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Film & Analog – A

Welcome to Film & Analog — a curated space for lovers of grain, texture, and the unpredictable beauty of film. Whether you’re shooting 35mm, 120 medium format, or instant film, this category explores the craft and culture of analog photography.

Dive into reviews of iconic film stocks like Kodak Portra, Ilford HP5, Fuji Pro 400H, and Cinestill 800T. Learn how to shoot on vintage film cameras, explore exposure techniques, metering without a screen, and understand the magic of manual development and scanning.

From DIY darkroom tips to hybrid workflows that merge analog and digital post-processing, this space brings you back to the essence of storytelling with light — one frame at a time.

Zone System for Digital B&W Photography Guide
Analog PhotographyFilm & Analog - A

Zone System for Digital B&W Photography Guide

by James Nader

Zone system readings are essential to allow you to begin seeing the scene in front of you in terms of black and white before you even shoot it. Through the art of digital black-and-white photography, as I illuminate the potent capability of the zone system, whether my lens is fixed on the evolving tapestry of dawn or the pronounced contrasts that define urban contours, applying the zone system enhances my digital creations, bestowing upon them a visual language rich in detail and expressive power. By assimilating this timeless approach, you can harness the full spectrum of light and shadow that digital black-and-white photography offers.

 

In the world of photography, black-and-white images hold a special place. They have a way of evoking emotions and capturing the essence of a subject uniquely and profoundly. One of the critical techniques that has made black-and-white photography so captivating is the Zone System, pioneered by the legendary photographer Ansel Adams. This system allows photographers to control and manipulate the tonal range of their images, resulting in stunning and impactful black-and-white photographs. If you’ve ever wondered how to achieve that timeless and expressive quality in your black-and-white photos, this guide on the Zone System for Digital B&W Photography is here to help. Join us as we delve into the intricacies of this technique, exploring its origins and uncovering the secrets to creating breathtaking black-and-white photographs.

zone system for digital photographers - photographers blog -001

Zone System Key Takeaways

  • Unlock the full potential of monochrome photography through the zone system, a linchpin in mastering exposure and dynamic range.
  • Transform digital images by meticulously controlling the interplay of light and shadow to achieve unparalleled depth.
  • Attain an intricate understanding of a scene’s luminosity, which is crucial for capturing the subtlest gradations and stark contrasts.
  • Adapt the philosophies of Ansel Adams and Fred Archer to the digital realm, ensuring every black-and-white photo is a masterpiece.
  • Reinvent your digital workflow by integrating zone system principles for imagery that stands the test of time and technology.

Understanding the Zone System in Digital Black and White Photography

As a passionate advocate for the aesthetic of monochrome imagery, I find joy in guiding fellow photographers through the intricacies of digital black-and-white photography. Embracing the zone system is essential for anyone seeking to elevate their craft. I aim to demystify this method, ensuring a comprehensive understanding of the zone system that will benefit your artistic endeavours. The transitions from film to digital have only enhanced the importance of this photographic approach.

Origins of the Zone System and its Digital Evolution

The foundations of the zone system were laid by renowned photographers Ansel Adams and Fred Archer. With meticulously calculated exposure and development control, the duo’s method revolutionised the level of detail retained in the shadows and highlights of an image. Fast-forward to the digital era, and the zone system has adapted seamlessly to the digital medium. Modern cameras bring forth many tools tailored for monochrome photography, translating visual zones into pixel-perfect black-and-white compositions.

Working with the Zone System in the Digital Age

In harnessing the power of today’s technology, photographers can implement the zone system to craft striking contrasts and nuanced grayscale gradations. Digital sensors and advanced metering systems allow for precise measurement and articulation of the visual zones. I continually advocate using these tools, as they offer unparalleled control over monochromatic expression, transforming how we perceive and construct our photographic narratives.

Recognising Visual Zones in Monochrome

Recognition of visual zones allows us to interpret and manipulate tonal ranges, ultimately creating a more impactful image. In digital black-and-white photography, each zone correlates to distinct tonal values that can be anticipated and controlled during capture. This produces images with emotional depth, enabling us to communicate our artistic vision. It’s more than capturing a scene; it’s about conveying a story through deliberate shading and lighting.

My purpose is not just to illustrate the mechanics of the zone system but to inspire you to apply it. This venerable method becomes second nature with practice, enhancing the dynamic range and depth of your monochrome visuals. Gone are the days of flat and lifeless black-and-white photos; enter a world where each shot you take is a deliberate step towards visual poetry.

 

%photographers blogImplementing the Zone System in Your Digital Workflow

As an avid enthusiast of digital black-and-white photography, I’ve found that implementing the zone system can elevate the quality of my monochrome images to new heights. But how can one integrate this powerful tool into a digital workflow? Let me guide you.

The first step is to understand metering for the zone system. This involves assessing the light within the scene and deciding which zone the key elements belong to. Historically, Ansel Adams painstakingly measured the light of different sections of his compositions, a method that can still be applied in the digital realm.

By classifying the tones of the scene into different zones, from pure white to absolute black, I’m able to pre-visualise the final image even before the shutter clicks.

What does this mean for you? When you’re out with your camera, assess your scene’s brightest and darkest parts. Determine the exposure values of these elements and use them to set your camera, bearing in mind that zone V represents your middle grey. This approach ensures that you maintain details where they matter most.

However, using your camera’s histogram can be a modern twist to implementing the zone system. This real-time graph reflects the tonal distribution in your image, visually representing the zones across your digital black-and-white photography.

  • Identify the critical tonal areas in the histogram
  • Adjust your exposure to map these areas onto the desired zones
  • Shoot in RAW to allow for greater flexibility during post-processing

Once I’ve made these adjustments, the right balance of contrasts and gradations is achieved, creating a harmonious tonal range true to the initial vision. The final stage of integrating the zone system within my digital workflow is post-production. I carefully tweak the RAW files, ensuring that each zone transitions smoothly into the next, carefully crafting a digital black-and-white photograph that stands out.

Remember, patience and practice are vital to mastering the zone system in your digital workflow. With due diligence, the results can be nothing short of stunning!

Mastering Exposure with the Zone System

Exposure to digital black-and-white photography is a delicate balancing act that I find exhilarating. The zone system, a systematic framework developed by the great Ansel Adams, has been an indispensable guide for photographers to understand the scene they are looking at. Modern digital cameras, with their histograms and indicators of dynamic range, offer unprecedented control, allowing photographers like me to manoeuvre through the complexities of exposure precisely.

Understanding Histograms and the Zone System

As a tool, histograms are extraordinarily insightful, displaying the tonal distribution of a photograph. My approach involves matching these graphical representations with the zone system’s scale to fine-tune exposure levels. For instance, by ensuring that vital tonal areas fall within certain zones, I can achieve a balance that reflects my creative vision in my digital black-and-white compositions.

 

%photographers blogUtilising Dynamic Range to Your Advantage

The profound beauty of monochrome photography lies in its tonal variations. The camera’s dynamic range denotes the spectrum of tones it can capture, from the deepest blacks to the brightest whites. With the aid of the zone system, I harness this dynamic range to expand or compress tones, accentuating textures and details. Careful metering based on the zone system ensures that shadows and highlights are recorded with the depth and nuance they deserve.

Zone System Digital Photography Exposure Techniques

The exposure techniques I employ are deeply rooted in zone system principles. Each step is deliberate and targeted, from choosing the correct metering mode to placing my exposure correctly within the zones. Calibrated to the nuances of digital black-and-white photography, these advanced techniques enable me to wield exposure as an expressive tool, transforming seemingly ordinary scenes into remarkable works of art.

“The zone system is more than a technique—it’s the language of light in photography, and mastering it in digital black and white photography brings out the very soul of the image.”

  • Assessing tonal range with histograms for precise exposure decision-making
  • Exploiting the camera’s dynamic range to render scenes with integrity
  • Metering methods aligned with zone system principles
  • Robust exposure adjustments to illuminate the desired narrative

My exploration into the zone system has revolutionised how I capture and conceive my monochromatic pieces, aiding me to narrate stories through nuanced shades of grey that resonate with an eloquence unique to digital black-and-white photography.

 

Applying the Zone System in Different Genres of Photography

As we delve into the nuances of the zone system, it becomes apparent how this methodology is not confined to a single genre but transcends various forms of digital black-and-white photography. Controlling light and dark areas within a frame allows me to capture the essence of any subject, be it the vastness of a landscape, the delicacy of human expressions, or the spontaneous rhythm of street life.

 

%photographers blogLandscape Photography: Capturing Wide Dynamic Ranges

In landscape photography, the zone system is instrumental in rendering scenes with wide dynamic ranges. When I frame the grandeur of nature, I use the zone system to dissect light across different parts of the scene, ensuring that the intricacies of both shadows and highlights are preserved. This meticulous approach to capturing tonal variation highlights the textures and depths that make black-and-white landscapes genuinely compelling.

 

Portrait Photography: Controlling Skin Tones and Background Exposure

Transitioning to portrait photography, the zone system strengthens in ability to manage skin tones against varied backdrops. Here, I mainly focus on assigning suitable zones to a subject’s facial features, creating a balanced interplay between light and shadow that accentuates the emotion and character of the subject. Careful consideration of the background helps draw the viewer’s eye to the subject while nurturing a harmonious exposure throughout the frame.

Street Photography: Quick Settings Adjustments for Dynamic Scenes

Lastly, with its unpredictable and swiftly changing scenarios, street photography benefits immensely from understanding the zone system. Adjusting camera settings on the fly becomes second nature as I evaluate the light within the scene and swiftly zone in on the key elements I want to highlight. This ensures a consistent quality and depth in the snapshots of life that unfold in the urban landscape.

