Portrait Shoots with the Carl Zeiss Sonnar 180mm 2.8 adapted to Pentax 67

This is a turn up for the books! I haven’t written a single blog for this website in months and in the space of a few hours here I am writing my third!! When I started this blog all those many years ago, I had very little idea what I was doing (still don’t) and no idea who I was writing these blogs for - I just felt that I had something to say and blogging felt like a good medium to say it. All these years later and whilst there is an audience (demonstrated by the numbers of visitors) I think in lots of ways - I write this blog for me. And while I am very grateful that anyone at all might stumble upon it and find it possibly useful or mildly amusing or even in rare moments - inspiring. Even if no one saw these ramblings, I’d still write them. There is very much to be said for writing about something that you are passionate about. BUT. We are not here to elucidate on the vicissitudes brought about through blogging (swallowed a dictionary)?

We ARE here to talk about making space for creativity though - so maybe there’s a link to my thought process??! I wrote a while ago about my initial experience with the wonderfully sublime portrait lens the Carl Zeiss Jena Sonnar 180mm 2.8 lens that at the beginning of this year I obtained a copy that was adapted to Pentax 67 mount HERE I felt it was high time that I shared some images from a couple of Portrait shoots using this lens along with some rambling thoughts (as if I haven’t shared enough of those already).

The lens balances so well on the Pentax 67 it could easily have been a stock OEM set up! I loved this lens on the ARAX CM and you can read a little more about my experience HERE but it was unwieldy and tricky to focus - no such issues now! Image quality is exceptional! This Sonnar lens comes with a very great reputation which doesn’t always translate into a positive shooting experience in practice (lots of internet myth built up over years - another motive for starting a blog, dispelling that stuff)! I digress… yes a lens with a big reputation… but it delivers on that promise, punchy, contrasty, beautiful details rendered in the areas of focus, with a lovely drop off into smooth and creamy bokeh - yum.

The examples here were taken on different shoots and were developed and scanned by me using Bellini C41 chemistry, Epson V600 & Negative Lab Pro.

The two images above were shot with Fay on expired Portra 400. We’d originally intended an outdoor shoot but then it poured with rain and I wanted to try the P67 / Sonnar so before we went into the studio we used the landing at the top of the stairs to my studio and made the most of the natural light.

The images below are from a shoot with Becca, this time on expired Portra 800 - again on location at the studio but using the derelict Mill at the back of the building.

I really loved shooting with Fay and Becca - both amazing models to work with and we always get some great results! The Pentax 67 and Sonnar combination feels like it was meant to be - absolutely love using it, the results speak for themselves I think!

After spending so much time wrestling with the ARAX CM it’s a relief to shoot the Sonnar on a camera which makes it a much more enjoyable experience, focussing is easy on the bright P67 screen and I’ve already mentioned how well this combination handles.

The Sonnar holds its own alongside the wonderful stock Pentax 67 lenses too and I think it brings a different look and feel to the table, it’s equivalent to 100mm so a nice portrait focal length, the Sonnar remains one of the best Portrait lenses I think I’ve ever used - if you get the opportunity to pick one up whether its on a Kiev 60 / Kiev 88 / ARAX or adapted I would HIGHLY recommend!

Studio Portraits with the Speed Graphic and Lomography Lomograflock

Tradition demands that I start this blog with an apology for my tardiness of late!! In my defence I have been busily building a business and all my energies have been focussed on that - and over recent months I’ve not had much time to shoot - but when I glanced at the blog page the other day I was mortified to see that the last published blog was in FEBRUARY!! I have definitely got some cool stuff to share with you since then so to make amends here’s the first in what I hope will be a little flurry of new activity!

Down to business then!

I bought the Speed Graphic camera as my first foray into 4X5 large format photography and ostensibly my motivation was to give me a platform that I can shoot the legendary Kodak Aero Ektar lens with - I’ve already blogged about that a million years ago HERE and HERE.

I flipping love shooting with this camera, it’s wonderful! I did have encounter an issue with my speed graphic with the shutter speeds being a bit erratic but since the camera is from about 1948 I think it’s fair enough!

