Little by little I’m going back to my experiments with different media, using black and white film as main ingredient.
I have to thank you all for being gentle with my posts about digital stuff… my life changed professionally, as some of you know, and Cooking Film has been the journal of my photographic adventures even when they don’t fit into the “film” category.
Well, I think it is intellectually honest to keep faithful to the spirit of the blog but I also must say that, personally, photography or image making or whatever you want to call it, is much, much more than a specific medium.
Personally I like to explore tools and different mediums and I try to share to process the best I can, film or digital/iPhone.
So… messing up with film.
We all know that digital delivers amazing results but we, film lovers, also know that it lacks the textural aspect of film. It is not the same as “adding noise” in Photoshop. Film, specially, black and white is an amazing raw material for textures.
You guys pretty much know what I feel about this, I’m not a film fundamentalist, but it never ceases to amaze me. Once you get to know film and how it behaves in combination with a number of factors, it delivers richness and depth.
Two shots taken on a very sunny morning, 400 ISO was making me use f/11, f/16 at top speed so I set the ISO to 100 for using f/5.6, f/8.
Hasselblad 500CM + 120mm Makro + 21mm tube on the second shot.
Kodak Trix@100, Ilfosol 3, 1+9, 6 minutes.
PS: All my scans are made like this:
1:1, no filters and no sharpen, RGB mode (for the brownish/rusty color) at 2400 dpi using the film profile in the scanner software.
Same recipe and gear but this time exposing film to the light halfway through development. The negatives become really dark and flat and I know the scanner will go crazy and some rusty tones always come out.
I know that these are not real Solarizations, these are just a lame attempt to mess up the film a little but I’ve done this a lot and I know (more or less) how the negatives will behave when scanned.
The above negatives are pretty much “as scanned”, minor brightness and contrast in Photoshop. However, negatives like these can deliver the most beautiful warm tones when pushed in editing.
Here are some more examples taken this afternoon on a walk in the woods with my son and developed using the same process: exposing the negatives to the light at some point during development.
So… there’s nothing scientific about this, just experiments with a certain degree of certainty.
Hasselblad + 120mm Makro Planar + 55mm extension tube
Kodak Trix@800, Ilfosol 3, 1+9, 10 minutes.
The following samples all have the same editing in Photoshop to pop up the rusty look. Three layers above the background, the first one set to Sotflight, the second one to Screen and the top one to Softlight again. I did adjust the opacity of each one as I see fit.