Last week, Hannah and I camped in Cornwall for a few days. The highlights of the break were a trip to the Eden Project, and a beach day spent at Bude. Hannah enjoyed sunbathing and reading while I preferred to take a walk away from the sandy beach, past the harbour and towards the rockier coast. These are the best of the photos.
Photography was seriously difficult here, because the crowds were thick and due to the downhill sprint, the cyclists were probably doing about 50mph. I just pointed my camera across the sprint line and held the button down. The speed of the cyclists is clear, but I managed to capture Matthias Brändle crossing the line first. He went on to win the stage in Exeter.
The only other photo worth publishing was of the official sprint line photographer using an iPad to capture the action in case it was necessary to check the photo finish to award points. I kid you not!
And my final comment is a shout out to the little boy in this photo. He and his younger brother were both there at the sprint line with their dad, both wearing Team Sky jerseys and really excited to see the Tour pass. Clearly dedicated fans from a young age, and this is exactly the kind of enthusiasm we need to boost cycling in the UK.
Stage 4 of the 2014 Tour of Britain finished on the Downs in Bristol today. Hannah and I went along to support, and got a spot about 300m from the end, by Sea Walls. We were on the outside of the bend on Circular Road so we’d get a good view.
I won’t bore you with too many photos of men riding bicycles, but a particular highlight was when Bernhard Eisel passed quite slowly, rolling into the finish with another rider. Hannah cheered for Team Sky so loudly that he heard, nodded, and threw over his water bottle as a souvenir. I caught it, but unfortunately another spectator snatched it and ran. Pfft, I didn’t want a slobbery water bottle anyway.
Unfortunately I can’t identify most of the riders here because they wear their numbers on their lower back, and underneath the saddle on their bike. When they’re riding straight towards you, it could be anyone!
The other day I posted some pictures I’d taken in Sherborne Abbey. They were shot on black & white film, scanned and edited digitally. I had envisaged a pale blue tone to emphasise the coolness of the stone building. At the time, I found the blue look I wanted digitally.
With that image in mind, I did some toner tests using Fotospeed BT20 iron blue toner. I found it quite hard to tame at first and I made a lot of small test prints until I got more-or-less the look I wanted after diluting it 1+2.
- Test 12 is probably the best, but I’m still not quite happy with the shade. It’s too turquoise.
- Test 5 has nice shadows but is too blue.
- Test 3 is an interesting effect and one I might use again.
- Test 9 is also an interesting effect, which definitely gives the impression of light
More experimentation is definitely needed, but I fear the look I wasn’t isn’t attainable with this blue toner. It has been recommended to me to use gold toner (which comes out blue) but that is quite expensive – about £60 per litre.
I had a brainwave about a better way of using my 1890s Lancaster Instantograph. It has no shutter so only very slow films can be used. Until now, I’ve been using paper negatives which are very slow, but can’t be enlarged – only contact-printed.
I remembered I had a box of Kodalith 5×4″ lith film which expired before I was born. Long-expired film loses its sensitivity and contrast, so I wondered if this film was now insensitive enough to be used without a shutter. I did a few brief tests and found that it can be exposed quite nicely at ISO 25 and developers well in paper developer. Lith film usually produces a hard black-and-white (not greyscale) image, but as this Kodalith is so old, it seems less aggressive.
I’ve invented the perfect recipe for a Victorian-style split sepia selfie – just 37 simple steps.
- Go into the darkroom. Switch off the light and work under red safelight.
- Use scissors to cut 5×4″ lith film down to 4¼×3¼” quarter-plate format
- Load cut film into film holder
- Emerge from the darkroom.
- Using a dark-cloth, position, adjust and focus the camera on its tripod using a large mirror. You won’t be able to hold this camera at arm’s length!
- Place the lens cap on the lens (it acts as a shutter on this shutterless camera)
- Insert the film holder into the camera
- Use a light meter to determine the exposure. I used a selenium meter from the 1950s and came up with an exposure of 60 seconds at f/10 (wide open) using the artificial light in my living room
- Withdraw the dark slide (you can see it sticking out of the side of the camera in my picture)
- Remove the lens cap and immediately stand as still as possible for the exposure
- Replace the lens cap
- Replace the dark slide
- Return to the darkroom and work under red safelight
- Unload the film holder
- Place the film in developer for 90 seconds. I used Ilford PQ Universal.
- Place the film in the stop bath for 30 seconds
- Place the film in the fixer bath for 60 seconds
- Switch on the light
- Wash the film
- Hang it up to dry
- When dry, load the film into the enlarger’s negative carrier. I don’t have a quarter-plate negative carrier and my 5×4″ carrier is glassless, so sandwiched by quarter-plate negative between two clear sheets of unexposed but fixed 5×4″ film
- Switch off the light and return to red safelight
- Scale and focus the projected image for your paper size
- Set the enlarger’s filter, aperture and exposure time according to your exposure tests
- Expose the print
- Place the print in developer for 90 seconds. I used Ilford PQ Universal.
- Place the print in the stop bath for 30 seconds
- Place the print in the fixer bath for 60 seconds
- Switch on the light
- Wash the print
- Place the print in the bleach bath for 30 seconds to bleach back the highlights
- Wash the print
- Place the print in the sepia toner for 60 seconds to replace the bleached highlight areas with sepia colour
- Wash the print
- Place the print in the selenium toner for 60 seconds to blacken the shadow areas
- Wash the print
- Hang it up to dry
Most of the flaws in this image are actually from using a a cheap and dirty mirror. It flexes, so the room appears distorted. It has fingerprints and dust on it, which causes the strange halos around the lights.