I had the camera service by a George Walsh in Liverpool who I HIGHLY recommend and its back in fully working order! The Speed Graphic and Aero Ektar are a good match because of that built in shutter - it means you can effectively stick any bit of glass that covers the film size on the front and shoot away! It does however mean that it’s not so good for studio work and that my friends is my very very long winded (and suspiciously self justifying) reason for buying another lens for my 4x5 camera - the Schneider 210mm f5.6 - it has a built in leaf shutter which means I can hook it up to some studio strobes!!

With the flick of a switch on the speed graphic I can disengage the built in focal plane shutter on the camera body and use the leaf shutter in the lens - lovely!! I got the lens for an absolute bargain price because the slower shutter speeds don’t work but I wasn’t bothered about that cos in the studio I’m really only going to be using the faster speed (everyone keeping track of all this? There’s a quiz at the end ya know)!

Any road, let’s talk about the shoot!

I wanted to use the Lomograflock back and shoot some instax film to see how it performed under studio conditions (I also shot some 4X5 sheet film but had a bit of a ‘mare with that).

My friend Becca was kind of enough to join me in the studio and help me test everything out and as you can see from the images - we got some really flipping cool shots!! I LOOOOOOVE shooting instant film, I mean REALLY love it! I bought the lomograflok out of curiosity but honestly it’s a really great way to shoot the speed graphic and you get that instant kick when you see the image appear!

Working with film in a studio situation is…. challenging, but in a fun way! I use my handheld meter initial to give me a ball park reading, now Instax film is 800 speed but in natural light I’ve tended to shoot it at 640, in the studio I was between 400 and 640 for most of these shots, the lens was wide open at 5.6 (which is actually quite fast for large format) and the shutter was generally at 1/400 which is as fast as it’ll go!

Right enough technobabble - I am embracing these new fangled ‘moving’ images so that I can show what went on during the shoot as well as the resulting images!!

I’ve mentioned previously the process of using the lomograflok back which has a few steps involved and when shooting portraits it’s vital that you communicate the need for your subject to hold as still as possible while you attach the film holders etc fortunately Becca was amazing at this and we got lots of nicely sharp shots!

I did manage to get one good 4X5 frame out of the shoot as well, but I did lose a sheet as well because I hadn’t quote loaded it properly and couldn't get the dark slide back in! oh well! thems the breaks as they say - I’ll share the large format shot in a future post! B

Huge thanks to Becca for being such a great model and creative collaborator and thanks to anyone who has read this far - well done!

Our first Shoot, Develop & Print Workshop

As I write these words it’s been a couple of weeks since our first ever workshop at the Adventures on Film Darkroom and I am STILL buzzing from the experience!

Three people took part in this workshop - all of whom had shot with film in the past but were looking to get back into it, brush up on their skills and learn some new ones too.

The format for the day was a location based portrait shoot with our wonderful model and long time creative collaborator Danni, after which we then went into the Darkroom to develop our film and create some prints.

You’ll have no doubt noticed the preponderance of video in this blog - yes friends I’ve recently rejoined Instagram after a long hiatus - I have been enjoying creating some video reels of our workshop shenanigans! Give us a follow HERE

A lot of work went in to getting the darkroom ready to welcome our first guests and we had a wonderful day together shooting portraits, developing the film and making some prints.

A huge thank you to Gary, Andrew and Damian for taking part and of course to Danni for being such an amazing model and to Jony Hunter for shooting the video and BTS shots of the day!

We’re going to be organising some regular workshops beginning in the new year covering so watch this space for details and if you’re interested in taking part then please see HERE for more details or get in touch via email info@chrischinnockphotography.com

Rollei Retro 80S - Portait shoot

Sometimes you have a shoot and it ends up exceeding your expectations and becomes the new benchmark from which all other shoots must now be measured.

To continually create images which you are proud of, which showcase your vision in it’s best light - this is what I strive for. But it’s never a given! We cannot take these things for granted and they most certainly do not just ‘happen’ it requires the alignment of many factors!

And what better medium to explore those factors than a blog?! Huzzah! I hear you cry! What’s that you say? You want me to tell you about the background to the shoot, the creative process and to dabble in some film photography technobabble and geekery?? Well if you insist dear reader… if you insist..

I was very fortunate to work with Theresa Terzonie AKA ‘Tree’ on this one- she’s an uber talented Songwriter, Vocalist and Guitarist based in Leeds. Check out her music HERE and find her on facebook HERE. I have to say that Tree was an absolutely amazing person to shoot with - she has great energy and together we were able to create some of what I believe to be my best work yet.

