Out of the box the F6 is set to display possible shutter speeds from 1/8,000 of a second to 30 seconds. After 30 seconds the camera has the customary “bulb” setting, allowing you to trip the shutter manually (with something like the MC-30 cable release) for as long an exposure as you can hold the shutter release down for.
Custom setting B5 in the CSM provides the capability to extend shutter speeds beyond the default 30 seconds, unlocking extended shutter speeds before reaching the Bulb setting. When this option is enabled, after 30 seconds, you’ll see 40 seconds, then 50 seconds, etc. all the way up to 30 minutes before you reach “bulb.”
For some photographers this is an advantage if you do a lot of night shooting, for example, and exposures typically run between 30 seconds and 30 minutes. For others that use the bulb setting frequently, it’s a disadvantage because you have a lot more spinning of the main command dial to do until you get to bulb. But at that point you’re not relying on the camera’s recommended exposure and instead, winging it.
I see it as an advantage because the meter on the camera is capable of resolving exposure well beyond 30 seconds. For the above exposures the longer times weren’t necessary for the final shot because between f8 and f11 the correct exposure came in between 10 and 20 seconds. But- having the ability to dial down the aperture and lengthen the shutter speed and get an accurate meter reading was helpful determining the final exposure.
Film: Ilford HP5+, developed in Ilford DDX.
Below are are a few more from the trip. Not wishing to carry a tripod around the city, these were shot hand-held by pushing HP5+ to ISO1600, and developed in DDX.
I’ve wanted to do a CLS write up for a while and finally had a nicely suited project to use. When the warm weather ends I clean out the shop from summer projects and get ready for some indoor fun through winter. This almost always turns up something interesting I forgot I had. This time it was this antique STANLEY Thermos, complete with frayed, knit sock. I thought it would be an appropriate entry to my Shop Series. So I’ll use the Thermos shot to introduce a few CLS components and how to work with them. You’ll see it’s pretty simple, but without a “quick start” it’s easy to file CLS into the “I’ll get around to it some day” bin.
One of the key attributes of the F6 is the circuitry it contains to run Nikon’s Creative Lighting System, or CLS. No other Nikon film SLR has this ability. If you’re not using your F6 + CLS you’re missing out on one of the features making it unique. There are two components (besides the camera) you’ll need to run CLS on your F6:
a) The SU-800 Commander head. Because the F6 does not have a built-in flash, access to the CLS control is through the SU-800 mounted on the camera’s hot shoe. The SU-800 looks a little like flash but doesn’t actually contain a strobe unit. This is the brain, so to speak. You could also use a CLS capable speed light like the SB-800. This also has a “Commander” mode allowing access to the same functionality.
b) At least one CLS-compatible flash, which means anything after the Nikon SB-300 and up. For this shot I’ll be using the SU-800, SB-800 Speedlight and the diminutive SB-R200 Speedlight.
To reinforce how simple CLS is to use I’ll keep it brief. The concept is simple: the SU-800 commander head communicates wirelessly with the other flashes and tells them when – and how bright to fire. The other flashes are simply set to “REMOTE” mode – ready to receive instructions from the Commander.
Because I’m going through the trouble to do this on film – film is cheap and I’m going to make the most of the opportunity. I devoted a full roll of Ilford FP4+ to bracket flash output and depth of field. Another nice thing about having plenty of images to choose from is if film acquires some imperfections in processing such as water spots or scratches there are plenty of other frames to choose from. Sometimes those analog anomalies add to “the look,” other times they don’t.
Here is a sample of the EXIF data generated from the chosen frame:
07, 2″, F13, 105, F2.8, Color matrix, M, Front curtain sync, 0.0, +0.2, 0.0, non-TTL auto flash/Optional speedlight/Multiple flash, None, AE Unlock, VR off, 2016/11/06,17:09
You can see there’s no specific flash power output; i.e., what the flash on Channel 1A was set to vs. 1B. Keeping notes on such things helps in future projects. The PhotoMemo Photographer’s Memo Book below (picked up from Mike Padua’s shootfilmco.com web site) came in handy to record the different steps – things that weren’t recorded in EXIF data.
