they find it available. Add mail order from local suppliers like Denver Pro Photo here in Colorado, or national mail order retailers like B&H out of New York- and continued availability seems assured.

I think it’s safe to assume the heyday of large-scale film production like we saw in the past is behind us. But there are new players emerging, and businesses seem to be consolidating, positioning themselves for future success. I for one am very encouraged. To form some idea of how many people are still devoted to film photography take a look at instagram and search something like #filmisnotdead, or #filmfeed, #analog, #filmphotography, #analogvibes or countless other film-centric hashtags. Film is very alive and very well.

Fourth of July Parade, Allenspark, Colorado (2014)
Fourth of July Parade, Allenspark, Colorado (2014). Sometimes it doesn’t make a bit of difference what camera a photo is made with, and the old adage, “f8 and be there” is all you need.

35mm film is easy to work with. Because it had such a wide commercial appeal, having it processed is easy. Processing it yourself is even easier, as I’ve recently been reminded. The tanks to hold it are smaller, the reels are smaller, the chemicals are less. Everything about 35mm is smaller and easier to work with. Yet, done right – the image quality is amazingly high.

HOH Rainforest Tryptich no.1
HOH Rainforest Tryptich no.1

image quality

What about image quality? Let’s get this out of the way: this is where you get into the limitations of 35mm film for certain applications. It will never produce a 30″ or 40″ or large print as cleanly as that big, beautiful 4″ x 5″ piece of film – or today’s super high-resolution digital cameras. So if that’s the goal, 35mm is the wrong tool. But… how many times have I actually wanted to print a photograph that large? Not many. The rest of the time, something in the neighborhood of 18″ x 12″ with a nice, 2″ matte all around is more than large enough. And if it’s a good shot I want to go larger with – if technique is perfect and equipment is first class – I can.

Aspen leaf, Gunnison National Forest, Colorado. Velvia 100, Micro Nikkor 105VR with CLS-triggered flash.
Aspen leaf, Gunnison National Forest, Colorado. Velvia 100, Micro Nikkor 105VR with CLS-triggered flash.

The 35mm look

When people think of 35mm film often time they think of grainy, black and white (or color) photojournalism photos made over the years. There is a reason those images look like they do. Often times photojournalism films were in the ISO400 speed category and therefore had a courser grain. The reason was pretty obvious: as a photojournalist you need to be ready for anything, in any light. And a 400 speed film was a good way to stack the deck in your favor. The point of the photograph wasn’t how sharp or perfect it was – the point was the content of the image itself. So a “great photograph” might be great not because it’s super sharp and has no visible grain, but because it’s a compelling image.

35mm has a “look” to it. What is that look? Difficult to decisively say. Here’s a brief discussion by Ted Forbes and the “Art of Photography” that touches briefly on the topic. It has to do with the relationship of the size of the image to the grain structure. If you were to make an image on 120 film, then again on 35mm film – and print them the same size – they’d look slightly different to the photographer’s eye. Not radically different, but slightly different.

Today’s 35mm film is capable of many other things beside grainy photojournalism photos. A fine grain 35mm film like Velvia (color slide film), Kodak Ektar 100 (color negative film) or Ilford PanF50 (black and white print film) has virtually no visible grain and possesses tremendous enlargement capability. So many different “looks” can be created with different 35mm films, developers and scanning or darkroom techniuqe. See the “look” heading down further for more on this topic.

To the casual viewer who couldn’t care less what type of camera was used to make the picture – they see the contents of the frame, not the technical attributes of the photograph. The photographer is the only one who cares what camera was used.

It’s the same sort of thing that makes a digitally captured photograph look different than a film-recorded photograph. Most people would see the contents of the frame, not the presence or lack of subtle tone falloff, clipped highlights or grain/no grain. With today’s digital post-processing techniques, one could choose to process that “look” right out of a 35mm made image if so chosen.

Lowe Pro Commercial AW loaded and ready to roll. Having everything in one bag that can just be grabbed when it's time to go ensures you'll have what you need when the time comes.
Lowe Pro Commercial AW loaded and ready to roll. Having everything in one bag that can just be grabbed when it’s time to go ensures you’ll have what you need when the time comes.(Mamiya 645 on Ilford HP5+)

One System

When I parted with my RZ system – as painful as it was – I consoled myself with this: when I go out to shoot, everything uses essentially the same F-mount, Nikon system. I can use virtually any lens on any camera, film or digital, and everything just works. There are of course caveats in the details. But largely it’s true, and it’s reliable. And I like that because it reintroduces simplicity to shooting and allows me to enjoy the process of creating again. UPDATE/FULL DISCLOSURE: After this article was written I decided for those normal to wide shots where a little more resolution would help, adding back the ability to shoot medium format was a good idea, and picked up a Mamiya M645 1000S. It’s considerably smaller and more compact than the RZ system and with one lens, fits perfectly into the bag above. The M645 uses the same, screw-in cable release as my older Nikons, the same Kirk ball-head mounting plate I’m already carrying, and has a easy Mirror-Up mechanism. A 58-77 step up ring allows use of the same filters and lens accessories I’m shooting with the Nikon lenses. So now technically I’m back up to two systems, but now the MF rig is tiny and self-contained. 

Easy Film Processing

As mentioned in a previous post, recently I’ve begun developing my own black and white films again, after a 30 year hiatus. To say I’ve enjoyed the process again is an understatement. I should have done it years ago. But I had a great local lab available and didn’t need to.

Shrine to FORD, Ward, Colorado. Shot on Ilford Delta 100 Professional with a Nikon F2, then processed in Ilford DDX at home.
Shrine to FORD, Ward, Colorado. Shot on Ilford Delta 100 Professional with Nikon F2S, then processed in Ilford DDX at home.

Processing your own black and white film is extremely easy. There’s a small, initial investment required for tanks, reels and a few odds and ends, but after that your cost per roll drops to virtually nothing. Contrast that with $10-$12 from commercial black and white processing and the cost savings is significant.

Medicine Bow, Wyoming (2016). Made with a all-mechanical, 47 year old Nikon F with no metering on ILFORD FP4+ black and white film, self-developed in ILFORD DDX developer.
Medicine Bow, Wyoming (2016). Made with a all-mechanical, 47 year old Nikon F with no metering on ILFORD FP4+ black and white film, self-developed in ILFORD DDX developer.

As wonderful as cost is – it’s perhaps the least compelling reason to process your own film. You also have the ability to try different developers to produce different looks. Then there’s the convenience of shooting and processing your film on the same day. Add to that the feeling of actually creating something with your hands again and the case for developing film at home is solid. Don’t wait like I did. Jump in with both feet and enjoy it.

A Buyer’s Market – Finally

A few Nikons from the collection
A few Nikons from the collection

The overabundance of high-quality tools with which to work in 35mm is one of those pinch me moments we don’t get enough in life. Really, really good cameras and lenses are ridiculously inexpensive on the used market thanks to people simply retiring their tried and true friends after experiencing the convenience of a first digital camera.

A few Nikons from the collection
Nikon F with eye-level finder on left, Nikon F2AS on right.

A few years back I picked up a Nikon N8008s for $26. It retailed new for about $500-$600 in the late 80’s, which in today’s money is around $1,100. I often wonder how many wished in hind site, a year or two later, they’d held onto their trusty 35mm friend rather than selling it for pennies. I’ll bet lots. It’s a shame, really. Things don’t suddenly become useless because something new comes along. This is an on-going problem in our culture; not just for cameras but other consumables too. After spending so many thousands of dollars on digital gear from 2006 to 2010 I’m pretty happy to get a great-working camera for $26. Be warned though: the used market has caught on and prices are rising.

35mm film
Can a compelling reason be made to shoot 35mm film? I believe it can. And even if you simply just want to – that’s O.K. too.

Of course, being the best of the best, the F6 is still considerably more expensive than $26. And the F6 is the focus of this web site. After all, the F6 could be one of the greatest reasons to continue shooting 35mm film. Or – perhaps shooting 35mm film is one of the greatest reasons to have and use the F6?

I’ll leave that for you decide.

Cheers.

Pure Film

A few weeks ago I did something I’ve been meaning to do for years: began developing my own black and white film again. After a 30+ year hiatus, the time had finally come.

Developer, Stop and Fixer in amber flasks, ready for action.
Developer, Stop and Fixer in amber flasks, ready for action.

Up until last year I’d been fortunate enough to have one of the best pro film labs in the country only minutes away. I’d always told myself when they shut down, I’d begin. Due to a variety of unfortunate circumstances that time came last year, but I held on, continuing to search for a suitable alternative for the next several months. A few weeks ago I finally said Uncle and put in an order to B&H.

IMG_1770

I suppose there are reasons that seem suitable at the time why we do things like wait… and it’s easy to second guess decisions in hind-site. But I’ll say this: I wish I’d done this a long time ago. Today’s film processing is essentially the same as 30 years ago, with a few key differences. Patterson tanks and reels are one of those differences. The last time I tried to wind a roll of film onto the old, stainless spiral reel it was a catastrophe. The Patterson reels are easy as can be. Another reason is the lack of dark room. A nice, big changing bag took care of that. The chemicals and process are all pretty much the same – and now it’s actually fun – especially when compared to the alternative -sending it out, waiting for at least a week. And there’s the cost. Dramatically less developing yourself, even after gearing up with fresh, new supplies.

