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Introduction I’ve been a photographer for 35 years since I was 11 in fact when I first loaded my Zenith 11…
I use various different psychological techniques first to determine whether to engage or not but once I have engaged I quickly connect with them and make them feel comfortable so that for a brief moment or two we allow each other to feel what each other is feeling, it’s a wonderful moment never to be repeated. When you stop someone on the street you really have to know exactly what you want to do with them before you engage otherwise the portrait just doesn’t work. Having an understanding of body language is the key to this process.
Nicholas Nixon has it down to a science. He has shot most of his work on 8×10 but in his quest for perfection now uses an even larger 11×14 cameras. For him it’s not only the film but how it is shot and processed.
Most of the images shown here were shot on ILFORD DELTA 400 PROFESSIONAL
Film is my choice of medium, the reason is that it is totally immersive. Before I press the shutter I see the final print in my mind, working backwards of how I’m going to print it and before that how I’m going to process it, this all happens in a split second. Shooting film slows you down and makes you think more and gives you so much more than I personally can ever get when working with a digital camera, it just lends itself to the subject matter and for me is the perfect marriage. I never get bored shooting on the streets, there is always someone new to meet and always a great image around every corner if you know how to look.
I love shooting street portraits. I love to stop and engage with my fellow human being. People have always fascinated me, I guess I love people as much as street photography. There is nothing better than to engage with a fellow human being on the streets taking their portrait, showing their true character within an environment that’s not staged and without the use of flash.
Rena Effendi has experimented with many films, both black-and-white as well as color, but she has found her match. ”I think I kind of have arrived at the Kodak as my film of choice,” she tells TIME. “But I like Kodak Portra now, the normal, the 400. It gives very good results, [it looks] very natural.”
Effendi also appreciates the unexpected nature of the film. “I love the surprises with film. Once you scan it and you’re just, ‘What is this strange color? I have not seen that.’ It’s not Photoshop. It’s not a filter. It’s just something natural that came out in the chemistry of the film. It’s always very nice to discover that. It’s pleasant, but you didn’t construct it.”
Keith founded Keith Moss Photography alongside his wife, Pat in 1989 and having worked in colour for most of his career in commercial and advertising photography, his own personal work has always been in black and white using both film and digital. He has a passion for travel and street photography but in particular street portraiture and is now using this passion and skills learnt over the years to enlighten, inspire and fuel other people’s’ imaginations with his engaging street photography adventures.
People often ask me why I love street photography so much, my answer is always “you never know what you are going to come across, depending on where you are and sometimes that can be from minute to minute” let me explain…
35mm Color: Cinestill 50 Daylight Xpro C-41 – Stuart Franklin
After Kodak announced it would bring back its Ektachrome film, five years after it was first discontinued, TIME LightBox is taking a look at the state of film photography, asking the manufacturers and photographers to explain why they are still backing the analogue format in the digital age.
It’s been so much fun this week looking through all of the #fridayfavourites #filtered shots and finding out o…
There is no best film, just the right film for the right situation and for the right photographer.
He enjoys that photographers shooting Portra 160 in low light can underexpose by two stops and still have strong images.
I shoot in two ways; firstly I try to tell a story of what is happening as it happens on the street and encapsulate it in one image. You have to be quick and decisive. With this type of street photography preparation is the key, you have to prepare the camera settings, eg what aperture and shutter speed you want to use. I tend to zone focus in these situations and once prepared it’s then all about observation, observing everything and everyone that’s around you.
Humans are creatures of habit, you can often predict what is going to happen next so being prepared is so important. You have to be decisive and react quickly. (I guess it’s what Cartier Bresson called the decisive moment).
Portrait photographer Dan Winters chooses the film because of how smart it makes his images look. “It’s a very high acute, it has a great edge effect,” he says. “So there’s the illusion of sharpness that’s actually not even in the image.”