Incorporating the zone system across different facets of digital black-and-white photography invites a well-rounded skill set that enhances one’s visual storytelling ability. Whether it’s the serenity of landscapes, the intimate dance of shadows in portraits, or the candid beats of the street, the zone system remains a timeless ally in the pursuit of photographic mastery.

The Zone System and Post-processing

As a dedicated practitioner of digital black-and-white photography, I’ve come to appreciate post-processing’s nuanced role in realising the artistic vision that begins in the camera. The zone system, with its meticulous attention to tonal gradation, isn’t confined to the moment of exposure; it extends its influence into the digital darkroom, transforming how we enhance and refine images post-capture. Properly utilised, this system is pivotal in bringing depth, texture, and contrast to monochromatic imagery.

The foundational principles of the zone system invariably shape my post-processing routine. To achieve that desired tonal balance, I adapt my approach to consider the tenets of this time-honoured technique. It’s a framework that has governed my exposure settings and informed my post-processing decisions—a methodology that perfects the monochrome image beyond the shutter’s release.

  1. Inspection of the histogram is necessary to ensure the distribution of tones aligns with the zone system’s gradation.
  2. Adjustment of individual zones using selective editing tools to sculpt the light and shadow for a dynamic range true to black and white photography’s rich heritage.
  3. Applying dodge and burn techniques, hearkening back to traditional darkroom practices, highlights or subdues specific zones, thereby honouring the desired luminance my composition requires.

With these post-processing strategies, I find the zone system to be an indispensable ally. It guides my digital workflow, prompting me to consider each zone’s contribution to the image’s overall tonality. Indeed, in modern digital black-and-white photography, the zone system still serves as a compass and map, directing us towards visual narratives marked by clarity and aesthetic rigour.

“Embrace the zone system in your digital black and white post-processing to distil chaos into harmony, illuminating the shades between light and shadow.”

Integrating the discipline of the zone system into post-processing expresses a commitment to photographic excellence. As I manipulate pixels on the screen, I’m reminded of the interplay of light that Ansel Adams masterfully harnessed. It’s this interplay that I aim to replicate and reinterpret in the digital age, ensuring that the integrity of the scene I witnessed is echoed in every highlighted detail and shadowed contour.

The pursuit of tonal perfection is an unending quest in digital black-and-white photography, with post-processing serving as a critical stage for artistic expression. Whether in the balance of highlights and shadows or the nuance of mid-tones, the zone system continues to be my guide—attuned to the visual poetry of monochrome and the promise of digital technology.

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My Take on Zones

Implementing the zone system into your digital workflow isn’t simply about following rules; it’s about developing a keen eye for detail and light. It calls for a reflective approach to photography, encouraging you to consider each zone and how it contributes to the overall narrative of your imagery. Furthermore, the nuances of managing exposure become almost automatic with practice, creating remarkable works that harness the full spectrum of greys, from the deepest blacks to the brightest whites.

In summary, the zone system remains a fundamental cornerstone for photographers who seek to excel in digital black-and-white photography. By conscientiously applying the techniques discussed, you are more likely to produce striking images with rich gradations and textures. Whether your passion lies in landscapes, portraits, or the spontaneity of street photography, the zone system is your ally in translating the world into monochrome magnificence. As we draw this conclusion, remember that photography is a perpetual journey of learning and expression, and the zone system is a key that unlocks a myriad of creative possibilities.

FAQ

What is the zone system in digital black-and-white photography?

The zone system is used in digital black-and-white photography to achieve accurate exposure and control dynamic range. It involves dividing the tonal range of an image into various zones, each representing a different level of brightness or darkness.

Why is the zone system important in monochrome imagery?

The zone system is essential in monochrome imagery because it allows photographers to accurately expose different tones and ensure a wide range of details throughout the image. It helps achieve a balanced and visually pleasing composition with well-controlled highlights, shadows, and mid-tones.

How does the zone system work in the digital age?

In the digital age, the zone system can be applied using the histogram feature on a camera or image editing software. By analysing the histogram, photographers can determine the distribution of tones in their image and make exposure adjustments to achieve the desired tonal range.

How can I recognise visual zones in monochrome photography?

Recognising visual zones in monochrome photography requires understanding how different tones translate into zones. By studying the visual appearance of various tones in the image, you can determine which zones they correspond to and use this knowledge to compose your image effectively.

How do I implement the zone system in my digital workflow?

To implement the zone system in your digital workflow, start using spot metering or exposure metering to measure the brightest and darkest areas of the scene. Then, adjust your camera settings to ensure the essential elements fall within the desired zones. Regularly review the histogram to make exposure adjustments as necessary.

How can I master exposure using the zone system?

To master exposure using the zone system, it’s essential to understand histograms and how they represent the tonal distribution in your image. By using the histogram, you can ensure that you capture a wide range of tones without losing detail in the highlights or shadows. Additionally, utilising the dynamic range of your camera can help achieve the desired tonal range.

What exposure techniques are specific to the zone system in digital photography?

Some exposure techniques specific to the zone system in digital photography include exposing to the right (ETTR), which involves slightly overexposing the image to capture more details in the shadows, and bracketing, which involves taking multiple exposures at different settings to ensure a well-exposed image.

How can I apply the zone system to different genres of photography?

The zone system can be applied in different photography genres by understanding each scene’s dynamic range and adjusting the exposure accordingly. In landscape photography, it helps capture wide dynamic ranges; in portrait photography, it aids in controlling skin tones and background exposure; and in street photography, it allows for quick settings adjustments to capture dynamic scenes.

What role does the zone system play in post-processing?

In post-processing, the zone system can enhance and fine-tune digital black-and-white images. By manipulating the tones and contrast, photographers can create a more impactful and visually pleasing final result while still preserving the overall tonal balance and dynamic range of the image.

ZoneDescriptionRelative ExposureF-Stop Adjustment
0Pure black-5 stops-5 from metered
INear black-4 stops-4 from metered
IITextural details in dark-3 stops-3 from metered
IIIDark materials-2 stops-2 from metered
IVDark foliage/shadows-1 stop-1 from metered
VMiddle gray0 stopsMetered exposure
VILight skin/soft light+1 stop+1 from metered
VIIVery light skin+2 stops+2 from metered
VIIILightest tones w/texture+3 stops+3 from metered
IXSlight tone, no texture+4 stops+4 from metered
XPure white+5 stops+5 from metered

When applying the Zone System to portrait photography, especially in a controlled environment like a studio with a single light source, the primary goal is to determine the optimal exposure for your subject’s skin tone and ensure that important details fall within the desired zones. The choice of f-stops and how to meter for light, middle, and dark tones can greatly influence the mood and detail of your portraits.

1. Metering and Zone Placement

First, let’s discuss how to meter the different tones within your scene:

  • Light Tones (e.g., Caucasian skin tone, light clothing): You might want these to fall within Zone VI to ensure they are well-exposed but still retain detail. To meter for these, take a reading off the subject’s light-toned areas and adjust your exposure to place these tones in Zone VI, which is one stop over the metered value for middle gray (Zone V).
  • Middle Tones (e.g., gray clothing, average skin tones): These should naturally fall within Zone V, which represents middle gray. Metering these tones should give you a straightforward reading without any adjustment needed to place them within their zone.
  • Dark Tones (e.g., dark hair, shadows): To preserve detail in darker areas, you might aim for Zone III or IV. For Zone III, which maintains detail in darker materials, you would underexpose the metered value by two stops.

2. Choosing F-Stops

The choice of f-stop affects both exposure and depth of field (DoF), which is crucial in portrait photography for isolating the subject from the background or ensuring that all facial features are in focus.

  • For a shallow DoF (blurred background), choose a wide aperture (small f-stop number, e.g., f/1.4, f/2.8). This setting is ideal for individual portraits where you want to emphasize the subject by blurring the background.
  • For a greater DoF (more of the scene in focus), select a narrower aperture (larger f-stop number, e.g., f/8, f/11). This setting is useful when you want the background to be more recognizable or when the subject is not parallel to the camera sensor, requiring more of the scene to be in focus.

3. Practical Metering Example

  1. One Light Setup: Position your key light at a 45-degree angle to the model. Use a handheld light meter to take an incident reading near the model’s face, pointing the meter towards the camera to capture the light falling on them.
  2. Meter for Middle Tones: If your model has average skin tones, meter directly off their face without adjustments to place it in Zone V. This will be your baseline exposure.
  3. Adjusting for Light and Dark Tones:
    • For lighter tones (e.g., light skin, white clothing), you’d want to overexpose by one stop from the baseline to place these elements in Zone VI.
    • For darker tones (e.g., dark shadows, black clothing), underexpose by two stops from the baseline to achieve detail in Zone III.

4. Example Settings for Portrait

  • Baseline Exposure for Middle Tones: Suppose the meter reading for the middle tones is f/8 at 1/125 sec. This is your Zone V setting.
  • Adjusting for Light Tones: To place light skin tones or highlights in Zone VI, you would open up one stop (e.g., to f/5.6 at 1/125 sec).
  • Adjusting for Dark Tones: To retain detail in darker areas (Zone III), you would stop down two stops from the baseline (e.g., to f/16 at 1/125 sec), but this adjustment is more about knowing where you want the dark tones to fall rather than an actual camera setting for the entire portrait.
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cyanotypes analog processing and film photography
Analog PhotographyFilm & Analog - A

Analog Film Photography – Mastering Cyanotype Process

by James Nader

Analog film photography – Mastering Cyanotypes with Analog Film Processes

Something is alluring about the practice of film photography in a world where digital photography predominates. The process of capturing moments on film has a timeless quality that pixels and screens cannot match. And among the vast array of film techniques, cyanotypes hold a special place.

