Cross-Processing and other Photo Experiments

If nothing else, shooting film has made me a more patient person. Shooting, processing and scan time alone can be a minimum ten-day process. While waiting for my 35mm film negs from the lab I usually will use that down time to experiment with another camera or film format. This is exactly what I did while waiting for a roll of elite chrome to be cross-processed.


KODAK BROWNIE



I’ve been keeping a close eye on e-bay for inexpensive (but functional) vintage cameras. For $14.00us I was able to purchase a 1946 Kodak Brownie Target Six-20. According to a Brownie camera website (http://www.brownie-camera.com/47.shtml ) the original price was $3.50us.

After further research on the web, I was able to determine that the camera has a shutter speed of 1/50th of a second with two f-stop choices – f11 and f16. The camera uses 620 roll film, which was introduced by Kodak in 1932 and discontinued in 1995. After even more snooping, I found that B&H Photo in New York City (http://www.bhphotovideo.com/ ) sells 620 film (which in fact is just 120 film rolled onto a 620 reel). With a roll of Kodak Portra 120 film selling for about $3.50us and the B&H 620 (respooled) film selling for $12.50us(!) it was an easy decision to “roll my own” in the future. Both 620 film spools and film changing bags are available on e-bay.

Although a bit of a project, it’s experiments like this that make film photography so much fun. Plus, the look on peoples faces when you walk in with your 1946 Brownie camera ready to shoot.

The results from my first roll were pleasing enough to warrant trying a second roll soon.





More on 620 film here:
http://www.camerapedia.org/wiki/620_film

(thanks to Justin Wingenfeld and Brian McNulty for letting me photograph them with my Kodak Brownie!)


KODACHROME 200



In the past few months I have shot many rolls of expired Kodachrome 25 and Kodachrome 64 and have achieved excellent results as far as performance of the expired film. After all, shooting on old film stock is a bit of a “crap shoot.” You just never know what you’re gonna get! So far, I’ve been very lucky - no doubt due to the stability of the Kodachrome low asa stock.

This in my first shot using 200asa Kodachrome. Scanned using the Epson v700. The developed image was a bit muddy so I imported it into Adobe Photoshop in order to increase the contrast. I'm going to test a few more rolls in the coming weeks.



I suspect that the 200 Kodachrome has a much shorter shelf life than its 25asa and 64 asa siblings. Based on my experiences, when shooting expired film, storage seems to be the absolute key.As of today (10/29/09) almost every seller of Kodachrome on e-bay is claiming that their film was cold stored (as the cold stored film fetches the highest bids). I'd like to...but can not believe that every person is really keeping their Kodachrome "on ice."

Woodland Lake in New Jersey USA continues to be a favorite test spot for all things Kodachrome.





(thanks to William Hellfire and Vlad Suslov for allowing me to "snap" them using Kodachrome 200. Dig that Kodachrome skin tone!)


CROSS-PROCESS TEST

According to the Wikipedia:

Cross processing (sometimes abbreviated to Xpro) is the procedure of deliberately processing photographic film in a chemical solution intended for a different type of film. The effect was discovered independently by many different photographers often by mistake in the days of C-22 and E-4. The process is seen most often in fashion advertising and band photography, and in more recent years has become more synonymous with the Lomography movement.
http://en.wikipedia.org/wiki/Cross_processing

I decided to shoot a test roll using Kodak Elite Chrome 100 Cross-Processed in C-41 Chemistry. As someone who strives to shoot crisp, focused photography, the cross-process effect is a bit jarring. My brain keeps telling me to “fix those green skin tones!”

Thanks to William and Erin, who let me snap them at Burger Deluxe in Wayne, NJ USA. Cross-processed image below.



More Xpro stuff on the web:

http://www.flickr.com/groups/crossprocessing/pool/

http://www.lomography.com/

See everyone in a few weeks! Don’t forget to listen to my new Internet Radio Show – FILM PHOTOGRAPHY PODCAST

http://www.filmphotographypodcast.com/

Flickr Group:
http://www.flickr.com/groups/filmphotographypodcast/

You can e-mail me at MichaelRaso@ymail.com

Four Weeks of Camera Geekdom

The last few weeks have been great fun – experimenting with various vintage film cameras and film formats. So many possibilities…always satisfying.


KODACHROME HEAVEN

I’ve become a bit of a KodaKook when it comes to Kodachrome film. Since Kodak announced its discontinuation in June of this year, every photographer in the world that has been hoarding this unique film in their freezer (for 1 to 20 years) has begun to auction off their stash on e-bay.



The freezing process almost stops the aging process in film. So I’ve confidently purchased Kodachrome that is 25 years past its expiration date. Somewhat risky but amazingly fun, I haven’t shot a bad batch of Kodachrome yet. An amazingly stable film.