The three images above are my absolute picks from the shoot - in fact I think they work really nicely as a Triptych. It’s given me some ideas for incorporating more of a ‘short story’ element into some future shoots. I love that about stills photography, even when constrained by a single 35mm frame you still have the scope to convey a sense of story - definitely something for a future project.

We really wanted to incorporate some movement into some of these shots - remember I’m shooting a manual everything Nikon F2 so I’m manually focussing and only have enough time to take one shot during these jumping moves - no spray and prey around here thank you very much (some might say I’d have been better off with a rapid fire camera but you know what? I properly enjoyed the challenge and I love the results).

Shot on location in Leeds city centre I wanted to make the most of the bright sunny conditions that day so brought along a roll or Rollei Retro 80S - one of my favourite films which I’ve shot on quite a few occasions but always for travel/architecural stuff never for portraits. I love shooting portraits in an urban environment, by paying attention to your composition you can really incorporate the strong architectural features of your surroudings into your image, also working with someone like Tree helps as she is just great in front of camera, really relaxed, comfortable and creative.

A HUGE thank you to Tree for this shoot - absolutley some of my favourite images and it’s been amazing to get back shooting after the lockdown! For the static images like the one below I shot with the Nikkor 85mm 1.4 which is fast becoming my favourite lens - this combined with the wonderful sharpness, detail and contrast of the film just blows me away, who needs digital?! not me!!

Let’s get the camera geekery out of the way shall we: My set up for this shoot is pictured above I used everything except that roll of pro image 100 in fact! My Nikon F2 is fresh from a service/overhaul (read about that HERE) so I was uber keen to shoot with it. I’ve gotten into the habit of taking two cameras with me (often having one colour and one black and white) on most portrait shoots but just using the one body and swapping lenses worked really well for me so I think I’m going to stick with this format for a little while.

Lenses chosen for this shoot are some of my favourite in my collection the Nikkor 85mm 1.4 AIS, 50mm 1.4 and 24mm 2.8 AI - I was slightly concerned that I’d pull my usual trick of taking a few lenses and then only shooting with one of them but not on this occasion! I actually used each of the lenses equally (maybe the 85 got a bit more use). The observant amongst you will notice a roll of Ektachrome too - my first time shooting slide film, I’m saving the images from that roll for a film review blog coming soon!

Creating colourful dramatic portraits with LED lights on film

I’ve been experimenting with LED lighting and coloured gels in my portraiture, in particular I’ve been exploring new creative themes taking inspiration from some of my fave Sci fi movies as a way of experimenting with lighting to evoke the mood of the original films and it’s also been wonderful to play around with characters, settings and stories.

I was fortunate to collaborate once again with Charlie and Jony to create two really distinctive looks. Firstly Charlie channelling her inner ‘Ripley from Aliens’ and Jony doing an amazing job with a ‘Deckard off of Bladerunner’ look. We finished the shoot with Charlie joining Jony in a Dark Future Dystopia by reprising her role as ‘bad ass Terminator Cyborg’ from our previous shoot HERE.

Once again this was an all Kodak Portra 400 affair, I rated the film at 800 and had the lovely folks at Exposure Film Lab push development two stops. Camera gear used:

• Nikon F3 / 85mm 1.4 / 50mm 1.4

• Pentax 67 / 105mm 2.5

We shot both of these looks in their cellar using a simple lighting set up involving one LED panel light and two small LED pads with some coloured cellophane for ‘gels’. Jony provided extra atmosphere by streaming the background music to Aliens during the Ripley shoot too!! ACE!

For inspiration I rewatched Aliens which is one of my favourite films paying particular attention to the lighting and colour pallete used in the film - I picked out blue/green and yellow as the main colours and then tried to replicate that multi million dollar budget movie with a few cheap LED lights and 99p worth of coloured Cellophane! You know what? I absolutley love the results!!

I searched out a suitably sci-fi looking rifle for ‘Ripley’ and Charlie did an absolutely stellar job creating the look with an awesome outfit, hair and make up - she really is one of the most creative souls I have had the pleasure to work with, she’s amazing! :)

Interestingly (well i think it’s interesting and it’s my blog, so get lost) for the Ripley images the 35mm frames look the best, they have a grainy/grittyness which is very appealing and truth be told I missed focus quite a bit on the Pentax 67 shots for Ripley and even those shots which I didn’t just don’t have the same feel as these 35mm shots.