Cyanotypes are a type of alternative photographic process that dates back to the 19th century. Known for their distinctive blueprints, cyanotypes are created through a unique combination of chemistry, light, and patience. Unlike the instant gratification of digital photography, mastering cyanotypes requires a deep understanding of traditional film techniques.

In this article, we will explore the fascinating world of cyanotypes and delve into the intricacies of analog film photography. Whether you are a seasoned film photographer who wishes to expand your repertoire or a curious beginner eager to learn the ropes, this guide will equip you with the knowledge and skills needed to master the art of cyanotypes.

Throughout this journey, we will unravel the processes of cyanotypes, compare them to other traditional printing techniques, and uncover the factors contributing to their perceived ease of creation for photographers of all levels. From selecting the right film and camera equipment to understanding the chemistry involved in the development process, there is much to discover in the world of cyanotypes.

 

Analog Film Photography – Cyanotypes

analog photography processes cyanotypes

So grab your camera, load your film, and join us as we embark on a quest to unravel the cyanotypes’ mystique and learn film photography’s intricacies. Be captivated by the magic of creating beautiful, ethereal images through traditional methods, and step away from the digital world to explore the wonders of analog film.

In traditional photographic printing techniques, cyanotypes stand out for their simplicity and accessibility. These unique prints, known for their beautiful cyan-blue shade, are created using a process involving exposure to ultraviolet light and specific chemicals. In this article, we will explore cyanotypes’ preparation and development processes, compare them to other traditional printing techniques, and uncover the factors contributing to their perceived ease of creation for photographers of all levels.

Cyanotypes have a rich history dating back to the 19th century when they were primarily used for creating blueprints. Today, photographers have embraced cyanotypes as a unique art form that allows for creative expression through analog film photography. Unlike other printing techniques that require complex equipment and specialised darkroom setups, cyanotypes can be created with minimal equipment, making them accessible to beginners and experienced practitioners alike.

Creating cyanotypes involves coating a suitable surface, such as paper or fabric, with a mixture of chemicals, usually potassium ferricyanide and ferric ammonium citrate. Once the surface is coated, it is exposed to ultraviolet light from sunlight or specialised UV lamps. Combining the chemicals and the exposure to UV light triggers a chemical reaction that produces the characteristic cyan-blue colour.

 

analog photography processes cyanotypesCompared to other traditional photographic printing techniques, such as silver gelatin prints or platinum prints, cyanotypes’ preparation and development processes are relatively simple. Cyanotypes do not require the use of a darkroom and can be developed in daylight, making them easier to handle for beginners who may not have access to darkroom facilities. The chemicals used in cyanotype printing are also less toxic and more readily available compared to the specialised chemicals used in other printing processes.

One of the key factors that contribute to the perceived ease of creating cyanotypes is the forgiving nature of the process. Unlike other printing techniques that require precise control over exposure and development times, cyanotypes are more forgiving and allow for experimentation. This makes them an ideal choice for beginners who want to explore the world of analog film photography without fearing making mistakes.

In conclusion, cyanotypes offer a simpler and more accessible alternative to traditional photographic printing techniques. The minimal equipment requirements, the use of natural daylight for development, and the forgiving nature of the process make cyanotypes an attractive choice for photographers of all levels. Whether you are a beginner looking to explore film photography or an experienced practitioner seeking a new creative outlet, cyanotypes provide a unique artistic medium to express your vision.

 

analog photography processes cyanotypesMastering Cyanotypes: Key Takeaways

  • Cyanotypes are a traditional photographic printing technique known for their unique cyan-blue shade.
  • Compared to other printing techniques, cyanotypes are more straightforward and accessible, requiring minimal equipment and no darkroom facilities.
  • The forgiving nature of the cyanotype process allows for experimentation and makes it an ideal choice for beginners.
  • Cyanotype chemicals are less toxic and more readily available compared to chemicals used in other printing processes.
  • Cyanotypes offer a creative outlet for photographers of all levels, allowing them to express their artistic vision through analog film photography.

Understanding Cyanotypes as an Analogue Printing Process

This section will provide a detailed overview of cyanotypes, one of the oldest photographic printing processes. Understanding the chemical components and steps in creating a cyanotype print is crucial for mastering this unique analog technique. Let’s explore the artistry behind cyanotypes and how they rely on the power of ultraviolet light or sunlight.

Cyanotypes, or blueprints, are characterised by their distinctive cyan-blue colour. Sir John Herschel created the technique in 1842 as a way to replicate notes and diagrams. Over time, cyanotypes evolved into an artistic expression, capturing the beauty of everyday objects through a vivid blue hue.

We need two main components to create a cyanotype: the sensitizer and the substrate. The sensitizer is a mixture of ferric ammonium citrate and potassium ferricyanide. It forms a light-sensitive emulsion when applied to a suitable substrate, such as watercolour paper or cotton fabric.

The Cyanotype Process

The cyanotype process involves three simple steps:

  1. Coating: The sensitizer solution is evenly applied onto the substrate, forming a thin layer left to dry in a darkroom.
  2. Exposure: The coated substrate is then exposed to ultraviolet light or sunlight. This step is where film photography comes into play. We can create unique compositions by placing objects or negatives directly on the coated substrate.
  3. Processing: After the desired exposure time, the substrate is washed in water or a dilute hydrogen peroxide solution to remove the unexposed sensitizer. This reveals the distinctive blue image of the cyanotype.

The use of ultraviolet light or sunlight is crucial in the exposure process. These natural light sources activate the sensitizer, causing it to undergo a chemical reaction resulting in the characteristic blue coloration. This reliance on sunlight makes cyanotypes a fascinating technique to explore, as it connects us to the power of nature in creating art.

Now that we understand the process behind cyanotypes as an analog printing technique, let’s explore film photography techniques for cyanotypes in the next section.

Exploring Film Photography Techniques for Cyanotypes

In cyanotype processing, film photography plays a crucial role in capturing the images that will be transformed into stunning cyanotype prints. The photographer can carefully compose and expose the scene with an analog camera to create a unique visual narrative. The use of film adds a nostalgic touch and reveals the inherent charm of analog photography.

Regarding cyanotypes, natural daylight is the preferred light source for capturing the desired image. The soft, diffused light of the sun provides the ideal conditions for achieving the best results. Photographers carefully time their shots to take advantage of the flattering qualities of daylight, ensuring optimal exposure for the cyanotype process.

Once the images are captured, the film processing journey begins. In the darkroom, photographers meticulously develop the film to highlight their photographs’ details and tonal range. This involves a delicate balance of chemicals, temperature, and timing to achieve the desired results. By following precise techniques, photographers can create negatives that will be the foundation for producing captivating cyanotype prints.

The final step in the cyanotype process involves applying the photosensitive chemicals to the chosen medium and exposing them to ultraviolet light. This chemical reaction brings forth the characteristic cyan-blue tones that define cyanotype prints. The film photography techniques employed earlier lay the groundwork for successfully creating these beautifully rendered cyanotype artworks.

 

%photographers blogFAQ

What is a cyanotype?

A cyanotype is a photographic printing process that produces a unique cyan-blue shade. One of the earliest printing techniques in photography dates back to Sir John Herschel’s invention in the 1840s.

How are cyanotypes created?

Cyanotypes are created by exposing a photosensitive solution to ultraviolet (UV) light. This solution, which contains iron compounds, reacts to UV light and forms an insoluble blue compound on treated paper or fabric.

What is the role of film photography in cyanotypes?

Film photography plays a significant role in cyanotype printing. First, you need to capture an image using an analog camera. This can be done using specialised cyanotype film or any film you choose. The film negative will create a contact print in the cyanotype process.

Can cyanotypes be created without natural daylight?

While natural daylight is ideal for exposing cyanotypes, it is possible to use artificial UV light sources such as UV lamps or even sunlight through a window. The key is ensuring the UV light reaches the photosensitive solution to initiate the chemical reaction.

What chemicals are required for cyanotype processing?

The chemicals involved in cyanotype processing include ferric ammonium citrate and potassium ferricyanide. These two solutions are mixed together to create the photosensitive solution applied to the paper or fabric substrate. The process also requires water to rinse and fix the print.

Cyanotypes, a photographic printing process that produces a cyan-blue print, are one of the earliest and simplest forms of photography. The process was discovered by Sir John Herschel, an English scientist, in 1842, primarily as a means of reproducing notes and diagrams, where it was known as “blueprinting.” Due to its distinctive appearance and ease of use, artists and photographers later adopted it. Here’s a breakdown of what makes cyanotypes unique, their process, and their significance in both historical and contemporary contexts:

The Process of Creating Cyanotypes

  1. Creating the Cyanotype Solution: The process involves mixing two chemicals: ammonium iron (III) citrate and potassium ferricyanide. When combined, these chemicals are sensitive to ultraviolet (UV) light.
  2. Preparing the Paper: The cyanotype solution is applied to a suitable surface, most commonly paper, but fabrics and other materials can also be used. The surface is then dried in the dark to prevent premature exposure.
  3. Exposing the Image: Objects or negatives are placed on the prepared surface, which is then exposed to UV light. Natural sunlight is often used, but UV lamps can also serve this purpose. The exposure time varies depending on the light intensity and the desired effect, typically ranging from a few minutes to several hours.
  4. Developing and Fixing: After exposure, the material is washed in water. This step develops the print and removes unreacted chemicals. The result is a distinctive blue image with unexposed areas remaining white or a light yellow, depending on the paper used.

