I’ve only got myself to blame. After the last post which related to being dragged slowly and painfully into the digital age I went out and did a bit of street shooting, probably my favourite pastime. As I said previously I do use digital to shoot the magazine stories I work on, particularly if they need to be in colour.
For personal work I like to do things the old fashioned way which mainly involves wandering around the streets looking for slightly whimsical pictures. I carry an old M6 with 35mm lens and a couple of spare rolls of film.
I wandered into town and roamed around a few favourite hunting grounds looking for likely suspects. I don’t like to call them victims. Thus I finished up outside the local markets where buskers put on shows. There are usually a lot of people around, a critical ingredient.
I’d had a reasonable day and jagged a couple of decent shots in between diving into cafes and warming up with a coffee. It’s cold down here at this time of the year.
Later in the day I processed the films and scanned this image, my favourite catch of the weekend.
Fremantle Markets 2012
© Roger Garwood 2012
Andrew, who I nickname Soobs, is a photographer colleague who lives on the other side of Australia these days. He read the last blog, regarding digital v film and another emailed exchange of opinions ensued. One thing about Soobs is that he does ask pertinent questions which, as much as I’d like to, are difficult to ignore.
I sent the picture to Soobs with some comments:
This is a straight scan from a TMax neg. I’m really pleased with the tones – a nice range with detail through to the deep shadows and highlights and it looks like film – and it is … and I can make a silver print if want to. So there!
I had previously made some comments about the advantages of shooting film, thus opening a can worms:
Needless to say Soobs I had forgotten to mention what I feel is the most important aspect of film.
In a nutshell the images actually exist. In a computer they don’t. They are a collection of 1s and 0s which are susceptible to the vagaries of technology, ranging from glitches in computers to the treadmill which traps us into continuing updates and upgrades.
By shooting neg on important material I’m doing two things. One is not losing some well earned skills which do need to be kept in tune. The other is the archival characteristics of film. I’ll add to that the ability to make silver prints as well as digital images.
I think you’ll agree that a scanned neg doesn’t look bad on a screen either. In that regard I’d be the first to admit that times have changed and, to make a silly estimate, it’s clear that 90% of people will view 90% of pictures on a screen.
I don’t share the notion that film is dead. All the stats show that film sales are increasing throughout the world, as are sales of film cameras. Leica make about 400 film cameras a month. I think that my final ‘camera to last a lifetime’ will be an MP but it can wait. Like the iPad I don’t actually need it, but I want it.The likes of Linhof, Sinar, and others, as well as custom manufacturers of large format gear, are experiencing increases in sales. All formats of film sales are increasing. Paper and chemistry is readily available so I believe the prophets of doom should get back in their cages.
So, from where I sit, which is currently in front of an iPad, an M6, a steam radio and a plate of poached eggs on toast, I feel the sensible decision is to cover both bases.
Of course I only say these things to stir him up a bit. It always works. Soobs fired back a series of well considered comments:
1. People who use film nowadays are analogous to craftspeople who build their own houses from scratch; or – more relevant, perhaps – to those who breed goats, crop the wool, spin it to thread, then knit sweaters. It’s highly skilled, a labour of love, the product is superb – as per your film practices – but for the vast majority of people, it’s out of the question. It’s a niche skill within a set of niche skills. To say this is not in any way to be negatively critical of people who breed goats, or shoot and process film. They just choose to do it differently.
2. The product you get is not necessarily any better than a more commercially produced one. (cf Simon’s printing)
3. A negative can be lost, burnt, scratched, generally damaged. It has to be looked after very carefully. So do digital files. There’s no inherent archivability advantage to a neg – or a dig file. Depends on how they’re looked after.
4. You can make archive quality silver prints from dig files. So once you silver print a dig file it’s ‘as if’ it came from film. Longevity doesn’t of course apply to colour prints from either film or dig.
I freely admit to being a dinosaur and haven’t had time to get back to Soobs on these issues, non of which I particularly disagree with. (For the record I do have a few chickens and have given serious consideration to getting goat to save me mowing the lawn). However, one underlying point I made is that I love the feel of a good camera. And for street shooting I enjoy something small and discrete. I’m convinced these big digital cameras, which look like Darth Vadar on steroids, really do upset people. I also like to get relatively close to a subject rather than ‘spying’ on them with a long lens. Working like that is a bit like shooting ducks on a pond – easy!