After shooting, developing (Ilford DDX at 1:4 for 10 minutes) and scanning (Nikon LS-5000), Meta35 was used to marry the EXIF data with each frame.
The final result was the frame I felt best balanced light levels, depth of field and overall look and feel. To state the obvious – yes, it would have been easier to do this digitally. But for my creative goals there was no substitute for representing this vintage item in anything other than black and white film. I was particularly interested in how film rendered the different textures and imperfections in the smooth but aged metal finish of the thermos, the shiny metal cap and of course that beautiful knit sock complete with frayed threads dangling. From the moment I saw it – it had to be film.
If questions come to mind as you explore CLS shoot me a note on our newly re-vamped contact page. I’ve love to see anyone with a F6 look into Nikon’s Creative Lighting System. It’s a unique feature and will change your photography for the better.
I first visited the northern region of the Escalante Staircase area years ago after reading an article on the Burr Trail -but that’s another story. More recently (back in 2007) I hit it from the south, having come up one night from Flagstaff and checked into a hotel in Page, Arizona just off Hwy 89. There was a large canvas hanging on the wall of the lobby and I asked the woman behind the desk where it was from. “Just up the road,” she said, “about 20 miles. It’s not marked or anything, you just pull over the start walking.” So that next day we did just that and what do you know – we found it.
This past trip to Page we thought we’d try to find it again. One late afternoon we set out armed with just a memory and full tank of gas. Soon the land began to change into what I vaguely remembered from 10 years prior and I was hopeful. Then, there on the right hand side of the road was the parking area and it all came back to me. It’s more developed now; a half dozen cars at the trail head and a sign informing would-be hikers what they’re about to see. It’s the Grand Staircase, part of the enormous Escalante National Monument.
Different than a National Park, National Monuments have different structures, different protocols. The Escalante National Monument is a truly vast, wild expanse of land sweeping through central Utah. There’s no single entry point per say, but numerous portals from which to enter. Camping is allowed and exploration is encouraged. It is a able-bodied photographer’s dream come true.
So what does this have to do with the F6? Nothing, really – other than it’s just another place it was with me to record. Ten years ago before purchasing the F6 I was shooting a D2oo. The difference between the two cameras is startling. My friend Dan looked through the F6’s super bright, clear viewfinder and – in comparison to the D750 he was shooting – commented how he wished the D750 had that viewfinder. Funny how we grow accustomed to things and can take them for granted. The viewfinder is one of the features of the F6 I’ve come to rely on most. I’m actually able to see well enough for tasks such as manually focusing and low-light shooting. And compared to the F5, because the focus points light up in red instead of remaining a monotone gray when activated makes everything easier and less distracting when shooting. Yet another reason to love the F6.
To read more about Utah’s Escalante National Monument and Grand Staircase, visit the VisitUtah web site.
Sometimes returning to your roots is a good thing. When we lived in Santa Fe from the mid 90’s ’til 2000 I was in a different phase of photography. In recent years I’ve enjoyed returning to this beautiful country with a better understanding of light – and how to coax more out of a frame of film with subtle adjustments here and there. Below are a few recent images from our last visit to Santa Fe, the F6 loaded with Velvia. The meter in the F6 is a perfect companion to the narrow exposure latitude of this sometimes tempermental emulsion. A good 2-stop Neutral Density Gradient and occasional use of a 81A warming filter can help coax light into cooperating with Velvia, producing very pleasing results.
A big thanks to Richard Photo Lab in California for their excellent work developing all the film from this trip. It was the first time I’ve used Richard but not the last. They handled a large, complex order well and all the films were properly labeled and processed.
From a recent 4042n jaunt to one of my favorite stomping grounds: North Park, Colorado. North Park is still old Colorado and I like that very much. Recent rains and early spring conditions (March 26) made for muddy travel but no catastrophies were had.