Features and Benefits

  • Distinctive Aesthetic: Cyanotypes are known for their characteristic deep blue colour, offering a monochromatic palette that is both striking and versatile.
  • Simplicity: The process is relatively simple and does not require a darkroom, making it accessible to beginners and popular in educational settings.
  • Versatility: It can be applied to a variety of materials, including paper, fabric, wood, and more, allowing for a wide range of artistic expressions.
  • Archival Quality: Cyanotype prints are long-lasting and resistant to fading, ensuring their durability over time.

Historical and Contemporary Use

  • Blueprints: Historically, cyanotypes were used extensively for engineering and architectural plans, known as blueprints, due to their ease of production and copying capabilities.
  • Art and Photography: Artists and photographers have embraced cyanotypes for their unique aesthetic and manual process, which allows for hands-on creativity and experimentation.
  • Modern Applications: Artists, educators, and hobbyists all enjoy cyanotypes today. They’re used in fine art, mixed media, and even in modern design and fashion.

Cyanotypes stand out for their unique blend of simplicity, beauty, and history. They offer an accessible entry point into photographic printing and art creation, appealing to a wide range of people, from hobbyists to professional artists. The cyanotype process encourages experimentation and can be a rewarding way to explore photographic printing and art creation.

Chemicals Measurements to Create Raw Solutions for Cyanotypes

ChemicalPurposeInitial MeasurementNotes
Ammonium Iron(III) CitrateSensitizer25 gramsPart A of the cyanotype solution. The green type is commonly used for its higher purity and consistency.
Potassium FerricyanideSensitizer10 gramsPart B of the cyanotype solution. It reacts with Part A under UV light to form the characteristic blue print.
Distilled WaterSolvent100 ml for each chemical solutionUsed to dissolve both chemicals separately before mixing them together. Ensures purity and consistency.
Total for Mixed Solution-200 ml (approximately 100 ml of each)This mixed volume is enough to cover approximately 20-30 sheets of 8x10 inch paper, depending on application thickness.

Chemicals & Tools Needed

RequirementDescriptionNotes
Chemicals
Ammonium Iron(III) CitrateA key component of the cyanotype solution, it reacts with UV light.Often comes in green or brown form; the green type is typically used for cyanotypes.
Potassium FerricyanideWorks in conjunction with ammonium iron(III) citrate to form the photosensitive solution.Must be handled with care, as it is toxic in concentrated forms.
Paper or Material
Watercolor PaperA popular choice for cyanotypes due to its texture and absorbency.Heavier weights (e.g., 300 gsm) are preferred for their ability to hold more solution without warping.
Fabric, Wood, etc.Alternative materials that can be coated with the cyanotype solution.Natural fibers like cotton or silk work best for fabric. Preparation may vary based on material.
Negative Preparation
Digital NegativeA printed version of your image on transparency film, adjusted for contrast and exposure.Can be created using photo editing software and a standard inkjet printer. Ensure the negative is the same size as your desired print.
Exposure Unit
UV Light SourceAn alternative to sunlight, used for the exposure process.Can be a UV lamp, lightbox, or even a tanning bed. The distance from the light source and exposure time will vary depending on the strength of the UV source.
Development
WaterUsed to wash out the print after exposure, revealing the blue image.Cold water is recommended for the washing process.
Other Supplies
Brushes or Foam RollersFor applying the cyanotype solution evenly across the paper or material.
Glass or Acrylic SheetPlaced over the negative and paper/material to ensure close contact during exposure.A clear sheet that is UV transparent is necessary to avoid casting shadows or blocking UV light.
TimerTo accurately measure exposure time.A simple kitchen timer or smartphone app will suffice.
Dark Room or SpaceA light-safe area for drying the coated paper/material before exposure.Does not need to be completely dark but should be free from UV light until the paper/material is ready for exposure.
ChemicalPurposeInitial MeasurementNotes
Ammonium Iron(III) CitrateSensitizer25 gramsPart A of the cyanotype solution. The green type is commonly used for its higher purity and consistency.
Potassium FerricyanideSensitizer10 gramsPart B of the cyanotype solution. It reacts with Part A under UV light to form the characteristic blue print.
Distilled WaterSolvent100 ml for each chemical solutionUsed to dissolve both chemicals separately before mixing them together. Ensures purity and consistency.
Total for Mixed Solution-200 ml (approximately 100 ml of each)This mixed volume is enough to cover approximately 20-30 sheets of 8x10 inch paper, depending on application thickness.

Preparation Steps:

  1. Dissolve Each Chemical: Start by dissolving 25 grams of ammonium iron(III) citrate in 100 ml of distilled water to create Solution A. In a separate container, dissolve 10 grams of potassium ferricyanide in another 100 ml of distilled water to make Solution B. Ensure both chemicals are completely dissolved.
  2. Mix Solutions: Combine Solution A and Solution B in equal parts immediately before use to create the cyanotype solution. Stir gently to ensure a uniform mixture.
  3. Application: Apply the mixed solution to your paper or chosen material with a brush or foam roller under dim light conditions. Ensure an even coat over the entire surface.
  4. Drying: Allow the coated paper or material to dry completely in a dark, dry place. It must be completely dry before exposure to UV light.
  5. Exposure and Development: After drying, expose your coated material to UV light with your negative or object in place. Wash the print in cold water after exposure to develop the blue color.

Notes:

  • Safety: Wear gloves and work in a well-ventilated area when handling chemicals.
  • Adjustments: You may need to adjust the concentration based on your specific requirements or if you're experimenting with different types of paper or materials.
  • Storage: Store unmixed chemicals in a cool, dark place. Mixed solution should be used soon after preparation for best results.

Using a Weak Bleach Solution to Alter Print Color:

  1. Prepare the Bleach Solution: Mix a weak bleach solution using household bleach and water. A recommended starting point is a ratio of 1 part bleach to 10 parts water.
  2. Test on a Sample: Before applying the bleach solution to your final print, test it on a small sample.
  3. Apply the Bleach: Gently apply the bleach solution to the cyanotype print using a brush or sponge.
  4. Observe the Change: Watch the print closely as it reacts with the bleach.
  5. Stop the Reaction: Once the desired color is achieved, immediately rinse the print in clean water.
  6. Dry the Print: After thoroughly rinsing, allow the print to dry.

Notes and Tips:

  • Ventilation: Work in a well-ventilated area when using bleach.
  • Experimentation: The process can be variable depending on the concentration of the bleach and the type of paper.
  • Additional Toning: After bleaching, some artists further tone their prints with other substances to introduce different hues.
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Beginner's Guide to Film Photography
Analog PhotographyFilm & Analog - A

Beginner’s Guide to Film Photography (Analog)

by James Nader

GETTING STARTED IN FILM PHOTOGRAPHY – A BEGINNERS GUIDE

One of the most rewarding aspects of film photography is the element of surprise. Unlike digital cameras that allow you to preview and delete photos instantly, film requires patience and careful composition. Every frame becomes precious, as you never know exactly how it will turn out until it’s developed. This anticipation and unpredictability add a level of excitement and magic to the process.

Working with the film also encourages me to slow down and be more intentional in my photography. With limited shots on a roll of film, I find myself taking the time to compose the perfect shot, to consider lighting and framing carefully, and to connect with my subject truly. This mindful approach fosters a deeper appreciation for the art of photography and the moments we capture.

Additionally, film photography allows for a unique aesthetic that is often praised for its nostalgic and timeless qualities. The richness of film grain, the subtle variations in colour, and the organic feel of the images create a sense of authenticity and depth that is hard to replicate digitally.

Key Takeaways:

  • Film photography offers surprises and anticipation, adding a sense of excitement to the process.
  • Working with film encourages a more intentional and mindful approach to photography.
  • Film photography provides a unique aesthetic with its grain, colour variations, and organic feel.

So, while digital photography may offer convenience and instant results, film photography allows me to experience a deeper connection with my craft. The combination of anticipation, mindfulness, and unique aesthetics make film photography an incredibly rewarding and artistic form of expression.

Exploring Different Film Formats: 35mm vs. 120

In the world of analogue photography, film formats play a crucial role in capturing stunning images. Two popular formats that photographers often encounter are 35mm and 120 film. Understanding the characteristics of each format will help you make informed decisions when selecting the film that best suits your creative vision.

35mm Film: Portable and Cost-effective

35mm film, also known as small format film, is the most common film format used in analogue photography. It is smaller in size compared to 120 films, making it more portable and easy to carry. This portability makes 35mm film a popular choice for photographers who prefer lightweight and versatile equipment.

Another advantage of 35mm film is its cost-effectiveness. The smaller frame size allows for more exposures per roll, making it a more budget-friendly option compared to medium or large-format films.

120 Film: Medium and Large Format Excellence

 

film photography basics - photographers blog 03120 film, also referred to as medium format film, offers higher resolution and more detailed negatives compared to 35mm. The larger format allows for a greater amount of information to be captured, resulting in stunningly sharp and detailed images.

In addition to medium format, 120 film is also used in large format photography. Large format cameras produce exceptionally high-resolution images with incredible detail and tonal range. However, large format cameras are bulkier and require additional equipment, such as a tripod, making them less portable than their smaller counterparts.

Choosing the Right Format for Your Vision

When choosing between 35mm and 120 film, consider your artistic vision, the level of detail you desire, portability, and budget. If you prioritize convenience and affordability, 35mm film is an excellent choice. On the other hand, if you seek the highest level of detail and are willing to invest in larger, less portable equipment, 120 film is worth exploring.

Remember, both formats offer unique advantages, and the perfect choice depends on your individual preferences and creative goals.