Because of it’s complicated emulsion; Kodak announced that Kodachrome processing will only be available through December of 2010 via Dwayne’s Photo in Parsons, Kansas. With only 14 months and a freezer filled with film, I’m dedicating my next year to Kodachrome photography. My ever-growing gallery can be seen here:
http://www.flickr.com/photos/michaelraso/sets/72157622276548474/







above: Kodachrome shots of THE SMOOVE SAILORS
http://www.foglizard.com/thesmoovesailors/

126 MODIFICATION

With the limited supply of fresh 126 cartridge film, I was pleasantly surprised to learn that many 126 film shooters have been loading 35mm film into their old 126 film cartridges. I was thrilled to find a video on YouTube that explained the process.



I was curious and decided to have a go at it. My camera of choice is the Keystone 125x Auto-Instant camera. I had a very old roll of Kodak 126 film and decided to sacrifice the old film in order to utilize the cartridge and load it with fresh 35mm Kodak Portra 160vc. I already owned a film changing bag, so I was ready to go. Out of the 35mm magazine and into the 126 cartridge. Once shot I removed the film from the cartridge and put the film into a re-usable 35mm magazine and off to the lab it went. My 126 cartridge can now be used over and over.

A really fun project. Give it a try. 126 Instamatic cameras and cartridges are very inexpensive to purchase from e-bay.





Some pleasing results from the 126 modified camera on courtesy of the kind folks during Pizza Friday at Pop Cinema Studios. Yumm.

Many thanks to Jason Muspratt (who made the instruction video).
http://www.flickr.com/photos/jasmus/


OLD FILM PROJECT

Speaking of expired film, I’m well underway on contributing images to Dan Whitman’s OLD FILM PROJECT on Flickr.com

It’s been a great opportunity to shoot on black and white film – something that I have avoided my entire life. I’ve always shot color, so the project is an excellent “opposite” to my year-long commitment to Kodachrome.







I was sent eight rolls of EFKE KB 21 Black and White Negative Film (expired 4/1977). The film is age-defying and yielded impressive blacks.

The OLD FILM PROJECT group can be seen here:
http://www.flickr.com/groups/1173298@N20/


FILM PHOTOGRAPHY PODCAST



After seven months of producing and co-hosting (with John Fedele) the Alternative Cinema Podcast (www.AlternativeCinemaPodcast.com ), the natural progression was to launch a Film Photography Podcast – which I did on October 15th. I’ve worked with photographer Duane Polcou so many, many times in the past on feature film productions that he was my natural choice to co-host. His knowledge of medium and large format film photography is a nice contract to my quirky DIY 110, 126 and 35mm photo style.



We launched on October 15th on iTunes with great feedback from listeners. Hope you’ll listen too.

http://www.FilmPhotographyPodcast.com

On Flickr
http://www.flickr.com/groups/filmphotographypodcast/

NEW Old Film Project and other stuff

"Old Film Project" on Flickr.com



When Flickr member Daniel Whitman found 400 rolls of dated black & white film he decided to start a community group called Old Film Project and give the film away!

Flickr members from around the world joined the group and received 8 rolls of the old film free of charge - under the condition that they will shoot the film as part of groups projects and themes.

I joined in September 2009. I saw it as a unique and fun opportunity to create some great images (I hope) and interact with other photographers around the world.

The film is Kodak and Efke brand and expired anywhere from 1975 to 1981. Very old, indeed.

The "Old Film Project" can be found at:
www.flickr.com/groups/1173298@N20/

Pictured above:
Yashica 35-ME Camera
EFKE KB21 B&W Film (expired 1977)
Image shot 9/15/2009
with Canon AE-1 Program
Fujicolor Superia X-Tra 400 Color Print Film



42nd Street Pete and filmmaker Carter Stevens visited the studio last week to record a DVD commentary track for the upcoming release of Carter's 1980 film "Wicked Schoolgirls."
Perfect photo op to shoot with my Canon AE-1.

Image above shot with
Kodak Porta 160vc (expired 12/2008).
Canon AE-1.
Canon 50mm Lens.
Canon 199A Flash.



Above: Self portrait using my
Canon AE-1 on a tripod (24mm Canon FD lens).

I used "dollar store" film called Memories.

It's a 200asa color print film and yields quite a bit of grain. I removed the color electronically using Photoshop 7 for Windows XP.



The "Memories" film was so inexpensive that I purchased 90 rolls. The film currently resides in my freezer.

KODACHROME, 126, 110 and the EXPIRED give away

Kodachrome Krazy

In 1935 KODACHROME Film was introduced and became the first commercially successful amateur color film. In June ’09 Kodak announced the discontinuation of their most famous film.