Now we move on to a look inspired by Deckard from Bladerunner another of my all time fave movies!! For inspiration I watched both the original film and the recent 2049 movie and actually took my lighting inspiration from both films - I decided I wanted to combine the darker/noir feel of the original movie with some of the colour palette of the later film.

Jony did an awesome job not only with his outfit but also bringing that noir detective/bladerunner vibe - very very cool! I was so happy with how the lighting worked out giving a very dramatic effect.

Interestingly (yes! it IS interesting - now shush) the Pentax 67 shots look best on this look (if I do say so myself) I was shooting this handheld at 1/30 and wide open at 2.5 so Depth of Field is razor thin and there is a little bit of camera shake creeping in on one or two frames but I care not! Love these shots! Huge thank you to Jony for absolutely nailing the look here!

Props wise I bought a custom nerf gun and also some ‘neon bullets’ which are actual (empty) bullet casings but with a blue LED light inside! There really are some randomly specific/amazing things available in the internet aren’t there?! I think they look great on the shot - definitely add to the sci fi vibes.

In fact the whole Dark Future look is created by the lighting on this one as without the LED lights or the neon bullets then Jony’s look could be from any time period - this is one of the things I love about experimenting with coloured lighting, it really is transformative!

As if that wasn’t enough creativity for one shoot using the exact same location we then stepped it up a gear and brought Charlie and Jony together for a few final images. On these I really wanted to push the lighting to see what was achievable - and wow!! We created a set of promo images for an imaginary Sci-fi Cop show!

With Red light as the main lighting and blue just in the background and picking out little details and reflections - the high grain just adds to the lo-fi/low key appeal! An awesome end to an awesome shoot! It was a real pleasure to work with Charlie and Jony again, such lovely creative folk to work with :)

As for the lighting, I am really enjoying exploring the creative possibilites which coloured lighting brings to my photography. LED lights are a game changer for the film shooter because what you see is pretty much what you get which allows you to control and adjust your lighting by eye. I continue to be amazed at the flexibility of Kodak Portra 400 it really is wonderful stuff! I would urge anyone reading this to introduce some dramatic colour lighting into your film photography and push your creativity to the limits! It is such an enjoyable experience!

From the USSR with Love: Portrait shoot with Soviet lenses on 35mm film

I’d be lying if I said that I didn’t enjoy the process of preparing for a photo shoot almost as much as the shoot itself! The anticipation of all those endless creative possibilities to come, the excitement tinged with a nervousness that naturally accompanies these thoughts: Will everything work? Am I up to the task? Will it piss it down with rain like it has done all day today....

Film photography invites you to make creative decisions up front (not all of course as development, processing and printing are large factors too) but your choice of film, camera and lens are important considerations. Perhaps more so on film than digital as each film has different characteristics and vintage lenses have their own unique qualities that they bring to the table.

My main 35mm set up is an all Nikon affair but I also have a thing for Soviet lenses, there is just something about them that I am drawn to which allows for some interesting creative possibilities (or maybe it’s because they’re cheap)! While I love Soviet glass I’ve found that Soviet cameras on the other hand can leave a lot to be desired - in my experience they aren’t that reliable and since (annoyingly) M42 lenses won’t easily adapt to Nikon mount cameras I have added a couple of Pentax Spotmatic bodies to my collection which I use for my M42 shenanigans, I’m not going to go into a big review of the Spotmatic F because I’ve already done that HERE suffice it to say that it is a very very fine camera indeed and an absolute joy to shoot with.

So let’s talk lenses then, we’ll start with the Helios 44-2 which you can see at the top left of the image below - it is renowned for it’s ability to do swirly bokeh. But this is no one trick pony and it’s certainly not a novelty or toy lens. It is absolutely sharp (the caveat being that sharpness as a concept is MASSIVELY over stated) it has lovely contrast, tone and detail too and the bokeh is wonderfully smooth as well having some good swirly patterning. The best part? Mine cost me £10! I bought it attached to a broken Zenit camera for £25 - kept the lens and sold the zenit body for £15 :)

There are loads of versions of the Helios 44, I’ve had several later versions all of which had really stiff focussing rings, I tried out this earlier 44-2 version and it’s my fav so far. The build quality is very good, focus is smooth and it has a preset aperture control so you choose which aperture you want using a ring on the front of edge of the lens, you can then adjust the aperture manually so you focus while it’s wide open and then stop it down to shoot (it takes longer to explain than it does to actually do it) this works well for me as I have a Spotmatic F which won’t mount non Pentax lenses with auto aperture pins (note to anyone reading this wanting to use a spotmatic for Soviet glass - if you have a Spotmatic F then stick with preset lenses or if you’re looking to buy just get an older Spotmatic).