BrandModelTypeFormat
LeicaM6Rangefinder35mm
NikonF6SLR35mm
CanonAE-1 ProgramSLR35mm
Hasselblad500CMMedium Format120 film
BrandModelTypeISO RangeFormat
KodakPortra 400Color Negative160-80035mm, 120
FujifilmVelvia 50Color Slide5035mm, 120
IlfordHP5 PlusBlack & White40035mm, 120
BrandCamera ModelLens TypeApprox. Price on eBay (GBP)
LeicaM6Leica M Summicron 50mm f/2£1,200 - £2,400
NikonF6Nikon AF-S Nikkor 50mm f/1.8G£120 - £180
CanonAE-1 ProgramCanon FD 50mm f/1.8£30 - £80

%photographers blog

Choosing the Right Film Camera

In this subsection, I will introduce you to a selection of popular film cameras used by beginners in analogue photography. We will explore their features, advantages, and disadvantages, helping you find the perfect camera for your needs and budget.

1. Canon AE-1

The Canon AE-1 is a reliable and affordable film camera that offers excellent image quality. It features a fully automatic mode for beginners as well as a manual mode for more advanced users. With its wide range of compatible lenses, the Canon AE-1 is a versatile choice for any aspiring film photographer.

2. Nikon FE2

The Nikon FE2 is a robust and durable camera renowned for its exceptional build quality. It offers a variety of shooting modes, including aperture priority and manual control, allowing photographers to have full creative control over their images. The Nikon FE2 is compatible with a wide range of Nikon F-mount lenses, providing endless possibilities for creative exploration.

3. Olympus OM-1

The Olympus OM-1 is a compact and lightweight camera that is perfect for photographers on the go. It features a sturdy metal body and a range of manual exposure controls, making it ideal for those who prefer a hands-on approach to photography. The Olympus OM-1 is compatible with a wide range of Zuiko lenses, renowned for their exceptional optical performance.

4. Pentax K1000

The Pentax K1000 is a legendary camera known for its simplicity and reliability. It has a fully manual operation, making it an excellent choice for beginners who want to learn the basics of film photography. With its wide range of compatible Pentax K-mount lenses, the Pentax K1000 offers versatility and affordability.

5. Nikon FM

The Nikon FM is a classic camera that combines mechanical reliability with modern features. It features a fully manual operation and a mechanical shutter, ensuring consistent performance even in challenging conditions. The Nikon FM is compatible with a wide range of Nikon F-mount lenses, allowing photographers to explore different focal lengths and creative options.

film cameras

6. Holga 120N

The Holga 120N is a plastic camera beloved by many photographers for its unique and unpredictable results. It uses 120 medium format films, allowing for larger image sizes and more detail in each shot. The Holga 120N’s simplicity and affordable price make it a great choice for experimentation and artistic expression.

7. Minolta SRT-101

The Minolta SRT-101 is a robust and fully manual camera that offers excellent mechanical performance. It features an accurate light meter and a bright viewfinder, making it easy to compose and expose your images. With a wide range of compatible Minolta lenses, the Minolta SRT-101 offers versatility and the potential to expand your creative horizons.

8. Mamiya 645

The Mamiya 645 is a medium-format camera system known for its exceptional image quality and versatility. It offers various interchangeable lenses, allowing photographers to capture a wide range of subjects with precise control over depth of field and perspective. The Mamiya 645’s larger negatives result in stunning detail and a rich tonal range, making it a favourite among professional film photographers.

9. Pentax 645N

The Pentax 645N is a medium-format autofocus camera that combines ease of use and exceptional image quality. It offers a range of shooting modes and a built-in light meter, simplifying the photographic process for beginners. With its selection of high-quality lenses, the Pentax 645N allows photographers to achieve stunning results with ease.

10. Minolta Autocord

The Minolta Autocord is a twin-lens reflex (TLR) camera that delivers exceptional image quality and a unique shooting experience. It features a waist-level viewfinder and dual lenses, allowing photographers to compose their shots with precision. The Minolta Autocord’s medium format capability and high-quality optics make it a favourite for portrait and landscape photography.

11. Mamiya RB67

The Mamiya RB67 is a versatile and robust medium format camera favoured by many professional photographers. It features a modular design, allowing for interchangeable lenses and viewfinders, as well as film backs that can accommodate both 120 and 220 films. The Mamiya RB67’s large negatives result in outstanding detail and image quality, making it a top choice for studio and landscape photography.

12. Holga 120

The Holga 120 is another plastic camera celebrated for its unique and dreamy aesthetic. It uses 120 medium format films, capturing images with a distinct vignette and soft focus. The Holga 120’s simplicity and affordability make it a popular choice for experimental and artistic photographers seeking to create images with a nostalgic and vintage feel.

13. ETRS

The ETRS is a medium format camera from Mamiya’s RB67 series that offers exceptional image quality and convenience. It features an ergonomic design and electronic aperture control, making it easier to handle and operate compared to its predecessors. With a variety of interchangeable lenses available, the ETRS provides photographers with the flexibility to capture stunning images in various photographic genres.

%photographers blog

Our Thoughts

Throughout this guide, we have explored the fascinating world of film photography (analogue) for beginners. We discussed the differences between 35mm and 120 film formats, examining their advantages and considerations. Understanding these distinctions allows you to select the film format that best suits your creative vision.

Choosing the right film camera is crucial in your analogue photography journey. We introduced you to a range of popular models, including the Canon AE-1, Nikon FE2, and Olympus OM-1, among others. Each camera offers unique features and capabilities, enabling you to capture stunning images with your preferred aesthetics.

In addition to the basics covered in this guide, there are further aspects of film photography worth exploring. Monochrome film photography allows you to create timeless, black-and-white images that evoke a sense of nostalgia and sophistication. Transparency film, on the other hand, provides vibrant and vivid colours, ideal for capturing landscapes and intricate details. When it comes to film brands, Ilford, Kodak, and Fuji are renowned for their quality and versatility, offering a wide range of options for you to experiment and express your artistic vision.

With this comprehensive foundation in film photography, you are ready to embark on an exciting journey into the world of analogue image-making. Embrace the unique characteristics of film, and let your creativity unfold as you capture moments and stories with your trusted camera and chosen film.

FAQ

What is film photography?

Film photography is a traditional method of capturing images using analogue film. Instead of using digital sensors, light-sensitive emulsion on the film reacts to light to create a physical image. This method offers a unique aesthetic and a hands-on, immersive experience for photographers.

What are the advantages of film photography?

Film photography offers several advantages, including a distinct aesthetic characterized by rich tones and grain, a slower and more deliberate approach to photography, and the ability to achieve a unique vintage look. It also encourages photographers to be more mindful and intentional with their shots, resulting in a more considered and curated portfolio.

What types of films are available?

There are various types of films available for different needs and preferences. Some popular options include colour negative film, colour reversal (slide) film, black and white film, and specialized films such as infrared or cross-process film. Each film type has its unique characteristics and suitability for different photographic styles.

How do I choose the right film for my photography?

Choosing the right film depends on factors such as the desired aesthetic, the lighting conditions, and the subject matter. Consider the look you want to achieve, the level of grain and contrast that suits your style, and the ISO speed required for the shooting conditions. Experimenting with different films can also help you discover your preferences.

What types of film cameras are suitable for beginners?

There are various film cameras suitable for beginners. Some popular options include the Canon AE-1, Nikon FE2, Olympus OM-1, Pentax K1000, Nikon FM, Holga 120N, Minolta SRT-101, Mamiya 645, Pentax 645N, Minolta Autocord, Mamiya RB67, and Holga 120 ETRS. These cameras offer ease of use, affordability, and great image quality to help beginners get started in film photography.

How do I load film into a film camera?

Loading film into a film camera varies depending on the camera model. However, in general, open the camera back, insert the film cartridge into the film chamber, and thread the film leader onto the take-up spool. Advance the film using the camera’s winding lever until the film counter shows the first frame, then close the camera back. Consult your camera’s manual for precise instructions.

How do I process and develop film?

Film processing and development requires a darkroom or a professional film lab. The process involves a series of chemical baths to develop and fix the exposed film. If you are a beginner, it is recommended that you send your film to a professional lab for processing. Alternatively, you can learn the process and set up your darkroom at home, which requires equipment and knowledge of darkroom techniques.

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the darkroom birmingham - interview with dan - top photographers blog
Analog PhotographyFilm & Analog - A

The Dark Room Birmingham – Analog Film & Print Processing

by admin

The Dark Room Birmingham: Analogue Film and Print Processing

 

Earlier in the year, I happened across a super little darkroom in Birmingham. I had one roll of film that I had taken with my Bronica ETRS, and I wanted to develop it. Truthfully, the last time I developed a film may have been 20 years ago. I was a location photographer, carrying films and polaroids to many locations, but since then, hardly at all. I met Dan and decided it would be a good opportunity to interview him about his darkroom and why he was still involved in the traditional analogue process.

I added one roll to my shoot and felt I wanted to return to a processing day. With that in mind, I purchased my Paterson DEV tank and found a suitable darkroom. Darkroom Birmingham was perfect for my first venture into the darkroom in over 20 years.

Welcome to Darkroom Birmingham: A Journey in Analogue Photography with Dan Burwood

Hello and welcome to Darkroom Birmingham! I’m Dan Burwood, and I’ve been running this unique space for about 11 years now. Nestled in the heart of South Birmingham at the Old Print Works in Balsall Heath, Darkroom Birmingham is more than just a facility; it’s a vibrant community hub for photographers and enthusiasts of traditional photography.

darkroom birmingham - interview with dan - top photographers blog

darkroom Birmingham: Interview with dan | top photographers blog

Our Mission and Services

At Darkroom Birmingham, our mission revolves around preserving the timeless art of analogue photography. We offer various services, including darkroom hire, where photographers can explore and practise traditional black-and-white animal photography. Our space has 5 or 6 enlargers, a purpose-built sink, and an archival 5-base print washer, ensuring a professional and authentic darkroom experience.

