Fearless photographer: film in the digital era

224 Pages·2012·17.922 MB·English

by  Joseph Prezioso, Ingrid Nelson

FEARLESS
PHOTOGRAPHER
FILM IN THE
DIGITAL ERA
Joseph Salvatore Prezioso
with Ingrid Nelson
Course Technology PTR
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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
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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
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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
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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