He points out that the developer used to process the film and the paper it is printed on is as important to the look of a photograph as the film itself. Winters processed the film for the image above in Rodinol developer and printed it on Ilford Multigrade Fiber Based, Warmtone Gelatin Silver Paper. “That would be the combo that I would say would warm my heart.”
The Tri-X, he adds, is “slightly more expensive than Ilford but I’m a grownup, I can afford it.”
Jocelyn Bain Hogg dives into his stories and sticks with them. His project The Firm, which has matured into The Family, follows the British organized underground crime world. He began the project in 1998 when film was the only option. He has chosen to stick with the medium to keep his photographs visually consistent but his love for the film started when he was 14. “It’s one of those habits,” he tells TIME. “I prefer it to the HP5. You have to think how you’re going to solve a puzzle. There’s something to be said about that learning curve. To have to work harder.”
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The sun is shining and they days are getting longer which means better light and more time to shoot film. What…
“Tri-X Professional 320 ISO rating, but I cut it in half because it makes the shadows richer. Steiglitz and Weston did it. Keep the highlights down and boost the shadows. Overexpose by one stop, under developing by 20%.”
Keith has worked on advertising campaigns for blue chip companies including Laura Ashley, Barker & Stonehouse, The BBC, Miss Sixty, The Cooperative Clothing Company, Unilever, Hilton Hotels, Mars Confectionery, Hand Picked Hotels and many more. Keith has also worked with and been featured in dozens of lifestyle and photography magazines including Black and White Photography, Professional Photographer, Amateur Photographer, Digital Photographer, and Photography for Beginners. At the beginning of 2013 Keith became an Ilford Partner, delivering masterclasses to lecturers, students and competition winners.
Magnum photographer Stuart Franklin still shoots a ton of film. “I have done more assignments on film in the last year than I have on digital by a factor of about three.”
Surprisingly, he gives an unexpected argument for film: It’s archival. “The one thing we all forget is that film does last. We don’t know with technology how it’s going to change. We continually update our hard drives because technology says we need to but a roll of film is a roll of film, is a roll of film.”
best 35mm bw film for street photography Forums / Film cameras / best 35mm bw film for street photography
While he admits that digital works better in low light, he chooses film for its ability to accurately portray light. “It’s very, very special I think. When it comes to outdoors and the brights contrasty light, film is perfect. When you look out at the world a lot of color gets lost or not picked up. What I feel about this film is it is actually getting the colors that I see.”
From color to black-and-white, 35mm to medium and large format, renowned professional photographers select the films they love. They tell us why and expand on the effects those films have had on their looks and their processes in their careers.
Large format film can be quite expensive, though. “I’ll buy 100 sheets at a time which is a $1500 purchase when I do it,” he says. “For some people that gives them pause. It’s a lot of money but I try not to think about that because it’ll kill you. The price when I started shooting was $7 a sheet. It’s doubled in that time. But I want to make pictures that are worth way more than that.”
I am very lucky that after a career spanning 28 years as a professional advertising photographer I now feed my soul teaching my passion which is street photography in some of Europe’s most exciting cities, often in areas people wouldn’t normally visit some of which can be a little scary if not a bit oppressive. I love these types of areas as it heightens your senses, the adrenalin flows and your pulse quickens in anticipation of the next shot.
My favourite lens to work with is 35mm. It’s wide enough to tell the story, but if you get close enough you can shoot a portrait without distortion. The objective is always to get close it’s the only way to feel and engage with what’s happening around you.
It looks like there are a lot of you who are proud to be films photographers and rightfully so! These are our …
Greg Miller prefers Kodak’s films because “they’ve got really good at recording skin tones,” he says. “I’m a portrait photographer, that film is perfect for me. I shoot people and I need to shoot in darker places. Their research and development went into creating film where people can a lot of mistakes and still recover.”
Shooting Street Photography with film – Why I love it Posted On 16th March 2016 To Magazine, Technique, Street & Photography Genres
Medium Format Color: Kodak Portra 400 Professional – Rena Effendi