For anyone who is interested in darkroom processes, I recently published a video on YouTube which shows steps 21-34.
For our first wedding anniversary, Hannah and I spend a long weekend in Dunster, West Somerset. We first visited Dunster in the winter, and vowed to come back when the weather was nicer. It’s a small medieval village with a castle, a church and an ancient yarn market in the middle of the road.
We stayed at the Luttrell Arms. It’s quaint and cosy and perfect for a quiet getaway. As we booked early, we had the pick of the rooms and we chose one with a four-poster bed and a tiny little study that overlooks the high street.
On the way back to Dunster, we drove across Exmoor. It was stunningly beautiful but the narrow road didn’t offer many places to stop and take pictures. I managed a couple!
Finally, we called in at Minehead in the evening. It was a bit late for sunbathing but we went for a stroll on the beach as the sun set. I photographed this footprint in the sand, and then we went wild at the amusement arcade.
Lenses used were Sekor C 90mm f/3.8, Sekor C 127mm f/3.8 on the Mamiya RB67 and FD 24mm f/2.8, FD 35mm f/2.8, FD 50mm f/1.4, FD 70-210mm f/4 on the Canon SLRs.
A few weeks ago, I visited Sherborne Abbey with some friends who were singing with the choir In Ecclesia Exon. While they rehearsed, I photographed the beautiful building and some of its contents. I’ve photographed cathedrals and abbeys many times before but on this occasion I was trying to find something a bit different from my usual.
It was a hot day but the inside of the abbey was cool and refreshing. I decided that a subtle blue tone on these photographs would reflect the coolness of the stone as it felt to me at the time. Not so long ago I wrote about testing photographic toners to see what they do. These images are scanned from black & white negatives and toned digitally, although now I’ve seen that I like the blue tone I will make some blue prints the old fashioned way.
All of these pictures were shot with a Canon T90 on Ilford Delta 3200 film. I tend to like wide lenses when shooting in churches and these photos were taken with a Canon FD 17mm f/4 and a Canon FD 50mm f/1.4. Other photos on the roll were taken with a Canon FD 24mm f/2.8 but they didn’t make the cut.
I’ve been busy this summer so I haven’t spent as much time as I would like taking pictures of the Somerset Towers for my project. Yesterday I went out for the first time in over two months and I photographed four churches. I’ve now got 32 of the 73 churches on my list.
This is my favourite picture of the day – the church of St Peter & St Paul in Charlton Horethorne. The church is nice but I also like the the stormy clouds behind it.
As a side point, I’ve also been tracking the distance I travel to get to these churches across the county. So far I’ve driven 987km and I’ve not even done half of the towers!
This week’s Photo Challenge is salt & pepper. It’s a simple theme with lots of scope for different interpretations. I immediately had the idea of a high-contrast black & white version.
This picture was taken using sheets of black and white plastic, and a small cookie cutter to sprinkle the condiments in circular heaps. It has had very little post-processing – just boosting the contrast and cloning out a few grains of salt that got away. I honestly spent longer prodding peppercorns with tweezers than I did on the computer.
Just because I love film photography a non-digital workflow doesn’t mean I spurn all digital assistance. Here are my favourite smartphone apps which I use regularly to help with my traditional photographic work. I’ve focused on iPhone apps simply because I have an iPhone. I’m sure many of these (or close equivalents) are available for Android and Windows phones too. I’ve included links to the UK App Store if you click on the pictures.
PinholeMeter is a simple but useful app for calculating exposure times for pinhole cameras. You just have to tell it the ISO of your film/paper, and the f-number of your pinhole. Then you point your phone at the scene you want to measure, and it tells you how many seconds of exposure you’ll need to get perfectly-exposed pinhole photographs.
Pocket Light Meter
Digital cameras all have built-in metering, but quite a lot of manual film cameras don’t. Even the ones that do have meters often don’t work well after decades of neglect. Buying a real light meter can be very expensive and using the sunny 16 rule can be inaccurate in difficult lighting conditions, so this app is a pretty good replacement.
Just set your ISO and point it at the scene. Set either the shutter speed or the aperture if you want to use priority exposure, otherwise let the meter decide. Dial the settings into your camera and click!
This one’s a geeky one. As its simplest, it’s a replacement for a pencil and paper when taking notes about your film exposures while you’re out and about. It can save exposure values, thumbnails, GPS co-ordinates, filters and zone system information to help with later development.
If you’re especially keen, later on you can re-add the information back into the scanned images using exiftool – the same way that digital cameras embed information into photos. I now do this with my photos. WordPress picks up the information and displays it automatically so other geeks can enjoy it.
Massive Dev Chart Timer
This one is a lifesaver for me. The Massive Dev Chart Timer has development information about vast numbers of films and developers. It makes it easy to find times and temperatures for your films. It can also do temperature compensation (if your developer is hotter/colder than it should be) and push/pull processing.
Once you’ve found your settings, it acts as a darkroom timer and gives visual and audible signals for developer, stop, fix, wash and more. I never process film without it.