Engaging with the Community

One aspect that makes Darkroom Birmingham stand out is our deep engagement with the diverse and dynamic communities of South Birmingham. Over the years, we’ve hosted numerous exhibitions and projects, often focusing on documentary photography. These projects celebrate the art of photography and tell the compelling stories of the people and places around us.

My Journey in Photography

My own journey with photography began when I was just a child. I’ve always been drawn to documentary photography, capturing stories from places like Cuba, Syria, and Lebanon. I’m deeply rooted in Birmingham, using my skills to connect with the local community and create meaningful, independent work.

Recent Projects and Learning Opportunities

Recently, we’ve been focusing on portrait projects around Balsall Heath, offering street portrait studios and giving prints to participants. This initiative is particularly special in today’s digital age, where printed pictures are becoming rare.

For those interested in learning more about analogue photography, we offer courses covering various aspects of this beautiful art form. Whether you’re a beginner or returning to analogue photography after a long time, there’s something for everyone.

Dan Also Adds

My name’s Dan, and I’m a photographer. I started making darkroom photographs when I was about 10. I’ve made a career from the impulse to photograph and help others do so. I’ve been working between photography and education for more than 15 years. It’s odd as it’s not what I studied—what I’ve learned through and about making photographs I’ve done independently, albeit with the valuable influence of many inspiring people.

I don’t know why the darkroom drew me in, but there are some memories that align in the viewfinder of hindsight that can serve as landmarks:

I remember being scolded by my mom—I must have been about 4—for opening an Agfa 110 camera, not opening the back, opening the viewfinder by pulling the body—unbeknownst to me cocking the wind on—open, which meant that even if you didn’t take a photo, frame an image, or click that decisive aluminium lozenge when you closed the body, it would wind on anyway. Pump action. I might well be misremembering the reason for my telling off—it doesn’t sound like a great design feature—or perhaps I’ve supplied a technical reason for the simple fact that I’d been playing with something, not a toy, but I think I brought forward from that incident two essential qualities of photography: that a photograph is valuable; and that, at least for someone in the equation, a photograph is illicit, proscribed, powerful, and secret. It might seem an overstatement—I’ll decide later—but I think I’ve so long internalised or adopted these attitudes that I’ve come to not even question them or only examine them here, now. Hence a reverence for the black boxes, the shaded alchemy of silver halides waiting for the accession of their destiny, for the bellows and lenses, the brown odours, and the slipping into the light of little gloss slices of lost time.

Visit Us and Connect

If you’re interested in using our darkroom or participating in one of our courses, you can find more information on our website, Darkroom Birmingham, or follow us on Instagram at @darkroombirmingham. We’re always excited to hear from people who are passionate about analogue photography, so don’t hesitate to get in touch!

Conclusion

Thank you for joining me on this virtual tour of Darkroom Birmingham. Don’t forget to check out Silver Gum Type for more photography-related content. If you’re in the area, drop by and say hi; we’d love to share our passion for photography with you!

Sources

  1. darkroombirmingham.co.uk – Darkroom Birmingham
  2. danburwood.co.uk – Dan Burwood
  3. danburwood.co.uk – Darkroom
  4. facebook.com – Dark Room Birmingham
  5. linkedin.com – Dan Burwood – Co-Founder – Some Cities
  6. instagram.com – Dan Burwood Photography (@danburwould)

Dan also runs workshops for all those who wish to try their hand at analogue.

The three modules, as described in more detail below, are:
Module 1: Analogue cameras and fundamental principles of photography, including a large format ‘instant-ish‘ portrait shoot as an introduction to the analogue process;
Module 2: Developing B+W film to produce negatives;
Module 3: Introduction to Analogue Printing from B+W Negatives.

 

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analog photography and process - top photographers blog - silvergumtype
Analog PhotographyFilm & Analog - A

Analog Photography for Beginners

by James Nader

I felt a real adrenaline rush in the darkroom once more. I immersed the film in the developer, agitating it gently, watching as the images materialised on the film strip; the wait, the anticipation, and the thrill of seeing the photos for the first time was something digital photography could never emulate.

Analog photography seemed like a long road back but the fashion and photography world knows me for my sometimes stunning digital photography and for capturing moments that seem to transcend the fabric of reality itself. However, in a bold and surprising move, in 2023, I decided to venture into uncharted territory once again by returning to the roots of photography — embracing film and the time-honoured process of developing in a darkroom.
In an age dominated by the immediacy and perfection of digital photography, it seemed almost anachronistic to revisit a process many see as outdated, laborious, and unpredictable. Yet, the allure of unpredictability and the rawness of film drew me back to analogue photography once again to see if I was till in the fast lane and if the techniques I had developed were still there.

analog film process - top photographers blog 001

It began as a spark, an underlying itch to break free from the perfection of pixels and immerse himself in the immersive process of manual photography and darkroom development. I seemingly yearned to feel the weight of a film camera again, the anticipation of loading the film, and the excitement of not knowing exactly what I had captured until the film was developed. So many variables which only skill can tame, whereas with digital, most of the equipment does it for you. In the darkroom, however, there is no room for error.

analog film process - top photographers blog 001

The first steps were challenging. The process was so natural at one time, working on clients’ shoots and location shoots, processing all of my monochrome negs and prints. Transitioning from digital to analogue photography was akin to switching from a modern sports car to a vintage roadster. The slow and steady pace of the film replaced the comfort and speed of digital.
The film process was in a darkroom I had found in Birmingham called Darkroom Birmingham (interview coming soo with the owner), meticulously set up with the right equipment. The safelight bathed the room in a soft, red glow, casting a comforting, other-worldly atmosphere. The developer, stop bath, and fixer lined up, the enlarger towering in the corner. The film, carefully loaded onto the reel, was ready to reveal its secrets. I mixed the chemicals but in a loose way without the meticulous process, I was used to for some reason.

analog film process - top photographers blog 001

I felt a real adrenaline rush in the darkroom once more. I immersed the film in the developer, agitating it gently, watching as the images materialised on the film strip; the wait, the anticipation, and the thrill of seeing the photos for the first time was something digital photography could never emulate. Even though I had not used a light meter, I transferred the readings on my FUJI GFX50S to the film camera I used, the Bronica ETRS.
In this move back to analogue, I wasn’t just revisiting a bygone era of photography; I began was exploring a new realm of creativity which is much needed today. Each developed film brought an element of surprise, each print a unique piece of art, unrepeatable and singular.

analog film process - top photographers blog 001

My first processed film and images were a testament to a transition, raw yet captivating, imbibed with an authenticity that digital images often lack. They showcased a different facet of monochrome creativity, a depth of perception that was subtly enhanced by the grain and texture of the film.
In delving into film and darkroom processing, I bridged the gap between the digital and analogue worlds, proving that true artistry lies in the ability to adapt and evolve, to embrace the old and the new in equal measure. My journey back to the film has been a testament to a passion for authenticity and a bold move in an industry that often forgets its roots.

analog film process - top photographers blog 001

NEXT MONTH SEE THE FULL VIDEO & EXAMPLE PRINTS

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Utilising Older Photography Pictures & Content
Learning ProcessFilm & Analog - A

Utilising Older Photography Pictures & Content

by admin

The images have a fresh lease of life, and now I can see them proudly used again. Honestly, I often browse through previously archived photos, especially in writing this blog, and it helps me keep a steady flow of content. Shooting just for the blog would be quite a challenge; however, past shoots are archived and now stand me in good stead.

Never Delete Any Old Images - Archive them Always

Since I went back into photography 15 years ago, I have not intentionally deleted any images, and I have even kept images from the previous period before that. I learned that deleting images was never a good idea, not as I sit in front of over 20TB of storage, and I know that I still have more in the attic and office. 

If you have space, and let’s face it, storage is relatively cheap, why delete any images? If you look through books, none of the classic photographers disposed of any negatives, and now the work in many cases has more reverence and a place today than when it was taken. Like a vintage bottle of wine, sometimes images get better with time.

I have featured this set of images in the behind-the-scenes section of the website. The images were used once and then archived, but I also sent out the pictures to other magazines for submission. One of the magazines finally decided to run the images as an editorial. 

The images have a fresh lease of life, and now I can see them proudly used again. Honestly, I often browse through previously archived images, especially in writing this blog, and it helps me keep a steady flow of content. To actually shoot just for the blog would be quite a challenge; however, pat shoots which are archived and now standing me in good stead to keep the blog interesting.

Pull Letters For Fashion Shoot Submissions

If you’re a stylist and you want to start working on editorials to get published in magazines, you need a pull letter before reaching out to designers and photographers to collaborate on an editorial project.

A magazine pull letter, also known as a commission letter or a letter of responsibility is what you need to borrow fashion items for magazine shoots. A pull letter is a contract written by the magazine between the stylist, the magazine itself and the designer for an editorial.

A stylist uses the pull letter as an official document to ask for pieces of clothing to facilitate the shoot and it includes the shoot dates, story theme, publication date, editor’s contact, and sample return date. The pull letter makes the magazine responsible for replacing the clothes if something were to happen to the wardrobe during a shoot while if a stylist can’t get a pull letter, the burden of financial responsibility will rest solely on the stylist. Pull letters will help you build youor portfolio by allowing stylists to pull the items for submission. based around your own mood boards.