Preston Miller, Bindle Coffee, Fort Collins, CO
Ilford Delta 100 developed in Ilford DDX.

Then there’s the creative control you have over your films. For whatever reason the ILFORD Delta family of emulsions has always resonated with me. I shoot other films too – but gravitate back to the ILFORD films when the fridge is empty and it’s time to reorder. It’s simply not a feasible request; asking a commercial lab to custom develop your film with different developers than they’ve standardized on. With that, I’ve always wondered just what qualities in the film I’m missing out on by not experimenting with different developers and simply accepting the lab’s standard. Now I know, and will never go back.

Moraine Park, RMNP (Red Filter)
Moraine Park, RMNP (ILFORD Delta, Red R60 Filter)

Recently I’ve been considering something else I haven’t completely thought through, but will give it a go here. There seems to be many who become interested in photography – using the digital camera as a gateway. This can be a great thing. The digital camera’s immediate feedback provides invaluable tools for learning about light, composition, exposure, etc. About 10 years ago I was amongst this group. I’d been involved in photography for many (many) years prior, and to be honest, had just grown a little bored with it. There were times I’d go on a trip, shoot lots of film, then simply leave it undeveloped in my file cabinet – sometimes for years. Along came the digital camera and immediately I was enthralled. The curtain was pulled back on the seemingly long, mysterious process of going from the snap of the shutter to viewing the final image. There it was on the camera back; no more mystery. No more anticipation. What seems to happen with people who become newly interested in photography through digital cameras is – they grow bored with it. It turns out for me that mystery and anticipation was actually one of the benefits of the process, not a detractor -as I think it might be for those who get a digital camera and have a “perfect” image handed to them milliseconds after its exposure. Once the novelty wears off it becomes less interesting. This isn’t always the case, but I have seen this pattern repeat itself.

The beginnings of rebuilding a humble darkroom.
The beginnings of rebuilding a humble darkroom.

My stint with digital lasted about 3 years before migrating back to film. Now I enjoy both digital and film, but admittedly leave my digital camera home unless there’s a specific reason to bring it. Now, developing film again has deepened my commitment to film and made me even more focused. It’s such a treat to shoot and develop a roll yourself within the span of days rather than weeks or months. The quite satisfying feeling of actually making something with your hands returns.

I’ll encourage anyone who’s ever thought about developing film passingly but deemed it too complicated or expensive – to think again. It has been said to me and I agree; if you can bake a cake you can process your own film. Give it a try.

Heavy Metal: The Nikon F2

Nikon F2 shown wit: Nikon 35mm/1:2.8, DP-1 metered prism, MD-2 motor drive, MB-1 battery pack and DG-2 magnifier
Nikon F2 shown with: Nikon 35mm/1:2.8, DP-1 metered prism, MD-2 motor drive, MB-1 battery pack and DG-2 magnifier
Central Camera, Chicago, Illinois (2015)
Central Camera, since 1899, Chicago, Illinois (2015)

The valid question is – what does this have to do with the F6. The answer is, nothing at all. But trust me, it’s a worthy diversion.

Intro

If you’re interested in the F6, you should also take a serious look at the F2 line up. As with other “last iterations” the F2 is considered by many the finest SLR Nikon – or anyone else for that matter – has ever built. It’s also been labeled the “most beautiful” camera ever built by some. What I mean by “last iteration” is this: in manufacturing terms the final version of something before a large-scale change is often times the best, most refined, successful version of that something. It leverages all the knowledge and experience the manufacturer has learned up until that point and rolls it into one, final masterpiece. In the case of the F2, it represents the last of the hand-assembled, all-mechanical 35mm film cameras. The F2 isn’t simply a refinement of the famous F preceding it – it’s a complete re-design leveraging everything they learned making the F and rolling it into this lady-killer hunk of a camera. After the F2 came the F3 which was assembled using more automation and employed electronics for basic operation. 40+ years after the roll out of the F2 it’s still considered by many the finest camera ever made.

My companions, a familiar site while out wandering...
My companions, now a familiar site while out wandering…

This year I’ve been working on something I’ve had in mind for a while: acquiring one of each of the single digit Nikon F professional SLR cameras. This summer while in Chicago I had the opportunity to visit Central Camera and from the shelf a beautiful, old (and I swear lonely) F with the FTn Photomic prism called to me in a way I just couldn’t ignore. Soon after we left the store for our first stroll together through the city to get acquainted.

Prior to this July my knowledge of the older Nikon systems was a little sketchy. OK, it was inept. I knew they were legends – but most of my serious time behind the now vintage Nikons began around the F4 days and I hadn’t paid much attention to the older F’s. This year that has all changed.

Central Camera, Chicago, Illinois (2015)
Can you imagine what was on these shelves in 1899 in Chicago’s Central Camera?

If the “F” leg of my journey began by happenstance, the F2 leg began as an act of benevolence from my good friend Mark. He’d been using his F2 for a while and decided to pick up a newer, nicer one. Soon afterwards I received an e-mail saying he was sending me his original F2 Photomic. I was humbled by his generosity and honestly, not sure what to expect. I knew it followed the F and, for some (unknown) reason, I thought of it as “second best” to the F – like some sort of little brother that wasn’t as talented or good looking. Perhaps it had something to do with the fanfare the original F enjoyed because it was “the first.” Perhaps it was because the F2 lacked a prominent F2 on the front of the camera, as all following F’s sported. Perhaps because at first I errantly thought that F2 was simply a reboot of the original F. Who knows… no matter the reason, I was dead wrong.

Nikon F2 shown wit: Nikon 35mm/1:2.8, DP-1 metered prism, MD-2 motor drive, MB-1 battery pack and DG-2 magnifier
Nikon F2 shown with: Nikon 35mm/1:2.8, DP-1 metered prism, MD-2 motor drive, MB-1 battery pack and DG-2 magnifier

Design Philosophy of the F2:

Nikon F2 Schematic
Nikon F2 Schematic shows how elaborate the internal workings of the F2 are (origin unknown)

In anticipation I began scouring the web for as much information on the camera as I could find. As a new comer to the F2 there’s nothing I can add to the conversation that hasn’t already been said. What follows instead is this compilation of what I think are some of the marvelous and noteworthy discussions surrounding this camera.

I’ve considered writing a head-to-head review of the F2 and the F6, but don’t really see a point to it: though they share the same DNA, one evolving from the other, they’re two, radically different cameras – each with their own pedigree and position in history – not just the history of Nikon, but in the development of the art of photography. The temptation is to ascribe one as better than the other and that’s something I refuse to do out of respect for both.

The F2 was the last all-mechanical hand -assembled camera (think about that… over 1,500 individual parts assembled into one, highly-efficient, precision instrument), Nikon F-series camera. The shutter was hand assembled by mostly women in the Oi works because of their smaller hands and more delicate touch. The F2 has electronics only in the form of a battery compartment at camera bottom to run the DP-X metered finders.

The Nikon F's FTn head (shown on left) is larger and distinctly different than the F2's smaller DP-2 head shown on right.
The Nikon F’s FTn head (shown on left) is larger and more angular than the F2’s smaller DP-1 head shown on right.

This approach allowed designers to reduce the size and mass of the metered heads because they no longer had to accommodate a battery compartment as in the F. It was also assumed the present (early 1970’s) state of electronics development in the metered finders should be manufactured separately from the all-mechanical body allowing later swapping of rapidly advancing electronics with rock-solid mechanical engineering beneath. In short, the mechanics were expected to out-last the electronics – which of course proved to be true. Replaceable prisms remained a design cornerstone of Nikon professional cameras for many years to follow coming to an end with the F5. As we already know, the F6 no longer makes use of this design feature. The entire F2 (sans motorized grip) functions with no power what so ever. That itself is impressive. But even more so, the F2 is constructed with over 1,500 pieces clicking, twirling, humming, springing and dancing away inside that heavy-duty chassis every time you click the shutter. Simply amazing.

Nikon F2 Blueprint
Nikon F2 Blueprin (origin unknown)

Though at first glance it might be hard to tell the F from the F2, especially when they have eye-level (non-metered, triangular) finders, when design to the successor of the famous F began in September, 1965 the decision was made to start from scratch. This was further reflected by Nippon Kogaku’s changing from their traditional letter and number development code, to simply “A.” Eventually in the design cycle it was recoded “30FB.” The F2 design team was all in-house and had four main goals: a) Design a camera of the highest quality, b) quick and easy operation, c) a systemic approach allowing expansion, and d) continuing down the path to automation.

F2 styling employed a slightly rounder feel softening the hard edges of the original F ever so slightly. There’s also a good bit of accessory cross over between the two cameras. The non-metered (classic triangular) prisms are interchangeable between cameras, as are 20 different focusing screens. Other accessories like the AR-1 soft-shutter release and AR-2 cable release are also compatible between the two cameras. Despite first glances and shared accessories there are many changes and design refinements between the F and F2.