You’ll notice most of these images weren’t made with the F6. This may seem conspicuous to some, given the title of this web site. Last year I was fortunate enough to reacquire a beautiful F4s, my previous one sold shortly after buying the F6 in 2008. Though it was a fine camera, mine had become pretty beat up and I knew I’d add a nicer copy back to the line up some day. That day came last September and I’ve enjoyed working with it right beside the F6 ever since.
There are a few small usability issues to acclimate yourself to when switching back and forth between the cameras. The main one is the lack of Main/Sub Command Dial on the F4s requires the lens to have an aperture ring (non-G lenses) for full compatibility. You can still shoot G lenses on the F4s in Program and Shutter Priority mode, but I prefer Manual or Aperture Priority so I have to think twice about what lens I’ll put on the F4s and what will go on the F6. There are others, but I happily adjust as I bounce back and forth between these excellent tools.
I think most would agree that at the end of the day it really doesn’t matter what camera you’re using. Whatever brings you joy and peace to work with and has the technical competence to execute your creative vision.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
“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.
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).
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).
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.
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.
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?
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.
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.
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.
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
The other day I was on an assignment and pulled a rookie move. I became so preoccupied talking and laughing with the client, fiddling with light – diffusion panels to knock the sun down; fiddling with power levels on the SU-800 and SB-R200’s – that I forgot to change the ISO after previously shooting a 400 speed film. I don’t typically use the DX setting – preferring instead to set ISO manually, especially when using custom rather than rated ISO’s. I realized my mistake halfway through the roll and was pretty embarrassed – though the client never knew.
I decided to continue on, hoping the lab would bail me out, and was blown away by the results. They were perfect. Kevin at Digi-Graphics said, “I’ve never pushed Ektar 2 stops before but it’s great film. It should be just fine. If it were junk film not so much. Who knows… this might be exactly how you should shoot Ektar…”
As it turned out, those were prophetic words… with a few caveats.
These images are scanned in using the Nikon LS-5000 and VueScan. I ordered prints with this roll – something I don’t usually do – and they were awful – unusably awful – the red channel completely flooded blocking up the center of the flower in one, big, featureless blob of red-ness. When I saw the prints I thought, “Uh-Oh… I’m busted” and the negs sat on my light box for nearly a week as I mulled over what to do. I’d also made a few digital frames as back-ups and began considering tweaking them into what I wanted for the final images.
Last night I took another look at the negs on the light box with a loop. I could see plenty of detail in the red regions of the film and thought what the heck, it wouldn’t be the first time the prints were disappointing but the images were still good. I sat down and started scanning and was – once again – blown away by what film does. Even though the original prints were unusably awful there was plenty of information there. The question was, how to get to it. A little VueScan magic did the trick. Switching to Manual mode I began adjusting values in the red channel for scanning. Turns out about half of the standard setting did the trick and all that lovely detail began to reemerge.
The F6 has the unique ability among other film cameras to leverage Nikon’s Creative Lighting System and this was a perfect opportunity to see what the R1C1 Close-up Flash kit could do. The flowers were in direct sunlight, so a diffusion panel was used to neutralize the bright, Colorado sun. The SU-800 Commander head was mounted to the F6 and set to an even 1:1 Group C, Channel 1. I typically use Group C for my Macro work because Groups A and B are used more often for the SB-800 and 900 for more common lighting tasks. The Flash Sync Mode on the F6 was set to “Slow,” and the Sync Speed (Custom Setting Menu item E-1) was set to 1/250FP allowing sync speeds greater than the 1/250th of a second using Auto FP High Speed Sync. The SW-11 Close-Up Adaptors were used to position the light extremely close to the center axis of the lens, providing a very mild, straight-on, diffused light source, but perfect for picking up reflected detail in the water droplets. The goal was natural-appearing lighting with that little extra something. Though it hadn’t rained in a while, I flicked some water on the leaves, then hit it with a spray bottle for a little extra sparkle on the petals.
I’ve said before but it bares repeating: the Creative Lighting System is indeed one of the unique attributes of the F6 causing it to stand out amidst other film cameras. At the end of the day photography is largely about how light interacts with medium. Being intentional then about how to use that light is one way to direct, or shape, the contents of the frame. In the spirit of Tomohisa Ikeno “Value of Unique Pictures” discussion (please click here), the more I shoot the F6, the more interested I am in exploring the unique images it’s capable of. Nikon’s CLS figures prominently into that exploration.