The Lens attached to the Spotmatic in the image above is the lovely Jupiter 9, it’s an 85mm f2 lens - this focal length is one of my faves to shoot, especially portraiture. Slightly more rare than the Helios (but that’s only because they made literally a kabillion Helios lenese) the Jupiter 9 is a very very lovely bit of glass indeed - build quality is excellent, focussing is lovely and smooth. I bought mine via evilbay from a seller in Russia for £70. There were several versions of this lens, this is the single coated version dating from the mid 80’s i think - later multicoated ones seem to be at a premium far above any real world advantage you might expect. One of the most impressive things about the Jupiter 9 is it’s size- it’s almost the same size as the Helios!! It looks like a 50mm prime lens which is amazing! It makes for a very compact and portable portrait combination.

A few words about the shoot itself and then I’ll let the images do the rest of the talking: I chose ilford HP5 for this shoot because it was kind of overcast and we were shooting under tree cover so I wanted something flexible enough to handle any situation, I shot it at 800 and I love the results! HP5 absolutely sings when it’s pushed and I think these have a lovely tone and feel to them. A huge thank you to model Danni AKA Pandora Belle - she absolutely nailed it on this shoot, Danni is a very talented model and it was really great to work her on this shoot.

Jupiter 9

Jupiter 9

Jupiter 9

Jupiter 9

Jupiter 9

Helios 44-2

Helios 44-2

Helios 44-2

Helios 44-2

Once again my thanks to Danni for being such an amazing model and also to Exposure Film Lab who develop and scan all my portfolio work - they’re the best!

To say that I am over the moon with the results would be an understatement! First run out with the Helios 44-2 and the Jupiter 9 and I am so happy with how the images came out - in fact I think they make a good pairing, they have similar characteristics. The Helios has a little more swirl in the Bokeh where as the Jupiter 9 is buttery smooth but they both have excellent sharpness, contrast and detail but then you already know that as you’ve just seen the images right?! I’ll certainly be using this set up again in the near future and putting and I’ve really enjoyed shooting black and white portraits for a change, i use colour a lot in my portraiture so I wanted to mix it up a little, for me casual/day to day and personal work I’ve found Ilford HP5 to be such a versatile film, but I’ve never shot portaits with it - I love the results!

Street Portraiture on 35mm film with the Nikon FE2 & F2

Partners in crime - my trusty FE2 (left) alongside it’s new bezzie mate the F2

Lots and lots and lots to update you with since the last blog post which was all the way back in December!! I’ve been mega busy with lots of different projects and got loads to tell you all about, so since it’s almost a quarter of the way through already let’s finally get the 2019 blogging season off to a start shall we!

Remember last time I was saying things like “I’m going to focus more on creating photos” and “I won’t be doing as many gear reviews” and “gear just gets in the way” well I still think that’s true but owing to my contrary nature I’d like to introduce you to my latest gear acquistion… the Nikon F2!! Rather than just a boring old review thought this time I’ll be sharing some images i shot with this amazing camera on a recent portrait shoot as well, but first let me take you for a walk around the F2

Ever since selling my Nikon F3 last year I have had a Nikon F Series shaped hole in my heart/camera collection (check out this link for the reason why I sold the F3) back in mid December I decided (after not very much deliberation) to buy myself an F2, cos ya know..I worked really hard last year and it’s nice to treat yourself every now and again and it was the run up to Christmas and… well, you get the idea…

I found this beauty on Evilbay for the ridiculous price of £70 and so a deal was done, the caveat being that the camera was from Japan so taking a bit of a punt on condition and shipping times, but as with my previous experience of international purchases the shipping is mega quick, it’s really only on arrival into the custody of Her Mahesty’s rip off merchants here in good old blighty that things slow down, after an almost literal ice age in UK customs my camera was finally released to me and there was much merry making and feasting by all….. sort of… two things became clear fairly quickly 1: it was in very good condition and functionally worked perfectly 2: there were traces of dreaded fungus in the viewfinder and in the mirrorbox which didn’t bode well and therefore i was going to have to shell out some more cash (and wait even longer) before getting to grips with the F2 - it’s all sorted now though, fresh from a good clean and service I even managed to negotiate a part refund from the ebay seller which paid towards the cleaning :)