The F2 has a a distinctive, “mechanical” look to it – different than the following F3, F4, F5 and F6. It wasn’t until the F3 that Nikon brought in the Italian designer Giorgetto Giugiaro, changing the face of the following F-line forever. Though I admire the sleek design of the later F’s, there’s something wonderfully solid about the glorious apparatus surrounding the F2. From MD motor drives to MB battery packs, 250 and 750 – frame replaceable backs, early auto exposure contraptions, as well as a cornucopia of other accessories covering virtually every photographic scenario one could imagine – everything bolts to the F2 with that famous, Nikon assurance that you’re holding something in your hand that’s probably going to outlive you.

The F and F2 seem more similar than different-especially with their metering heads removed. Some components are interchangeable, like the focus screens.
The legendary F and F2 seem more similar than different-especially with their metering heads removed. Above, the F is shown in front, the F2 shown in rear. Some components are interchangeable, like the focus screens and of course the lenses.

One of the great benefits of an all-mechanical camera is the environments capable of functioning in that electronics either wouldn’t survive (like the arctic) or where highly flammable conditions exist. A great story surrounding the F2 centers around Japanese adventurer Naomi Uemura who came to Nikon with the simple request in June of 1977, “make me a camera that can survive the North Pole!” That camera was a modified F2, a camera capable of functioning at temperatures exceeding -50°C (-58°F). Nikon built Uemura 3 F2’s with which he shot 180 rolls of film over a 6 month period trekking across The North Pole and Greenland. You can read more about this remarkable adventurer and the details of how Nikon worked closely with Uemura to develop a camera specifically for his needs here.

Nikon F2 shown with DP-1 metered prism, MD-2 motor drive, MB-1 battery pack
Nikon F2 shown with DP-1 metered prism, MD-2 motor drive, MB-1 battery pack

The more I read, the more I realized what an incredible engineering feat the F2 was – and still is. Manufactured from about 1971 to  1980, it represented the most robust “system” camera Nikon had ever build. It spanned many (6 primary) model variations ranging from original F2 with the unmetered DE-1 prism to the pinnacle F2AS, as well as exotic derivatives. Limited production runs such as the F2 Uemura (3 were made), the F2 DATA, of which reportedly only 1,000 were made, the F2T for Titanium, and the F2H, for High Speed – which had a special mirror designed for super high-speed shooting. Any F2 viewfinder will fit any F2 body.

At 40+ years old now in many respects the F2 represents the pinnacle of mechanical engineering – prior to moving to the advances of the electronic era. The lore that surrounds this camera is almost a fairy tale; a synopsis of world history from the early ’70s through 1980.

Rumor has it that the original F adaptors were initially slow to move to the F2. The same thing happened when the F3 was launched – with many photographers opting to pay more for the older, mechanical F2 instead of trusting ‘them new fangled’ electronics. Regardless of the initial reluctance, the camera did famously well and reportedly over 800,000 units were produced from the fall of 1971 to the cease of production in 1980.

Reflecting the shift in photography of the day, the F2 was superior in forma and function and served as the final coup de grace to the German rangefinders. I suppose that’s more an op/ed statement though, anticipating an outcry from the German camera crowd. Let’s just say in the context of the working press of the day it’s subjectively true.

For anyone interested a deeper history of this camera I encourage you to check out the references at the bottom of the page.

First Impressions:

The camera arrived and as so many others can attest to upon experiencing it in hand for the first time, my jaw hit the table. To borrow a phrase from Tomohisa Ikeno describing the Nikon F6, the F2 is indeed also “a camera of great substance.” Any previous thoughts otherwise instantly vanished. The F2 is deceptively heavy for its rather smallish size compared to today’s cameras. As the camera appears in the photo atop this page, he weighs in at an impressive 4lbs 7oz. So, not exactly a featherweight. This is not a negative – I like the solid feel and welcome the balance the camera produces in hand. It’s a beautifully simple camera to operate, on par with the original F, though with a few more “shootability” traits. Maximum shutter speed was increased from 1/1,000 in the F to 1/2,000 in the F2 allowing one to work with larger apertures in brighter light. This is an even more amazing feet when you consider it’s all mechanical, horizontally traveling titanium foil shutter.

The Nikon F's FTn head (shown on left) is larger and distinctly different than the F2's smaller DP-2 head shown on right.
The differences between the F and F2 on top at first glance appear subtle. In use, they’re more noticeable. The F2 (left) is shown tucked safely in the CH-1 hard case bottom, while the F is wrapped in its appropriate ever ready case bottom.

The shutter release button was moved forward on the top plate making it a bit easier for a naturally placed finger. Functionality of the shutter release collar was expanded to allow T (time) shooting (using the self-timer lever on the front of the camera), a normal shooting position, and a L (lock) position to prevent accidentally tripping the shutter.

The film advance lever was now tipped in plastic, providing a greater sense of human engineering compared to the bare metal lever of the F. It was also given the additional duty of turning the camera’s meter on and off by rotating it out which reveal a red dot on the top plate. The film advance lever had a short throw (only 120° of rotation) allowing quick film advance.

Nikon F2 Cutaway
Nikon F2 Cutaway

The frame counter was removed from the film advance lever to the top plate. Perhaps most notably however was the back door of the camera was now hinged allowing one to change film more easily, rather than having to remove the back completely as with the F. Other refinements also went into the F2. For all the F2 detail anyone could ever digest I invite you to visit the MIR F2 Index page. You’ll get lost for hours in this incredibly comprehensive resource about the camera.

The Hunt is On

The month or so since first unboxing the F2 has been a bit of a whirl wind. The copy generously sent to me was usable, but had seen better days. I decided I’d try to obtain a nicer copy. There are a few things about the F2 I’ve learned in my recent acquisition phase from auction. One is, moderate to decent F2’s aren’t terribly expensive. I’ve seen them range from about $100 to $200 for average to good condition cameras. Even less if you pick up a F2 body with no finder. This is great news. The not-so-great news is, if you’re going to shoot it, you’d better be prepared to put a little money into having it refurbished. These are old, mechanical cameras – some of which were used hard. I recently picked up a body for the princely sum of $65 listed as “working fine” and in “top condition.” It looked presentable from the exterior, but it surely wasn’t in top condition. One of the achilles heal in older F2’s is the plastic battery compartment shattering. When it does, not only does no power reach the metered prism, but even worse, little pieces of plastic jam the film transport mechanism. The fix requires surgery: a costly strip down to the chassis to epoxy or otherwise repair the battery compartment. While they’re at it, a good CLA makes sense. So my $65 bargain ended up costing a couple hundred by the time it was repaired. Lesson learned.

Secondly, Nikon’s early assessment that the finders would peter out before that stout mechanical body proved true. Finding a good, working DP-anything isn’t as easy as you’d think. Again, these are 40 years old and early electrical technology. Many finders are “jumpy” or inconsistent or not working at all. There are a few places that will fix them – but it’s not cheap. Nor are the unmetered, original DE-1 finders in good condition. So again, to have a good F2 shooter you’re going to spend a little money. However – when the total cost of obtaining and repairing a solid F2 are compared to what the same expense would purchase in today’s consumer electronics, there’s no comparison: you’ll get a lifetime camera in the F2 vs. something that’ll sell at a garage sale in a couple years for $50 (I’m talking about the digital, by the way).

You might get lucky like I did and find a decent DP-1 metered prism for a reasonable price. Thus, my humpty dumpty F2 was assembled in such a way and looks and functions great – with a little TLC by a factory trained Nikon technician. The thinking is, at 40 years old and with a recent refresh this camera will outlive me. I’m OK with that.

Regarding serial numbers and dates of production, visit this serial number chart for reference.

“Shootability”

This is another subjective assessment. Whatever camera one uses repeatedly and grows accustomed to is going to feel comfortable in hand. It will become that “extension of one’s self” people (including me) like to say when describing how you’ve used a camera for so long and know it so well, there’s no longer an adjustment necessary when you pick it up. You just shoot. To the long-time user of the F2 – as with anyone using any other camera for a long time – it’s highly shootable. To the newbie – it’s also highly shootable.

The base configuration of the F2 with the metered DP-1 finder is an all-manual camera. In contemporary context if you think S for shutter priority, A for aperture priority, P for program and M for manual, the only mode the F2 has is M – manual. The DP-1 provides an adequate meter with which to gauge exposure – though the electronics and sensitivity of that meter aren’t on par with today’s camera – especially the F6. No matter – it’s plenty good enough and you can rely on it getting you in the ball park. It is center-weighted, taking into consideration the entire frame but weighting preference to the center of the frame – suitable for most general purpose photography. The photographer experienced with basic fundamentals of determining exposure will be able to do anything with the F2 they can do with any other camera – perhaps just not as quickly. Again – this is all subjective. Please all you old-school F2 shooters don’t take me to task on this statement; it’s not directed at you. I’m talking to the those used to a different metering system and to the adjustments they’ll want to make to be successful with the F2.

