Table Of Content

FEARLESS PHOTOGRAPHER FILM IN THE DIGITAL ERA Joseph Salvatore Prezioso with Ingrid Nelson Course Technology PTR A part of Cengage Learning Australia, Brazil, Japan, Korea, Mexico, Singapore, Spain, United Kingdom, United States Fearless Photographer: © 2012 Course Technology, a part of Cengage Learning. Film in the Digital Era Joseph Salvatore Prezioso ALL RIGHTS RESERVED. No part of this work covered by the copyright with Ingrid Nelson herein may be reproduced, transmitted, stored, or used in any form or by any means graphic, electronic, or mechanical, including but not limited to photocopying, recording, scanning, digitizing, taping, Web distribution, Publisher and General Manager, information networks, or information storage and retrieval systems, Course Technology PTR: except as permitted under Section 107 or 108 of the 1976 United States Stacy L. Hiquet Copyright Act, without the prior written permission of the publisher. 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Small Library of Congress Control Number: 2011942307 Technical Reviewer: Donna Poehner ISBN-13: 978-1-4354-6091-1 Interior Layout: ISBN-10: 1-4354-6091-X Jill Flores eISBN-10: 1-4354-6092-8 Cover Designer: Mike Tanamachi Indexer: Course Technology, a part of Cengage Learning Larry Sweazy 20 Channel Center Street Boston, MA 02210 Proofreader: USA Sam Garvey Cengage Learning is a leading provider of customized learning solutions with office locations around the globe, including Singapore, the United Kingdom, Australia, Mexico, Brazil, and Japan. Locate your local office at: international.cengage.com/region. Cengage Learning products are represented in Canada by Nelson Education, Ltd. For your lifelong learning solutions, visit courseptr.com. Visit our corporate Web site at cengage.com. Printed in the United States of America 1 2 3 4 5 6 7 13 12 11 This book is dedicated to my godchildren: Salvatore Prezioso and Joseph Ciampi Acknowledgments I would like to thank: (cid:2) KEH (cid:2) The Finer Image Photo Lab (cid:2) Barry S. Kaplan (cid:2) Richard Photo Lab (cid:2) www.ECN-2.com (cid:2) North Coast Photographic Services (cid:2) The Brothers Wright (cid:2) Scott Sheppard (cid:2) Kodak (cid:2) Fuji (cid:2) All those darkroom photo workers who I have never met About the Authors Joseph Salvatore Prezioso is not your ordinary photographer. Starting out at the age of 16 as a stringer for a local chain of newspapers, he learned to shoot on the streets next to some of Boston’s best Globeand AP photographers of the day. He was there before digital took over and learned to shoot on film before switching to digital. Today, Joseph has switched back to film after many years of shooting digital. He is a successful wedding photographer, shooting weddings entirely on film. His first book, Fearless Photographer: Weddings, has been loved my many and disliked by few. Joseph knows that how he shoots is not for everyone, but he hopes to make a difference so that whether or not you agree with him, you always learn something. His goal in life is to push boundaries and stay creative. Ingrid Nelson is a professional photographer living in the foothills of Northern California. The daughter of two painters, she fell into artistic expression quite easily and started taking her first photos around the age of 10. She started shooting professionally in 2002, when she created her business, Myrtle & Marjoram. Since then, many weddings and moments later, she finds herself still inspired by the lens and the world around her. Oh, and she still shoots film. Contents Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . x Chapter 1 Welcome to Film Land . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Why Film? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Digital and Film Differences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Chapter 2 Cameras: Tools of the Trade. . . . . . . . . . . . . . . . . . . . . 44 Canon EOS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Canon 1V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Canon 1N . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Canon EOS-3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Canon Lenses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 The Nikon System. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Flashes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Lenses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 645 and 6(cid:2)7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Leica. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 The XPan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 The Horizon Perfekt. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Spinner 360. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 FEARLESSPHOTOGRAPHER | FILM IN THE DIGITAL ERA Canonet QL17 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Large Format. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Chapter 3 Camera Tech and Maintenance . . . . . . . . . . . . . . . . . . 66 Basic Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 The Shutter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Aperture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Fast Lenses versus Slow Lenses. . . . . . . . . . . . . . . . . . . . . . 70 Metering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Light Meters and Quality of Light . . . . . . . . . . . . . . . . . . . . . . . . . 74 Chapter 4 Current Film Stocks . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Kodak Portra 160. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Kodak Portra 400. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Kodak Ektar 100 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Kodak Tri-X 400 and Ilford HP5 Plus 400. . . . . . . . . . . . . . . . . . . . 86 Kodak TMZ 3200 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Ilford Delta 3200. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Fuji Superia 800 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Fuji Superia 400 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Fuji Sensia and Cross-Processing . . . . . . . . . . . . . . . . . . . . . . . . 96 vi Contents FEARLESSPHOTOGRAPHER | FILM IN THE DIGITAL ERA Chapter 5 The Hybrid Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Chapter 6 Developing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Chapter 7 Pushing Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Chapter 8 Movie Films for Still . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Developing ECN-2 Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Shooting 500T . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 Contents vii FEARLESSPHOTOGRAPHER | FILM IN THE DIGITAL ERA Chapter 9 Ingrid’s Turn: Prints . . . . . . . . . . . . . . . . . . . . . . . . . . 130 Different Common Print Types. . . . . . . . . . . . . . . . . . . . . . . . . . . 134 Let’s Make a Print . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 Chapter 10 Weddings on Film . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 A Little Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 How I Shoot a Wedding on Film. . . . . . . . . . . . . . . . . . . . . . . . . . 143 Lomo at a Wedding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 Video Light at a Wedding. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159 Flash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161 Traveling with Film Gear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 Staying Organized While Shooting. . . . . . . . . . . . . . . . . . . . . . . . 163 Chapter 11 Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164 One-Roll Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166 So Many Choices! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169 Play with Friends. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169 Go Lomo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 Double Expose. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 Expired Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172 A Day at the Beach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 Fishing Port. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 viii Contents FEARLESSPHOTOGRAPHER | FILM IN THE DIGITAL ERA Flowers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 Fourth of July . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 Concert. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 Commercial Portraits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 Couples Portraits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 Babies and Kids. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Newborns. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 Older Children. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 Dogs! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185 Cities: Part I. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 Cities: Part II. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 Sunny 16. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 Super 8mm. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 Time of Day. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 Instant Photography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 A Snowy Day. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 Festivals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 Projection Shoot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 Chapter 12 The End? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 Film and Camera Resources. . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200 Contents ix