1. photojojo:

It’s true, Kodak has officially stopped production of acetate film base, one of the key components of camera film. Reddit user ApatheticAbsurdist notes that Kodak has enough stock to keep producing film for a few more years, but it’s safe to say the announcement is another blow for film lovers everywhere.
Kodak Stops Producing Key Component of 35mm Film
via Reddit / Photo by Arno Jenkins

I’ve been using t-max 400, 120 film for over 25 years; please Kodak; don’t make me start all over again!

    photojojo:

    It’s true, Kodak has officially stopped production of acetate film base, one of the key components of camera film. Reddit user ApatheticAbsurdist notes that Kodak has enough stock to keep producing film for a few more years, but it’s safe to say the announcement is another blow for film lovers everywhere.

    Kodak Stops Producing Key Component of 35mm Film

    via Reddit / Photo by Arno Jenkins

    I’ve been using t-max 400, 120 film for over 25 years; please Kodak; don’t make me start all over again!

  2. Reductivism?

    Painters and sculptors are well known for their approach to making art and using materials, processes and approaches to pare back their objects and ideas to their most simplest. But what of photographers? Why do they not choose this path? I’m going to paraphrase Joel Meyewrwitz here as he justifies his move from black and white to colour 35mm film to an 8x10 film camera. “If colour describes more, then why not use larger film?”

    I however am trying to find a tool that does the opposite, describes less, in a way though that it still resembles a photograph, in all the controversial ways photographs affect us. Think Barthes’ punctum here.

    I spend a lot of time making pictures with a variety of cameras, the smallest one is basically a USB stick with a crude lens and a shutter, and an on off switch. Then there is my iPhone, and with two 35mm film cameras I carry everywhere. One of these cameras is a lomo. I use it in 1/2 frame mode. I may take several months to put a roll of film through it. It gets pulled in and and out of my bag on a whim. When I eventually process the film, I get to see and remember things I had photographed. Occaisonally there are strange serendipitous connections between images. Here’s a few examples from 2012.image

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  3. Seriously want one of these!

  4. Where has time gone?

    Well the last time I posted was last year. It seems however like an eternity ago. The reasons I guess for anyone who cares is that, well I have been busy.

    My 'empty shops' series is moving a head in leaps and bounds, I have even even deliberately gone out in search of potential subject matter, which has proved to be quite successful. However, I am still thinking over my response to the terms of service issue that instagram created late last year. What has happened somewhat fortuitously is flickr launched a new mobile app that FINALLY brings the complete experience to the iPhone. Consequently I have been uploading that series directly to flickr. Currently I am at about 45 images with more to dribble in slowly over the coming days and weeks. I have also ‘locked my account down’ to make it private as one early tech journalist speculated that images that were set this way would be safe from the ravages of Zuckerberg instagram after the new terms of service took affect; we will see, shall we?

    In other news. This summer I have FINALLY gotten off my sorry arse and hauled myself into my darkroom and made some prints for a couple of possible exhibitions next year; watch this space.

    Summer and darkroom! I hear some of you exclaim? Well the light here in Australia is a total dog’s breakfast from about 9:00 am to 3:00pm. This year I’ve managed to bite the bullet and get into the relative coolness of the space and have a tinker and splash. Which in hindsight makes me realise I am a little rusty with my skills, so I need to get back in there some more. Again; watch this space. However I am reminded of how reflecting back over old work as contacts one can draw new ideas and inspiration even 15 plus years after the shutter was tripped. An approach I have yet to quite integrate with digital.

  5. In another decade or two I think we’ll understand the exact nature of this fundamental change in photography,” says Burley. “How will this change our idea of the photograph as document, evidence or imprint of the real world? How will these changes affect the ways we capture, collect and store our personal and collective visual histories? What impact will these changes have on photography as an art form, a social or political tool, as a form of reportage? While my work doesn’t attempt to answer these questions directly I hope it at least provides a record and interpretation of photography at this significant moment in the medium’s history.
  6. Archive & Organise.
The part of the process that can be disheartening or exciting.
Six rolls of 120 from a period going back about 6 to 8 weeks, some days I’d shoot 3 or 4 rolls in a pop others only a frame or two. 
With these six rolls, today, in my current frame of mind and with several projects simmering away, I feel there are 3 or 4 potentials in amongst these shots.