The DE-1 non-metered prism finder is a different matter. With no meter at all you’re left to determine exposure any number of other ways (like with your own light meter, or superior intellect). In that case the un-metered F2 will fall into your hands like a well-worn glove ready to respond to your every command. It is SUPERB. I’m kind of a nut about stuff like this – the warm, squishy attributes of a camera. How it feels in the hand. Its a big deal to me. Something clunky and awkward you hate to hold is not going to get held. Consequently, not going to make pictures.

The F2 is a dream. I’ve heard the term “built like a tank” so many times it has become a meaningless platitude. So let’s come up with a better way to describe the F2. I’m drawing a blank at the moment.

The Nikon F2 shown in 2 different configurations: on the left, the F2 Photomic, on the right the F2s,
The Nikon F2 shown in 2 different configurations: on the left, the F2 Photomic in chrome, on the right the F2s in black.

Accessories

Another fun thing about the F2 is all of the beautiful – but way overpriced accessories. The “collectors” have driven the price of this old gear through the roof. Something simple like a MB-3 back that allows leader-out film rewinding (with the MD-2 and MB-1) I saw at auction for $450. For a back. Buyer beware… just use your head, do your research and you’ll be fine.

The F6 has a diopter adjustment built into the viewfinder. For the F2 if you’re interested in adjusting the diopter of the F2 you’re back to old school method of finding the appropriate one. As mentioned earlier the F2 and F share some of the same accessories for the F2 like focusing screens. Thankfully viewfinder adjustment diopters are another area the F2 leverages from other camera’s accessories, sharing the same diopter size as that of the FE line, FM line and FA as well as the F3 (not F3 HP which stands for High Eyepoint and uses a different diameter thread). So with a little creativity and digging you can still find genuine Nikon parts, or high-quality reproductions fairly easily for this 40-year old camera.

If you’re into the old, mechanical nuts and bolts stuff that has a retro sound, look and feel – you’re going to go broke in the world of the F2. The accessories available for the F2 are vast. For a little fun visit the Nippon Kogaku Klub for some pretty exotic mechanical F2 gear. Over accessorizing is not a danger for him: the more bling you hang on him the better looking he gets. He’s a sculpture; a work of art masquerading as a 35mm film camera. The good news is you can pick one up at a reasonable price and have a blast shooting it stripped down to its skivvies’. It’s that great of a camera.

Repairs for the F2

Someone attempted to repair this DP-1 leatherette (the small, textured material adhered to the plastic or metal parts of the camera). You can see what a mess a hasty job can create.
Someone attempted to repair this DP-1 leatherette (the small, textured material adhered to the plastic or metal parts of the camera). You can see what a mess a hasty job can create.

It’s easy enough and even fun to clean and polish your old, new-to-you F2 when it shows up. Even tasks like replacing the often crumbly, gummy foam seals in strategic positions of the camera are easily doable with the right tools and a little time/patience (check out Jon Goodman in Dallas, Texas. He’s your man for replacement foams). But when components fail – especially electronic components – it’s difficult if not impossible to find suitable replacements so long after the originals were discontinued. Another great thing about the all mechanical F2: in theory, it’s repairable. Thankfully there are a handful of qualified, dedicated artisans still available to make such repairs.

At the top of the list has to be Sover Wong. Sover is a UK-based, Nikon factory trained, F2-dedicated technician. You can read more about his approach to repairing your prized F2 here. If you’re in the UK and need your F2 repaired you’re fortunate. Shipping back and forth from the US adds another $100+ to the repair bill, which thankfully is quite reasonable for the level of attention he lavishes on these cameras. Sover is a legend in the F2 community. To have your prized F2 “Sovered” is to restore it functionally better than new. His shutter timing calibration exceeds Nikon factory specs.

There should not be holes in the film advance lever cap. Someone drilled holes presumably to fit a spanner wrench and remove the part.
There should not be holes in the film advance lever cap. This is an example of what Sover Wong calls a “Cowboy hack.” You want your camera to be returned in better condition when you send it out for repair – not worse.

There are others still around in the US who will work on your F2. Be careful though. I’ve heard and seen horror stories of people badly mutilating the camera in the process of what they call a repair. Some of the components require special tools to disassemble. Calibrating the shutter is another precise adjustment requiring someone who really knows their stuff.

If you’re in Northern Colorado give Key Camera Service in Longmont a call (303-772-7690) . They repaired my jammed F2 and did a great job.

Having an F2 loaded at all times is now standard operating procedure, right along side the F6 (and the F, F4 and F5). The appeal for me is the lack of electronics and the sheer sense of substance while holding it. While I love the F6 and continue to rely on it for every-day shooting, the F2 warrants special consideration from an artistic, idealistic and even – I’ll say it out loud – romantic point of view.

The Whole "film thing"...
The Whole “film thing”…

The whole “film thing”

I was talking with my wife about it the other day, asking her what she supposes it is that causes someone to fall in love with something 40 years old; that by contemporary standards is wholly behind in technology, lacking in many of today’s stated “necessary” features and frankly the antithesis of today’s modernly digital cameras. What is it about hoisting these cameras to our eyes, we whisper under our breath, “wow…”? What is it that makes us spend the time and money cleaning them up, recalibrating shutters, repairing viewfinders, and massaging them back into smooth, efficient operation to go out and make the same photograph many other cameras could make? Why do we do it?

Passion. Romance. Feeling. Love. Lore. Appreciation for great engineering. That “X-factor” that can’t be measured, quantified or explained when you hold the sum of over 1,500 individual parts designed, manufactured and assembled into one, precision instrument you now hold in your hand. A device that’s part of history. I believe it’s the very essence of photography; the attribute elevating the mechanical process of clicking a button from the common realm to the ethereal. Making art with art. Poetic, even.

I’m of course not saying there’s only one camera capable of this. But I do believe for each person who hoists their favorite, old film camera to their eye and squints into the viewfinder; fingers caressing and adjusting knobs, breath steaming the camera back, eyelashes sticking in the viewfinder… there’s something going on more than simply using a light-tight box to execute a mechanical process. We can admit it… we’re among friends. It’s all part of the “art” of photography, and we know it.

CineStill 800T developed in Cs41 seems to respond quite favorably. Nikon F6, Fort Collins, Colorado
CineStill 800T developed in Cs41 seems to respond quite favorably. Nikon F6 (shot with the Nikon F2), Fort Collins, Colorado

So what’s all this have to do with the F6. Nothing, really. Other than when you shoot the F, F2, F3, F4 and F5 you begin to appreciate the F6 DNA all the more. Trying to answer the question ‘which is your favorite’ is a cat chasing its tail. Each photographer has preferences based on their experience: specific cameras which trigger memories from long hours spent with them in hand, or admiring one over another for aesthetic and design preferences. But best… why bother? Just shoot and enjoy each as the spirit moves you and simply enjoy them for what they are: works of art masquerading as 35mm film cameras.

Mirror-Up Shooting: It’s For Real

Recently I read a blog post from someone claiming Mirror-Up shooting was a hoax. A waste of time, something camera manufacturers dreamed up as way to add a new feature to the camera and charge more for it. A “Emperor’s New Clothes” hoodwink, if you will. Well, take a look at this:

It’s slow motion video of the venerable Nikon F2 at 1/2000 sec. and the lens stopped down to ƒ16. If there were ever any doubt in anyone’s mind whether the mirror’s movement has the ability to create vibrations inside the mirror box this should answer the question once and for all.

To those who don’t know what Mirror-Up shooting is, please visit this page for a more detailed explanation. Essentially, M-Up is a feature included in certain cameras allowing a 2-step shutter release. The first step raises the Mirror up out of the way. The camera then is allowed to “settle” as long as you want before the second step – releasing the shutter in the camera and actually exposing the film. This all happens so fast in regular shooting that it feels like 1 quick step – but it’s actually 2. M-Up is highly useful in slower-speed photography: between 1/30 sec. and 1-2 seconds. For shutter speeds outside of this range it could be argued that the motions happen so fast there’s not time for the slight movement to affect image quality. But in that dead zone of slow exposures M-Up is real.

Hybrid Workflow: Remember Contact Sheets?

I’ve mentioned in the past what I think is one of the greatest things about shooting film these days: the ability to combine analog qualities with digital tools to create a unique, hybrid workflow to your film photography. One of my favorite things about working in the darkroom or picking up rolls of film from the lab was the contact sheet. Some people like the nicely stacked set of prints. I liked the contact sheets, full of organized, easy to view frames all in one place. After looking at the sheet with a loupe I’d three hole punch and insert it into a binder with the sleeves that held the negatives. There they remain to this day, on the shelf where I can easily walk up to any binder and by quickly scanning the contact sheet find the frame of film I’m after. I don’t have to turn a computer on to find a negative and I like that.

Create a Contact Sheet in Photoshop with just a few clicks.
Create a Contact Sheet in Photoshop with just a few clicks.

