REVIEW // HILLVALE Holiday Film & Canon A1

by Damien Woods

First Review post for 2019 has WECC Member Damien Woods sharing the brilliance of Hillvales latest Film stock….HOLIDAY

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"I recently travelled to Scandinavia a few months ago and naturally bought a few extra rolls for my trip. Discovering Hillvale Lab in Melbourne had recently released their latest 'Holiday' stock, I got online a ordered a few rolls. Below are a number of samples I shot whilst travelling in Norway to Svartisen Glacier. With unpredictable weather conditions throughout Scandinavia we were blessed with sunshine that day. Shooting on my only working Canon A1 (1 out of 3) and the Canon 50mm f/1.4 SSC. With toasty warm colour saturation, a hint of fog in some shots, solar flares. I felt like this was the perfect film. I try to pick the film for what I'm shooting, I was glad my camera was loaded with Holiday."

TECH STUFF

36 Exposures

  • Daylight-Balanced Color Negative Film

  • ISO 200/24° in C-41 Process

  • Fine Grain and High Sharpness

  • Wide Exposure Latitude

  • Film Stock Manufacture: Fujifilm C200 ???

Cheers,

Damien Woods, photographer (analog)

WEBSITE

WECC MEMBER // Nick Bedford - Photo Vol. 120

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.

BOOK REVIEW // CAFE ROYAL BOOKS - Bill Jay — British Photographers Photographed

PURCHASE

Published to accompany the documentary film and exhibition: Do Not Bend: The Photographic Life of Bill Jay

LOCAL NEWS // Racquet Film Public Darkroom FUNDRAISER

We at WECC have been great fans of everything Racquet Films do, and getting a Public Darkroom off the ground is something we are going to cheer and yell about. With a few more "secrets" in the works, this is just the start of what we hope is a great ANALOG revival for all Brisbane Film Fans. We call all to arms and encourage all FILM shooters to help get this well-needed service off the ground ....workshop anyone.

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Racquet Film began as a comission-free agency to help photographers make more money without paying fees. We've since expanded rapidly, with the opening of our full service lab (C41, B&W, E6 in 135, 120 and 220 formats, all done in-house). The demand for a public darkroom has become apparent, and the building directly next door of Racquet Film's lab and gallery is currently on hold. Racquet Film are willing to match the amount donated to cover the $18,000 bill to rent the space, and are taking donations to build a pro-grade darkroom that the entire Brisbane community can use. We'd be so greatful for any donation, big or small, whether it be money or darkroom equipment. Having spent four months in the shop, we've witnessed first hand the growth of film in Brisbane, and we want to continue to nurture this advancement, and think the expansion of services for the Racquet community is an amazing way to do this. 

100% of the funds will go toward darkroom equipment, associated bills and the other expenses it takes to make a professional darkroom worthy of public use. As previously mentioned, any donations would be greatly appreciated, and we are truly passionate about advancing film photography in Brisbane (the old school way).

Thanks in advance for your support, and feel free to contact us with any questions or suggestions.

DONATE NOW

"Great Journeys" Magnum Photos Square Print Sale with Aperture Foundation

October 30, 8 A.M. EST to November 3, 6 P.M. EST only
Signed or estate-stamped, 6x6" museum quality prints for $100

Band member at parade. Bangalore, India. 2016 © Alec Soth / Magnum Photos

I recently went to India to study ‘laughter yoga’ in hopes of learning how to make happy pictures. But my best photograph still ended up looking a little sad.” - Alec Soth

On the occasion of Magnum’s 70th anniversary and Aperture Foundation’s 65th, the two storied organizations have joined forces to present Great Journeys, inspired by Magnum co-founder, the photographer George Rodger.

Rodger’s response to the experience of World War II, and in particular his revulsion to photographing scenes of the Holocaust, led him to re-evaluate his purpose as a photographer. After the war, Rodger chose to travel in search of pictures that offered visions of hope for humanity.

Cheshire, Ohio II. 2004 © Mitch Epstein courtesy Aperture

I went to Cheshire, Ohio, in 2003 to make pictures of a town that had been bought out by American Electric Power. The townspeople had been complaining of toxic contamination from the local coal-fired power plant, and had agreed, for a price, to keep silent and never sue AEP. It was when I returned home to New York, and couldn’t get Cheshire and its residents out of my mind, that I began the series ‘American Power,’ in an effort to understand how energy functions: who makes it; who and what gets hurt by it; who profits from it; and what might be its, and therefore the nation’s, future.” - Mitch Epstein

Magnum Photos and Aperture have a long and diverse shared history, and together have invited photographers - either members of Magnum or published by Aperture, and often, both - to respond to the theme Great Journeys with an image from their archive, as well as accompanying text.

Scotty’s Drive in. Florida. 1967 © Joel Meyerowitz courtesy Aperture

Here’s Scotty’s Sometimes when you’re traveling in the car all day, on the lookout for life on the fly, a great thirst comes over you and that desire for the next event evaporates immediately upon seeing an old-fashioned diner, I mean the real thing, not some dolled-up imitation serving prepackaged crap, but a place where some degree of reverence for the past lets you know that a milkshake from childhood can be found there. And here’s Scotty’s. Mmmmmm”

Both individually and collectively, their responses highlight the major visual and thematic threads that have preoccupied the past seven decades of photographic production, shedding light on Rodger’s legacy, and redefining the concept of journey in photographic terms.

These photographs are a selection from this project and is temporarily available for purchase as a signed, museum quality Magnum Square Print, exceptionally priced at just $100.

Liberation Day Tea at the Forest United Methodist Church. Guernsey. 2012 © Martin Parr / Magnum Photos

The Channel Islands were the only part of Britain that were taken over by the Nazis during the Second World War. They were liberated on May 9, 1945: This day is now called Liberation Day and continues to be celebrated on all of the islands every year. I had wanted to shoot the events around May 9 in the Channel Islands for many years and did so in 2012, travelling to the Islands to make pictures of the 68th anniversary celebrations of the liberation. This is an image from a 'Liberation Tea' at a small Methodist church on Guernsey, a day when Union Jacks are ubiquitous.” - Martin Parr

The edition is not limited by quantity, but limited by time. This Square Print is only available for purchase between October 30, 2017, at 8 A.M. EST and November 3, 2017, at 6 P.M. EST.

All signed Magnum Square Prints are signed on either the front or back, depending on the photographer's preference. Estate-stamped prints are stamped on the back. Each photographer's accompanying text is printed on an archival label that is affixed to the back of the print.

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