As it turned out, shooting Ektar at ISO400 – while not something I’d have thought to do intentionally – produced great results. It allowed working with higher shutter speeds to combat a slight breeze shifting the flowers ever so slightly. Pushing Ektar also amplified the natural tendencies of this already vivid, contrasty film. “Yup. Pushing a color film increases grain, saturation and contrast at the expense of latitude. Pushing an already saturated film super saturates it,” said my buddy Eric, well versed in matters of darkroom chemistry. Given that Ektar is already a finely-grained film, the increase in grain is nominal, if noticeable at all. But the increase in saturation is very noticeable – and to a lesser degree a bump in contrast may also be seen. This explains the flooding of the red channel in the initial prints.
These images are directly out of VueScan with no adjustment to color or contrast at all. Normally when scanning Ektar there’s a certain degree of color adjustment required to get the images looking right to my eye. Here – they just jump off the screen with no adjustment what so ever.
So in case you ever need to push Ektar, do it with confidence. It works great. Just be mindful when you go to print the images that you adjust the color properly. The resulting super saturated images may exceed most printers’ ability to reproduce the results. This I know for sure: I’ll be shooting my next roll of Ektar at 200 and pushing it a stop to experiment. Who knows… I may have just stumbled bass-ackwards into a new look.
Memphis has been the subject of many a discussion between my son and I for a few years now. We love road trips and just being in the car together so when ever we’re hunting for a just barely out of reach, crazy destination to spontaneously shoot off to in the middle of the night (from Colorado) – Memphis has been a part of that discussion. Alas, common sense has prevailed and Memphis had remained unvisited – until this past July. As we planned our route to a family reunion in Nashville I was delighted to see Memphis sort of en route on the way home. We tend to drive any place we visit not for fear of flying – though who wouldn’t these days – but because we prefer to pass slowly through places en route to any destination – not zoom over places at 300mph in an aluminum tube with wings. So it was settled: Memphis on the return leg.
It’s hard to determine the origins of my fascination with Memphis precisely but strong contributors are Marc Cohn’s “Walking in Memphis,” John Hiatt’s “Memphis in the Mean Time” and of course the father of color photography, the incomparable Mr. William Eggleston – one who unbenounced to him – was instrumental in helping shape and refocus how I approach the art of color photography. Elvis and Graceland may have a little something to do with it too but not being quite as ardent “King” fans, they’re certainly not the strongest draw.
Graceland is Elvis’ old home and no trip to Memphis is complete without at least a drive by. We didn’t feel the need to go in – but were a little curious. Vans jammed with people cruised in and out of the fabled gates while a number of folks simply stood out front by the brick wall surrounding the estate. My wife and I agreed it was a little creepy – not sure how else to describe it… The wall was very interesting to me, containing “high-school yearbook” style insignias and drawings of Elvis along its 100 yard length. I walked it several times marveling at the influence this one, charismatic man had on so many people in a life cut short.
After Graceland we headed into the city center. It was a sunny, hot Sunday afternoon and we found a place in the shade to park near the bottom of famous Beale Street. As is usually the case on trips like this I’ll have my D3s and bunch of other gear buried beneath blankets in the car to keep everything cool, but leave it all in the car, choosing instead the F6, a 50mm ƒ1.4D and some Portra 400 to carry while I wander. I like to minimize attention while shooting as much as possible and carrying a lot of gear gets uncomfortable – especially in the heat. While it’s true there are times when a few extra frames would be nice to have – I find I focus much more intently while shooting with a finite number of shots. Something I’ve discovered after years of editing: I hate sitting in front of the computer after a trip trying to decide which one of 10 images in a burst is the “best.” I’d much rather decide while shooting. This requires patience and being willing to pay the cost: sometimes being wrong and missing a shot. The benefits include more finely tuning your process to identify and take advantage of opportunity.