There’s oodles of info out there on the interwebs about the F2 so there’s not much point in me re-hashing it all, suffice it to say that between 1971 and 1980 if you wanted a professional level Nikon SLR then this was it!! Instead of reeling off a list of it’s features and functions I’m going to share with you a series of images I shot with both the F2 and my trusty Nikon FE2 on a portrait shoot recently, I’ll share my experience of shooting with it too of course and no doubt indulge in some techno-babble along the way as is my want…

Oh yes and interesting/geeky factoid alert! The serial number on my F2 is 7865098 and thanks to the wonders of the internet and some Nikon nerds who collate all this info I was able to date manufature of my particular camera to between May & August 1977 - so this camera is only a few months older than me! :)

Ok so that’s enough camera geekery for one blog, what’s the damn thing like to shoot I hear you cry… well… it’s amazing! build quality is second to none, it just feels very well balanced despite being quite a large camera, the viewfinder is HUGE and bright and lovely which makes manual focussing a doddle, alongside the ever brilliant FE2 I now have my perfect 35mm dynamic duo!

Portra 160 with the FE2 and series e 100mm 2.8

These images were taken on a portrait shoot with Model Rebecca back in Feb when we had a mini heat wave - I was so glad we made the most of the sunshine! The FE2 was loaded with a roll of Portra 160 and with the F2 I shot a roll of Fuji Acros 100 and a roll of Portra 400 - I enjoyed using this combination of film and cameras so much and was very happy with the results that I decided right there and then that I’m going to shoot film from now on for portraiture.

Fuji Acros 100 on the F2 with Nikkor 50m 1.4

Let’s take a moment to reflect on the film stocks used on this shoot - I’ve had a couple of rolls of Fuji Acros 100 on ice in the freezer for a few years now and since buying it Fuji have discontinued production :( having only shot one roll of it before I figured I’d give it a whirl and I love the results, developed in HC110 it has a clean and balanced finished with lovely contrast.

Colour film duties were fulfilled by Kodak Portra one roll each of 160 and 400 flavours - I think i overexposed the 400 speed a couple of stops to 200 and shot 160 at box speed - having developed these myself I had some issues getting the right colour balance when scanning at home and for some frames it took me a little while to get the colours to look and feel ‘right’

Portra 400 on the FE 2 with Nikkor 24mmm 2.8

So there we have it - I was so pleased with how both cameras performed and I continue to be impressed at the quality of the Nikon lenses, the images here were shot on the Nikkor 50mm 1.4, Nikkor 24mm 2.8 and the Series E 100mm 2.8 - super sharp shooters the lot of them! If you’ve not tried an old Nikon camera and lens I would urge you to do so - there’s a reason why these were the manufacturer of choice for professionals back in the day.

Portra 160 on the FE2 series e 100mm 2.8

I developed the colour film at home too - the first time in a long time that I’ve done that, I was really pleased with how they came out and I’ve got a write up of the process and kit that I used on the way, I promise it won’t be another 3 months before I write another blog, in the meantime happy shooting!

Pentax 645 medium format camera review: My new favourite portrait camera

Some cameras attract your attention because of their sleek industrial design others with their classic style and charm - the Pentax 645 is not one of those cameras!

Seen here lurking in it's natural environment -the pentax 645 sneaks up on an unsuspecting roll of Fuji pro 400H.....

At first glance the Pentax 645 looks like a big plastic box with a lens sticking out of the front and at second glance it also looks like a big plastic box with a lens sticking out the front, but hey this ain't a beauty contest! it's a camera and a bloody awesome one too! in fact (and yes I know that I say this a lot) it's my new fave camera and i really, really,really-really-really mean it this time, honest.... no, really....

I think I've reached that point in my film camera tomfoolery where I'm looking for my cameras to do different things or have specific purposes - I've shot loads of different cameras so I can speak with some experience that most 35mm film SLR cameras are a variation on a theme - they have various control layouts/feature sets etc but ultimately they are much of a muchness so whilst I am thinning out my collection of 35mm film cameras which all do pretty much the same thing I am also expanding the collection to include cameras which do things a little bit differently - and therefore in my warped Gear Acquisition Syndrome afflicted brain I can be justified in purchasing...the Pentax 645 which is a medium format film camera and it's amazing, let me introduce you..