Working on ways to streamline the hybrid workflow has me revisiting contact sheets – but now using Photoshop to create them, not the darkroom. True – before, a contact sheet was created prior to putting a lot of processing time into the roll in order to choose which images you want to work with. Now – a lot of work goes into the roll prior to generating the contact sheet. So I suppose the reasons you’d make a contact sheet differ from the old days. I use it the same way, though: once created, print it out and stick in the three ring binder with the negatives as a quick reference to the images on the roll.

It couldn’t be easier to create a contact sheet in Photoshop. For this I’m using the most recent version of Creative Cloud Photoshop, 2014.2.2 – but I know it’s also possible prior to this. My version of Photoshop CS3 has the same plug in installed.

Once you’ve scanned your images (and embed them with exif data using meta35), open Photoshop. Under the File menu go down to Automate, and select from the fly-out menu Contact Sheet II.

Adobe Photoshop's Contact Sheet II options
Adobe Photoshop’s Contact Sheet II options

This gives you a dialog box with a few settings.

Here you will:
a-Navigate to the directory containing your scanned images.

b-Set the contact sheet’s size, shape and resolution. I use a typical 8.5 x 11 sheet of paper because that’s what my printer uses. I also create the contact sheet in landscape mode because that’s the orientation of the rest of the pages in the binder.

c-Set Mode, Bit Depth and Color Profile

d-I leave Flatten All Layers unchecked because I like to have some flexibility to edit the layers once they’re created – rather than having Photoshop flatten the document it’s about to generate.

e-For thumbnails I like to go across first and check the box that says Use Auto-Spacing. Across first mimics closely the horizontal presentation of the film strip.

f-For Columns and Rows I suppose it depends on how many images you’re working with. In this case I was working with 35 images and knew I’d probably need to go two pages for it. Most of the time I’m working with fewer images on the roll (I typically don’t scan every frame). So you might choose to size your thumbnails so they all fit nicely on one sheet. This took too much math at the time so I let Photoshop figure it out.

g-I selected Rotate for Best Fit to avoid the odd horizontal and vertical shots – preferring instead to have all images nicely aligned in one row (the OCD in me comes out).

h-Choose the font and size you want the image names to appear in – then hit OK.

Presto. Photoshop chugs through the images in the folder flattening the layers of images that exist as PSD’s and writing the image’s name neatly below the frame on the page.

It’s default is a white page which is ideal for your printer (because it uses less ink to print). I made the background black here just to show one of the benefits of not Flattening All Layers in the earlier check box.

Your images are now all presented on one, neatly organized and labeled sheet to do with as you please. I like to print and stick in the binder.

It’s a simple thing, but a great way to easily and quickly create a useful print out of images from an entire roll for cataloging.

 

Santa Fe and Vintage, Nikon Film Bodies, chapter 2

Chapter 2: San Luis, Colorado to Santa Fe, New Mexico

One of my great joys in life is driving; to simply wander and explore with a camera; and once in a while to answer that perennial question – what’s down this road, or around the next bend? The drive from San Luis, Colorado to Taos, New Mexico has to be one of the most beautiful drives. Ever. When we lived in Santa Fe returning to Colorado was always a highly anticipated event – largely for the road trip. Sure, you can hop on I-25 and be door-to-door a few minutes faster, but that’s rarely the point.

159 south out of San Luis turns into 522 as you cross the New Mexico state line. The route is dotted with piñon pines – like beard stubble on a giant face – framing broad, sweeping vistas. Active skies hover weightlessly above distant mountain ranges toned by years of erosion and gnarled, stunted flora on this flat stretch of road passing through the southern region of the San Luis Valley. To the East the Spanish Peaks rise abruptly from the valley floor. To the west lies distant Kit Carson National Forest, home of Abiquiu and Georgia Okeeffe’s Ghost Ranch. The beauty of the area is understated during afternoon’s high angle light hours. Not quite desert – not quite mountains – the land can come across as harsh, unforgiving terrain void of life.

Sangre de Cristo sunrise, San Luis Valley, Colorado
Sangre de Cristo sunrise, San Luis Valley, Colorado

Towards the edges of the day, however, a softness emerges completely altering the same landscape in etherial beauty; the tones of distant ranges shifting from undifferentiated grays to subtle ochres, siennas, cadmiums, cobalts and indigos – and skies with supernatural color beyond comprehension. Dirt roads vanish into oblivion, pointing at no obvious destination save a clump of trees on the distant valley floor. A service road to a watering station for cattle? A driveway small children need to walk a half-hour to catch a bus on? One day – with a full tank of gas and plenty of film – I’ll discover where these roads lead. But today’s not that day. As is often the case when we hit this part of the drive it’s mid/late in the afternoon and the light isn’t so great – but only a photographer would complain about it. To pass through this land in the mornings and evenings is well worth the effort.

Big Horn Sheep, Rio Grand Gorge, Taos County (2014)
Big Horn Sheep, Rio Grand Gorge, Taos County (Nikon F6 + 70-200mm @200mm + Ektar pushed 1 stop; 2014).

In your rear view mirror you’ll see the impressive Sangre de Cristo range towering on the northern horizon, anchored by the ominous and deadly Blanca Peak, one of the most notorious “Fourteeners” in Colorado. For those who don’t know, Colorado is home to all 53 peaks in the Rocky Mountain chain – from Canada to Mexico – that rise above fourteen thousand feet in elevation. Near Fort Garland, Colorado the Sangre de Cristos hook to the east slightly then continue south into northern New Mexico where they melt back into the surrounding hillsides and rolling arroyos above the town of Santa Fe.

Sangre de Christo mountains, Santa Fe, New Mexico
Fresh snow on the Sangre de Cristo Mountains up Ski Basin Road, Santa Fe, New Mexico (Nikon F4s + TMAX400).

From a photographer’s point of view the land presents virtually endless compositions – but can be tricky for the landscape photographer to actually frame something up. Often times there’s little more than a horizon and sky to work with. Occasionally you’ll have something of foreground interest; an unusual roadside shelter, an old tractor abandoned along the road, a derelict mobile home trailer parked in a field, or towers of neatly stacked, freshly baled hay. For shots like this – where there’s less of an immediate object to focus on and the image relies more on faithful representation of subtle detail – I’ll switch to a fine-grain, high resolution film like Ektar, (or Velvia/Provia when I was shooting more chrome films).

The town of Questa, New Mexico is the next “major” town along the route. One of Questa’s claims to fame is its honey production. Long about the time we hit Questa, we’re hungry. Last summer we decided to uphold our tradition of avoiding chain restaurants and dining instead at locally owned establishments. This led us to WildCat’s Den in Questa. I’ll be honest… at first I was a little skeptical about bringing my family into this sketchy looking establishment, with bars on the windows. The WildCat Den sounded like something other than what it turned out to be – pure and simply, home of one of the best burgers in northern New Mexico.

The Wildcat's Den, Quesa, New Mexico (2013)
Donny, The Wildcat’s Den, Questa, New Mexico (2013)

We burgered up, chatted with the cooks and headed out. If you ever find yourself wandering through Questa hungry, make sure you hit the WildCat’s Den. Don’t be fooled by the bars on the windows – they’re to keep the burgers in – not the people out.

Roadside Memorial, Questa, New Mexico (2014)
Roadside Memorial, Questa, New Mexico (2014)

South of Questa, the only signs of life are the small, mountain enclaves of Arroyo Hondo, San Cristobal and El Prado. At night this drive can be harrowing, evidenced by the abundance of one of my ongoing fascinations – roadside memorials  – dotting the route. Unfortunately in New Mexico you see a lot of them. On the way out of Questa we passed this especially poignant one I couldn’t help but stop at.

Efforts to curb suicides at Rio Grande Gorge sputter
Jumper no.1, Rio Grande Gorge Bridge, Taos, New Mexico (August, 2013)

A big draw in Taos is the Rio Grande Gorge Bridge. At 650 feet above the river below it’s spectacular – and easily accessible – spanning the Rio Grande Gorge just a few miles west Taos on Highway 64. Unfortunately its accessibility has become an issue for those wishing to use the bridge to end their lives. Jumpers off the Rio Grande Gorge bridge number 115 in the last 20 years. When we were there last August another person had recently jumped to their death. Emergency vehicles blocked access to the side of the bridge thus thankfully preventing the view to the body below. The knowledge it had just been discovered moments before we arrived temporarily erased the light-hearted spirit being on vacation inspires.

Efforts to curb suicides at Rio Grande Gorge sputter
Emergency workers make their way down perilously steep canyon walls to reach yet another body, a victim of suicide by jumping off the 650 foot bridge (August, 2013).

That’s quite enough talk about roadside memorials and people jumping to their death. Fortunately on this trip no such events preceded our arrival. Instead we were met by these guys (below image). I’ll take them over the other any day of the week. There were several different groupings of big horns along the east side of the canyon. The rams huddled together along the rim while the mommas with their kids dotted the cliffs below.