The street flipper is a great example. There were two young men providing the afternoon’s entertainment, flipping down the gently sloping grade of Beale street. Pretty amazing, actually. I stopped and watched the first guy and overheard another young man walking past me saying to his girl friend, “yeh, I’m pretty sure I could do that…” I thought it would be cool to get a shot of him in mid-flip – hopefully in the air – so I walked up the street and found a good spot. There were trash cans lining the street and the one across from me was brightly colored, different than the others. I didn’t want it to be the brightest spot in the frame and distract from this guy’s athleticism as he flipped through the frame so moved up the hill a bit more. Working with the 50mm produced a lot of background that I couldn’t control. I could minimize it though by shooting a shallow depth of field. An aperture of ƒ4 allowed 1/1250 shooting Portra 400 at ISO200. Plenty fast to stop the guy in mid-flip were I lucky enough to time it right. Focus might have produced a problem at this point. Acquiring focus as the flipper flipped through the screen wouldn’t be feasible (he was a fast flipper), and if I settled for what the camera wanted to do I’d have been focused on the buildings across the street – making the foreground flipper blurry.
What to do… Here’s where de-coupling your focus from the shutter release is a really fantastic idea – and I think everyone should do it. It’s a good thing I usually shoot like this because I was ready. If not, to dig through the camera’s menus there on the street and fuss with CSM Settings would have taken too much time and attention away from all that was going on around me. In the F6’s CSM Menu, Custom Setting A4/AF activation/”AF-ON Only” allows the camera’s auto focus feature to be activated using only the AF-On button(s – plural if you use the MB-40 grip as I do). The camera’s default setting is “Release/AF-ON” which means if I’d used this setting to pre-focus on a certain point, the camera would try to focus again when I pressed the shutter to make the image – producing a blurry image because the camera would have focused on the buildings across the street instead of the flipper. At ƒ4 there’s not much room to miss before the image is out of focus. Not what I wanted. Using the AF-On button I focused on the street in front of me where I suspected the flipper would land, then raised the camera to frame the shot and waited. Almost immediately the other flipper came flipping through the frame and I fired one shot, hoping I got him. A little thought, a little planning and a little camera knowledge goes a long way.
After asking around someone pointed us towards one of the more famous destinations of the area, the Lorraine Motel – where Martin Luther King Jr. was shot on the balcony outside room 306. The Lorraine Motel has been turned into The National Civil Rights Museum for all to come experience. This was one of the most powerful – yet non flamboyant – destinations I’ve visited in recent memory. People hovered around and the air was reverent; respectful – not a lot of goofing around and selfies going on amidst the large group of kids who’d gathered in the shade across the street. The depth to which I was moved at this location was unexpected and we explored for nearly an hour, taking it in. The museum’s doors were open and the air conditioning felt great, and they always appreciate donations to keep the lights on.
Speaking of the heat, I was a little concerned when I grabbed the last role of Portra from the console of the car. It had become warm despite the AC running while we drove. I put it in my pocket and hoped for the best, and was delighted when processing (thank you Digi-Graphics!) revealed no issues what so ever. Sometimes I’ll carry a cooler for the film but most of the time I’ll simply protect the stash from direct sunlight and call it good. I’ve never had any problems, even in the extreme heat of the Caribbean.
After the Lorraine we slowly made our way back to the car, wanting to savor as much as we could. On a Sunday afternoon there wasn’t much activity outside Beale Street and it was nice to casually view the architecture and decor lining our path. The musical legend of Memphis alone is worth the visit, but add to that the food, culture, history…
great color and geometry in the signage, urban architecture, interesting people, and magnificent night light and my imagination ignites with photographic potential. It was tough to leave – but we had 1,200 miles and 20 hours of driving ahead of us.
Memphis is one of the wonderful perks found in driving across the country rather than flying over. We only had a couple hours in Memphis – hardly enough time to scratch the surface – but I’ll take what I can get. It was fun to finally be there if even for just a short time. Hopefully I’ll have the opportunity to return and devote the proper amount of time and attention to such a historically rich city. Happy shooting.