The first thing that is obvious is what era this camera hails from - this thing is so 80's it hurts!! the buttons and the chunky design are total give aways and i love it!! despite it's brick like subtlety the 645 is actually very ergonomic and I love the button placement, there are loads of hokey reviews out there on the net talking about all sorts of nonsense about this camera like the viewfinder being dim (it's not - it's VERY bright and HUGE) and there is an even larger amount of claptrap out there about the shutter being VERY LOUD (it's not.... yeah you can hear it but it's not THAT bad) what else... oh yeah people complain about the button placement, for me this is just not an issue at all....this thing is so easy to shoot with!! it has a full range of shutter priority, aperture priority and full manual modes (there are also people out there claiming that the 645 doesn't have a full manual mode, erm yes it does)..... the great thing about all these crap reviews and internet forums recylcing this duff info about the camera is that nobody wants to buy it - so it's CHEAP!!! like REALLY cheap!! hurray!

These cameras are not particularly common in the UK these days so I imported mine from Japan and even with shipping and Her Majesty's rip off merchants at UK customs it was still a good deal! If you think you want a Pentax 645 then buy one - you will not be dissapointed! Mine came with the standard 75mm 2.8 lens attached already and I very quickly added a 150mm 3.5 lens too - the pentax 645 glass is AMAZING! it's a totally manual focus system and that's the way (a ha a ha) I like it! very smooth focussing action and a lovely bright viewfinder to nail focus - Love it!!

Above you can see my set up - the Pentax 645 itself sporting the 150mm lens, a spare film back which can be preloaded with film making it much easier in the field to load a new film, a light meter which I've just started using to help nail exposure and of course a few rolls of film - the 645 is a bulky beast, but it's not mega heavy, I use my Joby slingstrap with it and I've carried around for a few hours at a time during a shoot with no bothers.

Anyway enough with the camera review stuff - I don't shoot film just so I can review cameras, in fact the real reason I shoot film is in no small part becuase as a photographer what I like to do is take photographs!! yes i know! crazy! what I mean is I'd like to spend a little more time on the photograph taking side and a little less on the sitting in front of the computer editing side of the euqation - I fully believe that editing and processing is an important part of the photographic process but with film it's a much more hands on process, film also gives you some constraints to work within and I like that too, oh and it looks flipping awesome too - did i mention that already?

Anyway for someone who is trying to reduce the amount of camera review waffling I don't half bang on about cameras - let's call it a work in progress, now let's talk about the photos instead though shall we? These images were created on a modelshoot with the amazingly talented Pandora Belle - for the shoot we took a walk in the woods on a bright sunny day just outside Bradford in a place called Judy Woods, a beautiful setting with soft light filtered through the trees, the bluebells were in full swing and Pandora suggested a goth look which I think works great in this setting. Over the moon with how these turned out - this is how I want to work from now on, spend more time being much more intentional about visualising the shot and getting the compostion and exposure right during the shoot so that the images look how I imagined right off the bat - beautiful!

I've been wanting to incorporate film into my professional work for some time now - in particular for portraits, but to do that i first needed to build some experience of shooting portraits on film and at the same time build my portfolio in that direction so i have something to show people, this is where working with models on a TF (Time For) basis is a great option as it helps us both build our portfolios so it's mutually beneficial - it's also a good creative outlet and you can test out new ideas (like shooting with film) without the pressure of a paying client.

These images were shot on Fuji pro 400H film and wow!! I love how they look - i intentionally overexposed the film which is a way of creating a more light and airy feel to the images and I think it's worked great, what this means is I rate the film as 200 speed so in effect treating it as though it requires twice the amount of light and voila! amazing tones and lovely feel to the photos - I did next to nothing with the scans I got back from Exposure Film Lab because to my eye they look exactly how I'd envisioned things, fantastic stuff :)

Exposure Film Lab did such a great job of developing and scanning the film - it was my first time using these guys but I have to say they did a wonderful job and I cannot recommend them highly enough, and also a huge thank you to Pandora Belle for working with me on this shoot - she's a very creative and talented model and I'm sure we'll work together again soon!