    Archive & Organise.

    The part of the process that can be disheartening or exciting.

    Six rolls of 120 from a period going back about 6 to 8 weeks, some days I’d shoot 3 or 4 rolls in a pop others only a frame or two. 

    With these six rolls, today, in my current frame of mind and with several projects simmering away, I feel there are 3 or 4 potentials in amongst these shots.

  7. s2z-pic:

My Bridge series is growing as I trawl my archives scan the results,  and locate other bridges and photograph them, or in some cases lie this one in Glenferrie Road Hawthorn re-photograph them.

    s2z-pic:

    My Bridge series is growing as I trawl my archives scan the results,  and locate other bridges and photograph them, or in some cases lie this one in Glenferrie Road Hawthorn re-photograph them.

  8. More uploads from my series ‘Bridge’.

  9. This body of work spans over 10 years, with a couple of major breaks in the last 8 or so. Having rediscovered my joy for film this project is now back in full swing.

    This body of work spans over 10 years, with a couple of major breaks in the last 8 or so. Having rediscovered my joy for film this project is now back in full swing.

  10. Todays Location Choice


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  11. Gearing up for the day. #nofiltter #cameras #film (Taken with Instagram at s2z studio)

    Gearing up for the day. #nofiltter #cameras #film (Taken with Instagram at s2z studio)

  12. Puts my 5x4 work to shame really.

  13. Got some work ahead of me!!

    Got some work ahead of me!!

  14. From a recently found location used for my ongoing project with large format film and bridges.

    From a recently found location used for my ongoing project with large format film and bridges.

  15. I have begun working with large format materials again, both black and white and colour neg.
Colour film has only become easier for me of late, thanks to several years of getting comfortable with digital cameras.
Black and white for me has been a craft I have practiced over many years. I make my own developers for film [d25] AND paper [Ansco 120]. Recently I processed my latest batch of pictures made using my 5x4, and pulling the film from the tank I thought things looked ok. When I made the contact prints however, things were not as they seemed. 
My home made paper developer is a soft one, Ansco 120, Metol, based, and with soft even tones. Even with this developer, I was using a much lower than normal contrast filter with the paper developer combination. Ideally filter 2.5, or 3 would be my choice to get the tones looking they I like. Egads! Kodak appears to have changed their emulsion?
I popped the film on scanner at work however, and was blown away by the results, I had not seen a tonal range so long since using Pyrogallol in my undergraduate program in the early 90s. 
The implications are, now either retest the film so I make my own enlargements, or just scan and make huge prints. 
I would like to make huge prints, and knowing that scanning produces such beautiful results, I’m still unclear as how to proceed?

    I have begun working with large format materials again, both black and white and colour neg.

    Colour film has only become easier for me of late, thanks to several years of getting comfortable with digital cameras.

    Black and white for me has been a craft I have practiced over many years. I make my own developers for film [d25] AND paper [Ansco 120]. Recently I processed my latest batch of pictures made using my 5x4, and pulling the film from the tank I thought things looked ok. When I made the contact prints however, things were not as they seemed. 

    My home made paper developer is a soft one, Ansco 120, Metol, based, and with soft even tones. Even with this developer, I was using a much lower than normal contrast filter with the paper developer combination. Ideally filter 2.5, or 3 would be my choice to get the tones looking they I like. Egads! Kodak appears to have changed their emulsion?

    I popped the film on scanner at work however, and was blown away by the results, I had not seen a tonal range so long since using Pyrogallol in my undergraduate program in the early 90s. 

    The implications are, now either retest the film so I make my own enlargements, or just scan and make huge prints. 

    I would like to make huge prints, and knowing that scanning produces such beautiful results, I’m still unclear as how to proceed?