Big Horn Sheep, Rio Grande Gorge, Taos, New Mexico (2014)
Big Horn Sheep, Rio Grande Gorge, Taos, New Mexico (2014)

The F6 was the obvious choice for these images of Big Horns because of its VR capability. Afternoon light was beginning to dwindle and though they were relatively close on the canyon rim – 200mm closed the gap. Pushing Ektar one stop to ISO200 set the 70-200VR up for success with a comfortable working combo of ƒ5 at 1/400. The 70-200mm VR is a great lens but experience has taught me to not expect greatness for shots like this at ƒ2.8. No time for a tripod – everything was hand held. The F4s stayed in the car for this outing, not wanting to fumble with additional gear while changing film. He would have his chance to shine later.

Rio Grande Gorge, Taos County, New Mexico (2014)
Rio Grande Gorge, Taos County, New Mexico (Nikon F6 + 105VR lens + Ektar pushed 1 stop; 2014)
Old Jeep Willys Pick up truck living out the rest of its days as a planter, Taos, New Mexico (2013)
Old Jeep Willys Pick up truck living out the rest of its days as a planter, Taos, New Mexico (2013)

By the time we arrived in Taos we were ready for a longer break. Less populated and more mountainous than Santa Fe, Taos is a town of notoriety and size, standing unique in the regions’s art community. The hearty traveler could spend a lifetime exploring Taos and surrounding area. You never know what you’ll find winding through town on back alleys rather than being stuck in traffic on the main road. This old, turquoise Jeep pick up truck appears to be blessed living out its remaining days as a planter in someone’s front yard.

Taos, New Mexico (2014)
Taos, New Mexico (2014)

The Taos art community is world renown, spanning generations with heavy hitters like Georgia O’Keeffe, Frederic Remington, John Sloan, Marsden Hartley, E. Martin Hennings and Walter Ufer. Today, famous artists such as Charles Collins and so many others line the plaza with unique, inspiring art. Something about being around art makes you want to create art with the camera. For me that’s what our trips to New Mexico are all about – and the fun was only just beginning.

Lincoln's Union by Charles Collins, Taos, New Mexico (2014)
Lincoln’s Union by Charles Collins, Taos, New Mexico (2014)

“Lincolns Union” is a “Master Mind” sculpture created by Charles Collins – a bonafied “Master” from Taos, New Mexico (2014). The sculpture is composed of three, individual pieces that stand on their own, representing the Union solider, the Confederate solider and “the woman who held the flame of hope for both.” When reconfigured they form a unique, new shape resembling Lincoln’s face.

I could go on and on about Taos – but we’d never get to the next destination: Santa Fe. Coming up next, the Art Epicenter of the United States, Santa Fe, New Mexico. Thanks for sticking with me this far. The real fun is about to begin.

Santa Fe and Vintage, Nikon Film Bodies, chapter 1

The Arrow Motel, Espanola, New Mexico (2014)
The Arrow Motel, Espanola, New Mexico (2014). Nikon F4s, Kodak Portra 400

In each blog post I attempt to roll in an application to the F6. The F6 is, after all, the reason for this site – and why so many people come here: to read about it. For this series of posts in the spirit of “try something new… you might like it,” I’m going to try something a little different: I’m going to add the Nikon F4s into the mix.

SANTA FE – If heading to the art epicenter of the country with two, vintage Nikon film camers isn’t on every photographer’s bucket list – you need to re-write your bucket list. I’m fortunate to live within an easy day’s drive – and have the benefit of history and knowledge of such a place. This provides new depth and opportunity with each visit. On our latest sojourn to “The City Different” of course I shot the F6, but this was the first outing with my newly acquired F4s – a birthday gift from my lovely bride. When we lived in Santa Fe in the late 90’s the F4s was my primary camera. I sold it shortly after buying my D3s in 2010 but knew I’d reacquire one some day. This new F4s shipped straight from Japan (no US preceding the serial number) and is in absolutely gorgeous condition – like it had never been used. So to return to my old stomping ground with two vintage, Nikon film bodies was a wonderful opportunity to make some unique images on film (I realize I’m stretching a bit, describing the F6 as a “vintage camera” when in reality it’s only 10 years old).

Vintage automobiles on the plaza one evening in Santa Fe, New Mexico
1956 Chevy Nomad Wagon on display one night at the plaza, Santa Fe, New Mexico (2014). Nikon F6, Kodak Portra 400

I’ll get this out of the way right now: comparing the Nikon F6 to the Nikon F4s would be a little like (and I say this will all due respect to both era’s engineering/design) comparing – say – a 1956 Chevy Nomad Wagon with a 2014 Chevy Tahoe. There really is no comparison between the two flagship cameras from two different eras of engineering and design. Both are spectacular for their time. Let’s leave it at that. But… I suppose if you want to think of this next series of posts as a real-world usability exercise; what it’s like to actually shoot the two cameras side by side – you’ll get an idea if whether adding the F4s to your bag is a good move. I’m sure tickled to have one again and absolutely love working with it. Its role isn’t to replace the F6, but instead provide an additional, excellent way of recording images on film – using the same system (*see below).

Old, Chevy Pick Up, Chimayo, New Mexico (2014)
Old, Chevy Pick Up, Chimayo, New Mexico (2014). Nikon F4s, Kodak Portra 400

The overall approach was to shoot the F4s for general purpose, hand-held work with higher speed films (ISO400 and up) because I didn’t envision shooting it with a tripod for a few reasons: one is the camera doesn’t have an L-bracket as the F6 does. My primary tripod uses a Kirk ball head, which requires a Kirk-mount for each camera. The F4s is old enough that I don’t expect to easily find an L-bracket. Besides, the ergonomics of the camera are so elegant; smooth, sculpted and contoured in all the right places (an absolute joy to hold) – that to slap an awkward piece of aluminum onto such a beautiful form for the occasional appointment with the tripod was just something I couldn’t muster the gumption to do. I do have a generic Kirk mounting plate that screws into the tripod socket if need be. *Also – regrettably – the F4 system doesn’t use the same MC-30, 10-pin cable release as the F6, so it means either adding a MC-12/12A to the bag – or – just using an old-fashioned, screw-in style cable release in the threaded port near the bottom, left rear of the camera. So if I had to use the F4s on a tripod I could – but elected to keep it hand held for this trip. The F6 was also for general shooting, and anything requiring a tripod – for the above reasons – in reverse.

Cherry tomatos at the Santa Fe Farmer's Market (2014)
Cherry tomatos at the Santa Fe Farmer’s Market (2014). Nikon F4s, Kodak Portra 400

Film for the trip was varied – relying mostly on a C-41 solution. Following up on a recent post about pushing Ektar 2 Stops, I added ample Ektar, intending to push to ISO200 (instead of its native ISO100) for the additional speed as well as saturation and contrast bump (see chapter 2 post to follow). Following up on another post – about over exposing Portra, as per usual I had an adequate stash of both Portra 160 and Portra 400 – two emulsions that have become my “go-to’s.” I am primarily a color photographer – but having two bodies –  also threw in enough Delta 400 and a few rolls of Rollei ATP to satisfy the occasional black n’ white craving (one destination was Georgia O’Keefe’s old stomping grounds, Ghost Ranch and the Abiquiu area). I had my D3s in the bag too, just in case I ran out of film – so was pretty much ready for anything.

San Luis, Colorado sits quietly in the San Luis Valley, virtually on the border of Colorado and New Mexico. It is the oldest town in Colorado.
San Luis, the oldest town in Colorado, sits quietly in the San Luis Valley, virtually on the border of Colorado and New Mexico (2014). Nikon F4s, Kodak Portra 400

Our first stop was the small town of San Luis, located virtually on the Colorado-New Mexico border in the picturesque but lonely San Luis valley. San Luis is the oldest town in Colorado and with a population of 629 people (2010 Census) it’s also the most populated town of Costilla County. We travel through San Luis because it gets us off I-25 at Walsenburg (Colorado) and after summiting LaVeta Pass and entering the San Luis Valley – begins the most scenic and beautiful part of the drive South.

The Sangre de Cristo Catholic Church sits atop a butte above town and is one of the main attractions of the area. The church was established in 1992 and about then I remember returning from my first trip to Taos – and climbing amongst the sanctuary’s construction. At the time I thought it was an ancient church in ruin. Turns out it was a new church being built. Who knew. I wish now I had images from that trip 22 years ago. In 22 years I wonder what I’ll wish I had images of from now?

Sangre de Christo Catholic Church, established 1992 in San Luis, Colorado
Sangre de Cristo Catholic Church, established 1992 in San Luis, Colorado (2014). Nikon F4s, Kodak Porta 400
Sangre de Christo Catholic Church, San Luis, Colorado (2014)
Sangre de Cristo Catholic Church, San Luis, Colorado (2014). Nikon F4s, Kodak Portra 400
Sangre de Christo Catholic Church, established 1992 in San Luis, Colorado (2014)
Sangre de Cristo Catholic Church, established 1992 in San Luis, Colorado (2014). Nikon F4s, Kodak Portra 400

During my earlier stint shooting the F4s I primarily shot the 35-70/2,8 (non-D) pump zoom. It’s a fine lens and I still have and shoot with it. Today, however, I also have the opportunity to mount a wider variety of lenses on the body and enjoy previously unexperienced creativity with the camera. But as anyone with multiple lenses and bodies can attest, if you try to carry around too much gear things get heavy and cumbersome. Disciplining one’s self to one body and one lens for an outing is a great exercise. For San Luis the F4s was paired with the Nikkor 17-35/2,8D and performed beautifully. Especially with the 17-35 mounted – and no strap – the F4s isn’t a light camera. But the smooth, rubberized grip covering contours placed in just the right spots made it quite comfortable in hand while walking around for an hour plus.