At one time I found it tricky to get stylists and clothing and so I created an online magazine called Minus10. This was a submission based magazine and allowed photographers to get their work published, I mainly created this so I can create a pull letter to allow the photographer and stylist to collaborate and get the clothes for submission to my magazine, however I found it was a great way for my stylists to go out and pull clothes with my letter!

A while ago I let all this go based on time factor and could continue.

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magazine pull letter
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james nader projector lighting - james nader education
Film & Analog - AStories From Or VaultThe Learning Journal - A

5 TOP TIPS FOR PROJECTOR PHOTOGRAPHY.

by Team Nader

The Ultimate Projector Photography Guide for Stunning Results

  1. Choose the Right Projector: Use a projector with a high-lumen output for brighter images and sharper details. This is crucial when combined with studio lighting to ensure the projections stand out on the model.

  2. Select Appropriate Images: Choose images with high contrast and bold patterns for projection. Images with intricate details or strong graphic elements tend to work best for creating eye-catching effects on the model’s body and the background.

  3. Adjust the Focus: Ensure the projector is properly focused to keep the projected images sharp. Blurry projections can detract from the overall impact of the photograph.

  4. Control Ambient Light: Minimise other light sources in the studio to enhance the visibility of the projected images. Use curtains or blinds to block out external light, and consider the strategic use of studio lights to highlight certain aspects without overpowering the projection.

  5. Experiment with Distance: The distance between the projector and the model can affect the clarity and size of the projected image. Experiment with different placements to see how they change the look and feel of your photos.

  6. Use a Suitable Background: A plain, light-coloured background usually works best for projector photography as it makes the projections pop. Avoid textured or coloured backgrounds that might clash with the images.

  7. Position the Model Strategically: Direct the model on where to stand or how to pose to make the most of the projected images. The interaction between the model and the images can create dynamic and interesting compositions.

  8. Incorporate Movement: Encourage the model to move slowly during the shoot to create interesting trails or blurs from the projected images, adding a sense of motion and energy to your photos.

  9. Adjust Projector Settings: Play with the projector’s settings, such as brightness, contrast, and even colour balance, to match the studio’s lighting conditions and enhance the effect you want to achieve.

  10. Shoot in RAW: Always shoot in RAW format to retain maximum data from your shots. This will give you greater flexibility in post-processing, especially when adjusting exposure and colour balance.

 


Projector photography is an intriguing and creative method that enables you to project pictures onto different surfaces and produce captivating photographs. This definitive book will help you master the art of projector photography and generate spectacular results, whether you’re a novice or an expert photographer.

 

Learn More from James Nader’s Education. www.jamesnadereducation.com

SIGNUP HERE

james nader educationOptimal Environment: Begin by selecting a dark environment with little ambient light. This setting is critical for avoiding interference with your projected pictures and ensuring they are vibrant and crisp.

Ideal Projection Surface: Locate a blank wall to project your photographs. The quality of your projection surface is very important in the end outcome.

%photographers blogProjection Distance: To regulate the size of the projected picture, adjust the distance between the projector and the wall. Place the projector at least four feet away from the wall for smaller pictures and at least eight feet away for bigger, more immersive presentations.

Tripod Mounting: It is strongly advised to put your projector on a tripod using a specific mount. This configuration allows for exact changes, such as tilt and height, to ensure that your projection angle is correct.

Keystone and Focus: After you’ve installed your projector, it’s time to fine-tune the keystone and focus settings. To obtain clarity, turn on the projector, go to the menu, and utilise the focus dial near the lens. To make the screen look exactly aligned, use the Keystone dial to correct the perspective.

Connectivity: To show your photos, use an HDMI cable to connect your computer to the projector. Select HDMI and project your computer screen onto the wall using the projector’s control choices, whether buttons or a remote.

 

%photographers blogMastering Projector Photography Camera Settings


Achieving great projector photography results also necessitates carefully calibrating your camera settings. Here are some tips for getting the most out of your camera:

ISO Adjustment: Because projector pictures aren’t always as bright as you’d like, be prepared to adjust the ISO setting on your camera. In most circumstances, a value of 1000 or greater is required for satisfactory results. While this may result in some graininess, projector photography often embraces it as part of its own look.

Shooting Modes: On your camera, choose either Manual or Aperture Priority mode. To let more light in while shooting in Aperture Priority, choose a lens with a wide aperture, such as f/1.2 or f/1.8. Consider using a tripod if your lens has a smaller aperture (e.g., f/3.5 or f/4), to eliminate motion blur produced by shorter shutter rates.

Manual Mode Settings: In Manual Mode, set the aperture to its widest setting (e.g., f/1.2 or f/1.8) and the shutter speed to 1/60th to 1/100th of a second. These settings achieve a compromise between minimising motion blur and making your photographs too dark. To fine-tune your exposure, always take test photographs.

 

%photographers blogUltimate Projector Photography: Advanced Techniques
Once you’ve mastered the fundamentals, it’s time to move on to more complex methods for projector photography. Here are some imaginative suggestions:

Long Exposures for Decorative Effects
Experiment with extended exposure times ranging from 1/15th to 30 seconds. Allow your subject to wander around throughout the exposure to create fascinating, ghost-like effects in your shots. To retain steadiness during longer exposures, use a tripod.

Projector Photography Creates Movie Magic
Place the projector exactly behind your subject to mimic the cinematic beauty of artificial backdrops in movies. This creates the illusion that your person is in a whole other setting. As a major light source, utilise a tiny lamp or perhaps a flash to illuminate your subject.

Various Projection Surfaces
Don’t restrict yourself to just displaying graphics on white walls. Experiment with different surfaces, such as flowing curtains, doors, and furniture, to become creative. These one-of-a-kind backdrops may add depth and character to your images, making them genuinely unique.

Vibrant Results with Post-Processing
After you’ve captured your projector pictures, the last step is to improve the colours and details. Here’s how to make your photographs really pop:

Basic Adjustments: To bring out brilliant colours and ensure all aspects in your picture are distinct, begin by tweaking exposure, contrast, shadows, and highlights.

Clarity and Dehaze: If you have access to software such as Adobe Lightroom, use the Clarity and Dehaze sliders to improve details even more.

Noise Reduction: Because of the high ISO settings utilised in projector photography, your images may seem grainy. Use the noise reduction tool, but be careful not to overdo it, since too much noise reduction might result in detail loss.

 

 

Lighting a model for a projector photoshoot is not as easy as you may think but well worth the time invested to achieve a rather different take on light falling on your Muse.

In the 1960’s John French photographed models with floral and 60s style patterns projected onto their bodies instead of clothes. These black and white prints represent the versatile and exciting possibilities that projections can offer artists and photographers.

I wanted to try projector photography and see if my own projector lighting mixed with some interesting projected screens was in fact as good as they say?

 
projector photography
5 TOP TIPS FOR PROJECTOR PHOTOGRAPHY. 34
 

Modern projectors are digital and have LED bulbs and fairly sturdy to your mum and dads version with the lamp which would often break, however generally they have a low light output for capturing images and if purchasing you would need some basic bulb power.

With so many types of digital projectors out there which will be great for projector photography, how do you know if the one you have or plan to buy is the right option for you? There are a few things that you’ll need to consider including brightness, size, and definition. Brightness is essential so looking for a projector which has at least 3,500 Lumens. That way, your projected image will still be visible even when you’re working with a different light source if you plan to.

 
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The Projector

For my test, I chose to illuminate the model with only the projector light source. My Projector was purchased from amazon and was the VANKYO Performance V630 Native 1080P Full HD Projector, 6800 Lumens 300″ LED Projector which is reasonably bright and seemed to be perfect for what we were achieving

Now you don’t have enough light to shoot fast, but there are two ways to get around this.
You can use slower shutter speeds which of course limit how fast you can work with the model and of course use of a tripod is essential, or you can increase your camera’s ISO and speed up the shots, in turn, allows faster working. Higher ISO does tend to clean up the mids and highs of the image.

 

Best Images for Projection

Although you can technically use any graphics you really want, it can really be of benefit to use photos that don’t have too many distracting elements but has some negative space where you can place your model. Some awesome examples for a projected image include the skies, clouds, and open landscapes.

Patterns also work really well for a projected image. Placing a subject in front of the patterns would create distortions that look futuristic. You can try anything from graphic lines and shapes, and maybe clouds and flowers in fact it could be anything which allows for the contrast which you will need.

We chose for our projector lighting test a selection of grids rather like venetion blinds but also for our video some moving grids and graphic blocks.

 
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5 TOP TIPS FOR PROJECTOR PHOTOGRAPHY. 36
 

Using your Projector for Best results

A studio with very little ambient light or darkened room of your choice is essential so as not to ruin your exposure. Any ambient light will be cumulative to your final exposures. It would help if you also had a plain wall, preferably white or light, so the image is projected. If you want a small projected image, place the projector at least four feet away from the wall. But if you desire a more significant projection, put it at least 8 feet or more. Remember that the farther away you are, the larger the screen.

Once you finish setting up your projector using supplied HDMI cables, the next step is to adjust the focus, which is located near the lens. First, turn on the device. Once the menu appears on the screen, change the focus dial as you would with a camera lens until everything is sharp. Now go to the Keystone dial and move it back and forth until the perspective of the screen looks straight.

Now that the screen is sharp and straight and your image looks sharp across it all, then plug your computer to an HDMI port. Use the projector’s buttons or the remote to access the menu and select HDMI to watch the screen of your computer appear on the wall behind.

