Morgan hands down is one of the most able photographers I have had the pleasure to know. His professional work speaks for itself, honest, present, timeless and always inspiring. Few tell a story as crafted and real as he. Those who chose to commit their special moments with him are never disappointed.
By Damien Woods
News of Kodak bringing back their famous Ektachrome broke about 3 years ago? And eventually coming available late last year, I knew I had to get some. 5 rolls later, my first experience with slide film. I took some with me to a relative's home in sunny Pomonaon the Sunshine Coast here in Queensland. Photographing some of their garden whilst taking a small break over Christmas. With my Canon A1 and 50mm f/1.4 SSC (my current favourite both in size and performance). Different textures, colours, arrangements. Later some more plants in my own backyard. Even in low sun the colours remain vibrant.
Some other samples of E100 shooting a local car meetup, with occasional spot of cloud, waiting for early morning sun to bring out some colour in vintage cars.
Favourite colours: burnt orange and green. Perfect.
Low Speed (100) Color Transparency Film (E6, Slide)
Exposed from 100
Film Manufacturer - Kodak Alaris *Probably Rochester New York
All shot on Kodak E100 Ektachrome, Canon A1, Canon 50mm f/1.4 SSC
Dev/ Scan - Racquet Studio
An interesting article by WECC member Nick Bedford on street photography and the idea of “rules”.
I see a lot of articles across the internet claiming to know the "rules to follow" or the "things to avoid" in street photography, easily one of the most hotly debated genres. What they tend to misunderstand is just how little the genre cares for photographic rules, and what the defining elements of street photography really are that go beyond any of the purely photographic elements.
The problem with a lot of street photography is that there is little to no narrative being suggested, such as the commuter walking along a wall mid-step or the person stepping into a shaft of light. In contrast, the most intriguing photographs will have questions flying around them and may even puzzle your viewers as to what is going on. Your viewers may start to build a narrative in their minds, whether truthful or imagined, due to the circumstances of the subject matter and timing.
Morgan Roberts speaks with Speaks with Sam Attwood and Chloe Brescia of Raquet Film in Newfarm about everything from A to Tri-X ...
WECC Member Nick Bedford has posted his latest set of awesome images over at his Journal page at nickbedford.com. Always a treat, his latest film frenzy shows of some great Kodak Portra and Ektar 100 colour work along with the norm Tri-X variants and some Rolleiflex Ilford HP5+ action.. worth a look. ENJOY
Since I seem to be shooting both black and white and colour a lot now, I'm renaming these posts to simply Photo Vol. X. Seems more fitting and flexible. The Rolleiflex has been great, though I need to put it to more use with some Kodak Portra colour film and make some new portraits with it. The Leica M7 is still down in Melbourne at the servicing shop, though I have some recent 35mm Portra 160 photographs from a camping trip I went on with my mate Dash before I sent it away.
We managed to get the Pakon F135+ to scan raw TIFFs of colour film and the results are quite astounding, even despite the limited resolution of the scanner (6 megapixels). The latitude in colour film is amazing.
With Member Nick Bedford
In a recent video, I was asked how I shot and merged my panoramic landscape photographs. In this video, I explain how to set up your tripod for the most accurate series of frames in a series that can then be brought into Adobe Lightroom and stitched using the Merge to Panorama feature.
Cameras: Nikon D810 & Leica M Typ 240 Lenses: Sigma ART 50mm F1.4 & Leica 35mm Summarit f/2.5 Filters: 82mm Kenko Circular Polariser Tripod: Manfrotto Befree with Novoflex Panning Base Shot on Panasonic LUMIX LX10 with RODE SmartLav+ lapel mic. Edited in Final Cut Pro X.
Source (Nick Bedford Youtube)
We drove out to photograph a panorama of Main Range in South East Queensland at 4am and couldn't resist hiking up the mountain at the end. Beautiful morning despite the total lack of cloud coverage for some extra interest. You have to work with what you're given in landscape photography! Panoramic Stitch Resolution: 112 megapixels! Purchase handmade and signed prints at
Photo Blog: https://www.nickbedford.com/blog
Camera: Nikon D810 Lenses: Sigma ART 50mm F1.4 Filters: Circular Polariser Tripod: Manfrotto Befree
It's shown me in recent weeks and months that I'll never achieve these things I desire without room to fail, room to learn in the deep end and room to accept the rough weather, literally and figuratively.