Sangre de Christo Catholic Church, San Luis, Colorado (2014)
Sangre de Cristo Catholic Church, San Luis, Colorado (2014). Nikon F4s, Kodak Portra 400
Stations of the Cross sculpture exhibit at Sangre de Christo Parish, San Luis, Colorado (2014)
Stations of the Cross sculpture exhibit at Sangre de Cristo Parish, San Luis, Colorado (2014). Nikon F4s, Kodak Portra 400

Exposure note: most of these images of the church are effectively 2 stops over exposed by the F4’s (Matrix) meter. The roll of Portra 400 was (intentionally) over exposed by one stop at ISO200, and I added another stop of exposure compensation using the F4’s exposure compensation dial while exposing the frames containing sky. I was a little worried they’d blow – but not even close when looking at the negative; it’s healthy and strong all around. I was especially pleased with the level of detail in the sculpture shots. The cast bronze was dark to begin with and it would have been easy to bury the nuance in shadow. Portra did a beautiful job of holding tone in the sky while recording detail in the dark bronze. A chrome film would have effectively produced a silhouette of the sculpture. Portra continues to impress me – especially when provided ample light to work with. Alas, you can’t control the light – and don’t always have the availability to wait around for things to get good. We had an active sky with high clouds knocking down bright, high-altitude sun enough to diffuse harsh shadows. But –  it was mid-day, so we made the best of what was given and moved on. When light isn’t ideal I tend to focus more on composition, subject matter – objects – and story telling – rather than broad-sweeping, scenic beauty. Oh how I’d love to be on this hillside at sun-up. I can only imagine the color in skies passing over the San Luis Valley during these times. For now at least, this will have to do.

San Luis, Colorado (2014)
San Luis, Colorado (2014). Nikon F4s, Kodak Portra 400

Note: I’ve heard others discuss dislike of short, “just passing through” trips while out shooting. I couldn’t disagree more. Photography – especially film photography – is about the long game. Treating these short trips as scouting opportunities – sometimes making copious notes on subjects, ideas, and times of day and position of the sun relative to the season – pays dividends in the long run. In the future, when you have opportunity to revisit the same destination for longer, you now have a starting point.

San Luis, Colorado
San Luis, Colorado (2013). This image was made on a previous trip through San Luis last August. We spotted this junk yard, which you can almost see at the base of the hill in the first overview shot of San Luis. Multiple visits to the same destination builds knowledge – and relationships with the locals.

Besides, for me photography is about exploration. When I have a camera in hand I move slower, look more intently, interact more directly with people and places, and overall the experience is richer and deeper because of that. Even if it’s for just an hour – make the best of that time. Take notes. Keep a log book in the car and note time of year and day. Pay attention to vegetation. You’ll learn something about the land, and be better informed the next time you pass through.

Next stop will be Taos, but we’ll save that for the next post. Thanks for reading this far and check back in a week or so

Peace to you, John B. Crane

Terra Firma

Terra Firma: Landscape Photographs from Around the United States: Comprised of color images from around the United States, Terra Firma focuses on the land. A seemingly endless variety of landscapes lie within Terra Firma: topographic features from slot canyons to grand canyons; from ant hills to foothill; front mountain ranges to still, quiet vallies and everything in between

I’m excited to announce a new project – well, less “new” in terms of topic – but more “new” in terms of focused effort. The project is called Terra Firma, and I suppose like so many of my other “projects,” I’ve really been working on this one for a long time.

Rock Cut, Rocky Mountain National Park, Colorado
First Light at Rock Cut, Rocky Mountain National Park, Colorado

Terra Firma is a landscape collection on johnbcrane.com (please click here to sit back and enjoy the slide show). I suppose I’ve been working on this project for 20 years or so – but only now feel like I have something tangible to say. Terra firma is a Latin phrase meaning “solid earth” (from terra, meaning “earth”, and firma, meaning “solid”). The phrase refers to the dry land mass on the earth’s surface and is used to differentiate from the sea or air. Considering a reference many of us may already be familiar with, here’s how Terra Firma was first born: “And God said, ‘Let the waters under the heavens be gathered together into one place, and let the dry land appear.’ And it was so. God called the dry land Earth,[d] and the waters that were gathered together he called Seas. And God saw that it was good.” (Genesis 1:9-10 ESV). The distinction here is that the land was created to separate the heavens from the depths.

Cape Flattery, Olympic National Park, Washington
Cape Flattery, Olympic National Park, Washington

Like many landscape photographers I’ve had a passion for the outdoors for many years. Since the first time setting foot in Colorado in 1977 as a high school student I’ve never left the wilderness. Physically perhaps – but mentally, emotionally and spiritually – no. When I returned home to Illinois after our first backpacking trip to Highlands Camp in the Indian Peaks Wilderness I moped around the house for weeks. All I could think about was how to get back, as fast as possible. I’d tasted wilderness – true, honest to goodness wilderness – and was spoiled for anything else from that point forward.

John B. Crane in the Weminuche Wilderness, southern Colorado's San Juan range, 1985
John B. Crane in the Weminuche Wilderness, southern Colorado’s San Juan range, 1985

Years later, in May of 1980 when Mount St. Helens erupted in the Cascade Mountains I had joined REI, received my first Jansport backpack and ice ax and was turning sofa cushions over in the house looking for enough money for plane fare to Seattle. As fate would have it I never made it out to photograph the mountain exploding – which is why I’m still alive today.

I devoured books by Robert Service, Barry Lopez (Arctic Dreams, Of Wolves and Men), Peter Matthiesson (The Snow Leopard, Men’s Lives), Farley Mowatt (Never Cry Wolf), Edward Abbey (Desert Solitaire, The Monkey Wrench Gang) John Muir and John McPhee (Coming into the Country, The Control of Nature, Basin and Range), and developed a particular fascination with the Rocky Mountains, the Cascade Mountains, and the Pacific Northwest. I followed the classic, black and white photographers and while I appreciated the art form, decided I was more interested in color photography.

A particular fascination with Alaska developed and upon graduation from Colorado State with Bachelor of Fine Art, my dog Max and I caught a ride to Seattle, then caught the Alaska Marine Highway to Alaska’s Southeast for my first true foray into the wild where I lived and worked the salmon for the summer, wandering the Alaska’s inside passage between shifts.

Scow Bay, Petersburg, Alaska
Scow Bay, Petersburg, Alaska (1984)

That summer was filled with far too much to attempt to summarize here. Suffice it to say, that trip to Alaska took the beginnings of a fascination with wild places and emblazoned into my very being a thirst for which there is no quenching. Here so many years later I can see and hear and feel almost everything from that trip; the pull to return to Alaska is incessant – like gravity.

Today, a body of work has formed. While I enjoy flipping through images and the memories they trigger – I’ve come to believe it’s somewhat of a responsibility to share these images. The world has changed dramatically over those same years since 1977. Wild places continue to be eaten away by industry and development, and people today simply don’t understand – can’t comprehend – what has been lost. I’ve done my best to not be the pessimist; attempt to find the remaining open lands, wild places – and prove to myself that there’s still a lot of land out there, nothing to worry about. Lately, though – it’s getting more difficult to do this. Again – wanting to be a positive voice in the conversation – the approach I can take is to show the beauty of the land. My hope is these images will inspire a whole new generation of explorers, wanderers, travelers, seekers and dreamers to get out there and see this land we’re so blessed to live in.

Fall River, Rocky Mountain National Park, Colorado
Fall River, along the Old Fall River Road, Rocky Mountain National Park, Colorado.

Comprised of color images from around the United States – many of which were made within our spectacular National Parks System – Terra Firma attempts to focus on the land.  A seemingly endless variety of landscapes lie within Terra Firma. Topographic features from slot canyons to grand canyons. From ant hills to foothills. Front mountain ranges to still, quiet valleys and everything in between. Not all images have been made in our beautiful National Parks; many have been created in no-name stretches of empty land – between notable destinations –  because the light was right or the feature simply would not let me pass without demanding an image be made.

Delaney Buttes State Wildlife Area, North Park, Colorado
Delaney Buttes State Wildlife Area, North Park, Colorado

CONTENT, NOT PROCESS
I suppose like many photographers I use a variety of different cameras and tools to create different images. This project is a earnest attempt to – once again – step away from the process and instead focus on the contents of those four, intimidating boundaries constructing the edges of the frame. I want everything the viewer sees to communicate something about the land. To that end, you’ll see no mention what so ever of whether an image is recorded digitally or etched on film, and you’ll see nothing about what type of camera (though there are a bunch made with the Nikon F6) – or the technique with which the image is created.