 
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5 TOP TIPS FOR PROJECTOR PHOTOGRAPHY. 37
 

Using your iPhone or Ipad to connect and preview patterns

We used our iPhone to connect to the HDMI port of the projector for projecting your projector photography images. Our experience was as our images to prject were loaded ino the photos section of the iPhone they were of a certain size and although this was great for headshots it was clear you would really need a large space to get a full length or even 3/4 length shot. The reason for this we worked out was purly down to the scren size of our device.

For our next attempt we would use the larger iPad for projection so that the image would be bigger and project larger, this would allow for a good standing shot, however if not it was plenty good enough for portraiture.

Some readings from the shoot will give you an idea before retouching how we set up shooting specs.
Lens was the 105mm
ISO was only 80, the large aperture of the 105 allowed this otherwise we could easily have been in excess of 400 ISO
Exposure was 1.6 seconds at F14 – Again the lens helped as did the higher power projector.
All images were handheld

 
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5 TOP TIPS FOR PROJECTOR PHOTOGRAPHY. 38

Some Extra Information about Projector Photography

– Projectors can help to enhance your photography ideas and concepts for your portfolio
​- They add a slightly different perspective on how you view light and subject.
– Easy way to add colour or pattern to your subject
​- It can create avantgarde style concepts.
​
5 TIPS & IDEAS TO TRY
​- Projecting Mexican masks onto a model face.
​- Project text, shapes or graphic designs to create graphical bodywork onto the face.
​- Great for illuminating the nude form, add some creative shapes to this for a more advance result.
​- Projecting slideshows of images over the face, with slow shutter speed and creating motion blur exposures.
​- Use moving graphics from YouTube to create animated sequences or even your psychedelic film like we did.

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Other links
James Nader Portfolio
Fine Art Website

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Analog PhotographyFilm & Analog - A

LOMOGRAPHY Petzval & Holga Camera and lens.

by admin

PETZVAL LOMOGRAPHY LENS FOR NIKON

 

I had an opportunity to put the PETZVAL lens through its paces for Lomography UK on location in Cumbria.

 

When first asked by Lomography UK  if I wanted to use the highly prized Petzval lens, I must admit I first thought that maybe it was not going to be possible to find the time or indeed the right subject matter to do the optics justice.

The lens was kindly sent out by Lomography UK to use and when it arrived I must admit it oozed quality. The box embellished with a beautifully toned black and white warm-toned image with super gold words “PETZVAL” created a feeling of luxury and quality. When I opened up the box I gasped at the collective beautiful packaging  the lens was encased in. It was far more superior to the boxes that the standard Nikon lenses arrive in. It comes with a super printed booklet showing its heritage and this itself printed on uncoated paper all combined created a sumptuous look of quality.

I opened up the tissue paper inside of the box and there it was, a beautifully formed brass covered lens just waiting to be used, I couldn’t wait to get my hands on this bad boy! and it comes ready in two types and for Nikon or Canon digital cameras.

I used both the Nikon D850 and my super trusty Nikon D800 for its tonality of capture.

HOW THE LOMOGRAPHY LENS WORKED OUT

After a lovely lunch we headed out on a beautiful sunny day into the meadows of Cartmel Cumbria with Casey and the biggest horse I had recently seen. The brief to Casey the model was really to walk the horse around and around until I found my bearing with the Petzval lens as i had not used it before. At first I must admit working out the optimal f-stop for the day was a little tricky. (The Petzval lenses use F-stops which are not dialled into the aperture ring on the lens itself but controlled by small black metal plates which all come as part of the package and all have the relevant hole drilled to effectively create your aperture range by allowing only the relevant light for the f-stop ) these are loaded into the lens itself almost like slides.

The book suggests the best f-stop to create the classic Petzval swirl is  the F2.2 slide and once loaded the camera controls the speed and iso is controlled manually as the lens is completely manual. A little trial and error in shooting as it was the first time with the lens and it all settled in nicely. I could then concentrate on the manual focus and at creating something which had a nice composition and balance to report back on. Focus is delivered by a small brass dial under the lens which sets your manual focus very easily.

petz1

 

I had planned to use the lens the week previously but the option had vanished, however on my way up to Glasgow for another job I had managed to arrange this shoot in the lakes at a friend of mine who owns 15 Black Horses in Cartmel  Cumbria. It turned out that on this day the weather was perfect for the shoot of a lovely lady on horse back. I had decided that to go fully into a fashion shoot with styling and high fashion models at this stage could be too much and was not he way forward and would really could have added too much pressure to the day and thus we created a very relaxed shoot with a minimal team to accomplish some super shots

small lomo2

I am not sure but if you follow me @jamesnader and my tweets but if you do then you will know that I hail from an Analogue background in photography  i.e. film and darkroom printing and using this analogue lens was just and addition to a great week where I had forged opportunities with Film giant ILFORD who are now going to supply me with film, processing and exhibition printing for upcoming art projects in New York and so the lens just fit right into the process at hand.  At the moment I do have the manual Voigtlander Nokton 25mm F0.95 for some of my work which i shoot on the Panasonic GH2 but after using The Petval lens could easily take its place or be an addition to the kit we use.

WHAT DID WE THINK OF PETZVAL?

I think and so does TeamNader think that this Petzval lens is a super piece of kit, it can really be a super addition to your lens arsenal. Its robust and just says quality, however the best thing about it is exactly what it was designed to do and that is to create super shots utilising the unique Bokeh for which this lens is famed for but in addition it also has a very small depth of field and so your images could be soft very easily so make sure that you focus into the main part of your shot. If your shooting up close to a face then make sure it is the eyes which are in focus and the rest will pop. This shallow depth of field can be a super way of shooting and that coupled with the sharpness of lens, its incredibly  simple operation and then this is a lens that really take up residence in your old kit bag!

I would seriously consider one of these lenses and ok, of course shooting fashion for clients it may not be what your after all of the time but certainly editorially if you are shooting anything that just needs something different then this lens would be suitable for not just shooting but possibly for video also. I actually couldn’t shot video as I had forgotten the suitable SD Card for the D800 so cane teal let you know about that. Watch this space though as this would be next on the agenda

TECHNICAL SPEC
Temp: 24c
Camera: Nikon D850

Lens: PETZVAL with F2.2
Shutter: 1/320
ISO:125
Any Problems: none

Model:  Casey B
TeamNader – James & Phil
Styling – Models own
Makeup – Christine
Horses Provided by Black Horses Cumbria

small lomo1

 

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Analog PhotographyFilm & Analog - A

ANALOG PHOTOGRAPHY – RETRO SHOOTING

by admin

ANALOGUE FILM & PROCESSING BLACK AND WHITE PROCESS



I started at University processing my own black and white film and prints; this included later on colour prints C-types and Cibachrome prints from slides. I became very good in the darkroom and specialised in the black and white side of things with my special formula for printing great prints using AGFA papers, which was fibre-based. I then processed this in Agfa Chemicals and finally warm toning in selenium toners to get a beautiful, subtle, warm black. Films shot would be all sorts, including Ilford HP5, FP4, Kodak Tmax 100, 200, 400 and 3200 asa, and also using Agfa and a range of other creative types of film, including Polachrome.

Do I still shoot this?

I have recently dabbled in the analogue processes again but they are a little more time-consuming and space-consuming, etc. I gently purchased a Kiev 35mm film camera, plus i already own a full Bronica ETRS kit, which was always my shooting preference due to the format of the back. I currently use DSLRS and have a Hasselblad camera; however, i am looking at purchasing a Mamiya RZ pro 11 6×7 camera and lenses to use for film and artwork, which is a new section growing on the site this year. What is the benefit you might expect of this camera purchase? Well it take the Creo backs and will give you clarity , sharpness and digital imagery. The downside is that the back costs an arm and a leg but, mark my words, the analogue revolution is on its way and you must be able to shoot. It takes so much more skill to use this medium.

Where I got my Grounding.

Whilst at University or Polytechnic in those days, i managed to run through a range of film and photography attributes. I even managed to get to New York, where i went to RIT in Kodak City and learned the old-fashioned techniques of Cyanotypes and Gum Bichromates. There is a revival of this type of work as it lends itself to the more creative side of photography now and can even be looked at more of an art form, unlike digital so much. I studied for 4 years, one of which was a foundation course at Wolverhampton Poly and then 3 years in Photography with graphics option, where i got my BA Honours (bugger all) It was highly competitive in those days to be creative and realise projects effectively and it seems the more radically fine art you were as a photographer, the more you got on?

The analogue process is a great way of experimenting and trying out the processes and they are more readily available these days so give it a go; I know I will! we plan to shoot some SX70 Polaroids and would love a 10×8″ camera to shoot 10×8″ Polaroids, but these are a little out of budget right now.

Living and Working in  Athens.

When I was shooting analogue, i vanished over to Athens to find the more creative magazines and managed to live there for 2 years shooting, processing and also assisting. Whilst there, I managed to assist Uli Webber and Jonathan Glynn Smith, which was enlightening, especially with Uli, as he was great at lighting in the Tyen way and he worked for Vogue. I will later be creating the shots and lighting of the likes of Uli and Lindbergh for our book later in the year.

Athens was a tough city to work in, but the images seemed to have an edge in those days and I really want to get the look and feel back into my work Is it what floats my boat. Check out Peter Lindbergh; he was and is one of my favourite photographers, especially for his editorial black and whites.

 

james nader shooting analogue

 

films -james nader - fashion photographer

 

Shot below taken on location in Athens for editorial feature in Max magazine

james nader shooting analogue2

james nader shooting analogue2

 Analaogue contact sheet for location shoot Portugal on TMAX 100 ASA

TECH SPEC for this shoot

    • Shot on Canon T90
    • Model: Cecelia
    • Canon 50mm
    • Shutter: 1/125
    • Aperture: F3.5
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