YouTube and Instagram can be a dangerous time sink. Dangerous to your sense of contentment with a so-called "normal life" — aka going to work during the week, going on a bit of a morning hike on the weekends, grabbing coffee with friends, seeing a band and so on. Dangerous because those two particular platforms have become a massive inspiration to people, photographers or not.
Millions can all experience fear of missing out in unison, and that can't be a good thing. Watching other people do what you're not can be a source of anxiety amongst people, and I'm no stranger to its effects, but knowing that this is a thing, can I justify my own insatiable need for wanderlust?
Landscapes and nature, hiking and coastlines. Here's a variety of new photographs from both the Leica and Nikon with 35mm lenses.
I bought the Sigma ART 35mm F/1.4 lens in lieu of my brief New Zealand road trip in October, but after hiking Mount Maroon with my Nikon D810, I came to the conclusion that I simply don't want to carry that size of a camera on me. I proved to myself that the much smaller and more lightweight Leica M and 35mm/50mm lenses are all I need time and time again.
My New Zealand long weekend is all planned, but I've left the details up to serendipity. I can't wait to find myself driving down Mount Cook Road.
As our Queensland winter marches forward toward the warmth of spring, I'm reminded of how little hiking I've taken part in this year. In the two years prior, I made it a priority to dive into the car with a friend or two in the early hours of the morning on my way toward a mountain as the sun worked its way toward the horizon.
This year has been quite a departure from that ritual, making way for a creative affair with black and white film cameras, chemical developing processes and stacks of printed photographs. I've discovered a new facet of photographic exploration. My focus has shifted to urban landscapes, street scenes and the occasional portrait etched onto Kodak panchromatic Tri-X film.
And while I haven't ceased that avenue of work, the pull of the greens, blues and the oranges of hiking was always in the back of my mind. With social media and its influences, you can never truly switch off unless you log out for good.
By Nick Bedford
In the last six months, my approach to photography has changed a great deal, leading me to switch to film for most of my black and white work. The process of shooting film, from the tactility of the Leica M7 and Nikon FA cameras I use, to the developing and scanning process have given me a much deeper appreciation for the craft of being a photographer.
The issue I face after becoming so accustomed to the rich, grainy texture and tonal range of Kodak's much-beloved TRI-X 400 (400TX) film is that my work has become a sea of monochrome.
I've created some of my best black and white work this year alone, but my long-held desire to carry only a single camera has made it difficult to create both colour and black and white photographs at the same time.
Being able to shoot my digital Leica M Typ 240 and still achieve the feeling of Kodak Tri-X at same time as producing colour work is something I have been reaching for with a new effort to simulate, exactly, the look of 400TX. It has taken me a few months, but I think it's ready.
This last month or two has been a photographic life changer. I've really started to get my stride and momentum with some new black and white techniques around composition I've been trying ever since visiting Japan and starting to print.
I also met up with Lachlan Dale, a film photographer at Racquet Studio / Film here in Brisbane. He's given me a roll of Ilford HP5+ to shoot then I'll send it back to them to have it processed and scanned. No pressure ;)
I've finally developed all of my latest rolls of film from before and during my Japan trip. Here's everything worth sharing. I did shoot a decent amount of colour, but it's off for developing so I think I'll just use that in my essay in the near future.
I haven't touched my digital cameras in a while. TRI-X is bizarre and great and full of sand-like grain and I love it. My binder of negatives is growing, but I'm finding that some genres of photography I practice are better suited to high resolution colour raw files, so I've decided to pick up my Leica M again and use that for colour work where appropriate.
As for Japan, I think I've settled on a good gear compromise that is also very lean. I'll be taking my Leica M Typ 240 and M7 bodies and swap over the 35mm lens when I want to shoot TRI-X sometimes.
Enjoy some pictures though. It's a pretty wild variation in this blog.
Nick has been shooting with a Leica Summarit-M 35mm f/2.5 for the last two years since he dove deep into the Leica world with his M Typ 240 rangefinder. But when he discovered the newer Voigtländer 35mm f/1.7 Ultron Aspherical, he was keen to grab it as an alternative to the very, very expensive 35mm Summilux F1.4 by Leica.
As you can see, the images are very sharp even wide open, though there is noticeable vignetting from F1.7 to roughly F4. Beyond that it is supremely sharp and clear across the board.
Nick has since started shooting the lens on his new Leica M7 film rangefinder so we'll update this post when he has some of the results developed and scanned!