I hope you enjoy Terra Firma, and more so – hope it inspires everyone inclined to get “out there” into the wild – while the wild still remains.

Peace to you, John B. Crane

New West Fest

New West Fest is in essence, a birthday celebration for the city of Fort Collins, Colorado. For the past 10 years Bohemian Nights Music has partnered with Fort Collins to bring some of the best live music in the country to Fort Collins for the weekend event for all to enjoy – FOR FREE.

For the past 10 years now the city of Fort Collins, Colorado has sponsored, in conjunction with Bohemian Nights Music, the New West Fest; essentially a birthday party for the city and fall jamboree for Northern Colorado, focusing heavily on live music. The scale of the event is difficult to grasp. The city blocks off the core of famous Old Town and people wander freely with children, strollers, the occasional huge stuffed animal won at a carnival game, and open containers. It’s a truly great event we’ve come to enjoy more each year.

Elephant Revival, New West Fest, Fort Collins, Colorado (2014)
Elephant Revival, New West Fest, Fort Collins, Colorado (2014)

This year we met friends for Saturday night’s Library Stage line up and first to play was a band from Nederland, Elephant Revival. I can sum up our feelings about Elephant Revival in one word: utter bliss. OK, two words. Elephant Revival hails from the small, mountain community of Nederland, Colorado – at the foot of the Indian Peaks Wilderness and hovering in the clouds 30 miles above the city of Boulder. Years ago while working in Boulder I had the good fortune to live in Nederland and can attest to its unique, authentic, Colorado vibe – perhaps one of the reasons Elephant Revival resonated so much with me. Surely some of you have felt this before so hopefully it’s not a new phenomena I’m trying to describe and you can all smile and nod your heads as you remember… but every so often there are bands and performances that create something really special for you. Somehow, through the combination of elements produced in a show; the atmosphere created by the actual music’s rhythms and tempos, instrumentations and arrangements mixed with the musicians and their artistry, countenance, performance, expressions, posture, dress and demeanor all – viewed through a modest use of light and a whiff of atmosphere – something  special happens – and the audience is transported to another time, another place. That was Elephant Revival for me on Saturday night. Thank you, Elephant Revival. For that brief period I forgot the rest of my life and vanished into your world.

Shatterproof, New West Fest
Shatterproof opened this year’s Behemian Night’s New West Fest.

Photographically I’d made some decisions the day before on how to approach this year’s New West Fest. Friday’s opening act, Shatterproof, also held a special draw for us. Their electric violin player T.J. Wessel’s family are friends, and we stood front row in the hot, late afternoon sun watching this band of talented young musicians go at it. As I looked around at the building crowd I smiled upon realizing that 1 out of every 5 had either a DSLR strapped around their neck, or some sort of electronic “phablet” held up – fingers extended – to record.

The Subdudes, New West Fest, Fort Collins, Colorado (2014)
The Subdudes, New West Fest, Fort Collins, Colorado (2014)

Given my natural proclivity to photograph with film when it came time to plan how I wanted to record this year’s festival – it was a pretty simple decision. The follow up question was, what film. I consider myself primarily a color photographer and for many events and occasions this fits. There are times, however, when choosing black and white film feels like the right move. Don’t ask why because I don’t think I could explain. I just go with it. And so it was for Saturday and Sunday’s outings; as I happened to find myself standing in the crowd, close to the front, transported to this other world.

The Subdudes, New West Fest, Fort Collins, Colorado (2014)
The Subdudes, New West Fest, Fort Collins, Colorado (2014)

One of the tricky things about concert photography – especially in the evening – is low light. It’s no secret todays DSLR’s handle low-light situations very well – especially my D3s – which I can push to 3,200 and even 6,400 with confidence of getting a usable image. Film is another matter. But if you’re working with the right film in the right way, there’s potential for some unique images –  it just takes a little more thought – and work. The black and white film I revert to typically is Ilford’s Delta line. Delta 400 provides deep, rich long tones, deep blacks and dramatic contrast while also rendering smooth tonal transitions and holding sharp detail. If I were to pick one black and white film to head out with I knew would hold up in virtually any lighting conditions it would be Delta 400. It’s a beautiful film.

The Subdudes, New West Fest, Fort Collins, Colorado (2014)
The Subdudes, New West Fest, Fort Collins, Colorado (2014)

The stage’s backdrop is an important part of the photograph. Fortunately those who plan these sometimes elaborate, complex stages understand this. In this case it was a neutral grayish color, probably a stop less than the middle tone of a gray card. The Library Stage faced East, it’s back to the afternoon sun. This was actually good news – providing you were prepared for it. Initially one might be tempted to try and shoot manually. At first glance, light would’nt seem to change much because they’re out of direct sunlight. The problem is, once the lights begin sweeping over performers, everything changes. Spot metering or center weighted metering is the way to go in situations like this. Matrix metering would unnecessarily factor that large, dark backdrop too much while calculating exposure – and cause overexposure of the figures in front. Black and white film has great exposure latitude to retrieve blown or buried data, but it’s always best to get things right from the git-go than have to fix mistakes in post. The solution is of course spot metering and positioning the “spot” on the faces – or other middle value portions of the scene. Easier said than done when performers start moving around. And depending on what lens you’re working with and how far you are from the action – a face or head can get pretty tiny in the viewfinder, making it difficult to get that single “spot” in the right place at the right time. When musicians are stationary – like in the shot below – it’s of course much easier.

Richie Furay Band, New West Fest, Fort Collins, Colorado (2014)
Richie Furay Band, New West Fest, Fort Collins, Colorado (2014)

The lens to work with is the 70-200/ƒ2.8 VR. It’s fast-focusing and at 2.8 lets in plenty of light to work at reasonable shutter speeds with 400 speed film. I knew I could push Delta to 800 or higher if necessary, but I was getting between 1/80th and 1/125 typically at 2.8 and deemed it good enough, even at 200mm. If that doesn’t make sense, don’t worry. You want to try to keep the shutter speed at 1 over the field of view of the lens you’re working with. With image stabilization (Canon calls is IS, Nikon calls it VR for Vibration Reduction) you can usually get away with another stop. So for a 200mm lens, you want to be working with shutter speeds around 1/200th sec. With VR, you can get away with 1/125. If you have VR and a steady hand, you can sometimes get away with 1/80th or so. The question you have to ask yourself is, will you get better results pushing the film and shooting higher shutter speeds, or a shooting at rated and holding the camera still. It all depends. I went with the later for Elephant Revival and the following act, the Subdudes, and was glad I did.

Richie Furay at New West Fest, Fort Collins, Colorado (2014)
Richie Furay at New West Fest, Fort Collins, Colorado (2014)

The next – and final day of New West Fest was the one I was most looking forward to. Richie Furay’s band was on the main, Mountain Avenue stage at 2:30 and nothing could stop me from from being there. Richie Furay is one of the iconic founders of country rock for the past 40 years and is now a pastor at a church near Boulder. Growing up, like so many others, Richie Furay’s music with Buffalo Springfield, Poco and the Souther-Hillman-Furay Band were on my turntable and car’s cassette player nearly every minute of the day. He was and is the sound track of my youth – but I’d never seen him live. For this, Ektar and Delta were in order. I wanted the flexibility to shoot color and black and white depending on things. I reloaded 3 times during the 50 minute set and do believe it’s the first time I’ve ever sang into the back of the camera. Good thing the F6 doesn’t have a microphone like the D3s.

The Richie Furay Band at New West Fest, Fort Collins, Colorado (2014)
The Richie Furay Band at New West Fest, Fort Collins, Colorado (2014)
Scott Sellen and Richie Furay at New West Fest, Fort Collins, Colorado (2014)
Scott Sellen and Richie Furay at New West Fest, Fort Collins, Colorado (2014)

A quick word about metering with the F6. I was again – blown away – at the F6’s metering capabilities. There were a few shots, like the one above, I’d set exposure compensation to -.7 just in case. I knew I could bring it back in post if it were under, but sometimes the Colorado, high-altitude sun was so bright and harsh I was afraid things like light pants and blonde guitars would blow. The F6 tracked everything perfectly – I didn’t need to do a thing except shoot. Turns out the shot above was under by about 2/3 stop. If I’d just trusted the meter I’d have been fine. In camera meters aren’t fool proof or perfect. But I swear, just about every time I’ve second guessed the F6’s meter I’ve been wrong.

The Richie Furay Band, taking a bow at New West Fest (2014
The Richie Furay Band, taking a bow at New West Fest (2014
Soaking feet after 3 days walking New West Fest, Fort Collins, Colorado (2014)
Soaking feet after 3 days walking New West Fest, Fort Collins, Colorado (2014)

Hind site can teach you a lot if you’re willing to look. In hind site… I wouldn’t do a single thing different next year. Choosing the bands and performances I want to listen to – and trying to make good images around those performances – is a great way to enjoy the show and come away with something memorable. Shooting on film is a great way to produce something unique. For the first time, I went to the ‘Fest all three days and my dogs were barking when I finished – but it was well worth it. Can’t wait until next year.