“Kodachrome's popularity peaked in the 1960s and '70s, when Americans' urge to catalog every single holiday, family vacation and birthday celebration hit its stride. Kodachrome II, a faster, more versatile version of the film, came out in 1961, making it even more appealing to the point-and-shoot generation. Super 8, a low-speed fine-grain Kodachrome movie film, was released in 1965 — and was used to film seemingly every wedding, beach holiday and backyard barbecue for the next decade. (Aficionados can check out the opening credits of the '80s coming-of-age drama The Wonder Years for a quick hit of nostalgia.) When Paul Simon sang, "Mama, don't take my Kodachrome away" in 1973, Kodak was still expanding its Kodachrome line, and it was hard to believe that it would ever disappear. But by the mid-1980s, video camcorders and more easily processed color film from companies like Fuji and Polaroid encroached on Kodachrome's market share, and the film fell into disfavor.”
-Time On-Line
http://www.time.com/time/arts/article/0,8599,1906503,00.html

I was fortunate enough to find 50 rolls of Kodachrome 64 from the last batched shipped from Kodak at Unique Photo in Fairfield, NJ. It will be a bittersweet experience shooting.


Keystone Auto Instant 126 Cartridge Camera.



The 126 camera pictured was my "first camera," a hand-me-down from my parents (when they purchased a new 110 camera). The 126 Keystone needs no batteries and uses MagiCube flash bulbs. I shot with this camera until luck would have it, my Aunt gave me her old Canon FT...quite a step up!

On a recent trip to my parent’s home, I reclaimed the Keystone. I was happy to find that 126 film can still be purchased through The Frugal Photographer
( http://www.frugalphotographer.com ). Processing is available via Dwayne's Photo (http://www.dwaynesphoto.com/)



"Everything should look like a memory, that's the 126" is what my friend John Fedele (pictured above) said when he saw this image. I agree. The "look" of 126 cartridge film is unmistakable.



Pentax Auto 110 Camera



The images are back from the Pentax Auto 110 / Fujicolor 100asa film. The film was imported from Japan Exposures, Japan, processed by Dwayne’s Photo of Kansas, USA with negatives scanned on my Epson v700 scanner.

Great images from the mini-110 camera!







Here is a link to the Pentax Auto 110 group on Flickr
http://www.flickr.com/groups/pentax110/



Kudos to Kodak

This past Summer Kodak started a Flickr group called KODAK EXPIRED FILM and offered 400 people the chance to receive 10 rolls of expired film. I was one of the “Lucky 400.”



Thank you, Kodak.
http://www.flickr.com/groups/kodakexpiredfilm/

Kiron Konclusion / Sears Big Zoom at Film Premiere

After complaining about quality issues with my Kiron 28 – 210mm Super Zoom (for Canon FD) in previous blog postings, I decided to look through my photo notes and find additional shots using the lens. Fellow Kiron lens user Chuck Norcutt pointed out in an e-mail to me that perhaps I was being a bit harsh on the lens considering its usage in a dark environment (also previous posts).



Well, "The proof of the pudding is the eating" as the age-old expression goes. Most of the images I shot with the Kiron lens have some focus issue, leading to my final opinion that this particular lens is faulty. I purchased this lens used from e-bay and although the auction description described the lens as “in awesome shape, “ I have no way of knowing its past history.

So, to be perfectly fair to myself (and the Kiron using community) I’m going to purchase another in the near future.



This past Wednesday I received an invite to screen Pete Jacelone’s independent horror flick “Sculpture.” A cast Q&A followed the screening, so I brought along a small bag. In it was my Canon AE-1, Canon 199A flash and the Sears 60 – 300mm FD lens. Recently purchased on e-bay, I thought it time to give the lens a test.



Size and weight aside, the lens was pretty easy to handle and focus. I was thankful that the theater (Multi Media Arts Center, Bloomfield, NJ) had stage lights to illuminate the folks on-stage. Overall, very pleased with the results.

The 60 – 300mm is available often on e-bay and usually goes for about $30.us.

More shots can be seen at:
http://www.flickr.com/photos/newyorkgrindhouse/sets/72157621843716079/

Super Zoom is Ka-Boom! Part II

Imagine my surprise when I receive an e-mail regarding my July 20, 2009 blog (Super Zoom is Ka-Boom - http://michaelraso.blogspot.com/2009/07/super-zoom-is-ka-boom.html ). I spend a fair amount of my spare time shooting film photography. When I’m not shooting, I’m usually talking about or promoting the whole “Shoot Film” idea to friends or colleagues ad nauseam.



Apparently my negative experience with the Kiron 28 – 210mm lens (for Canon FD) touched a nerve with a group of Kiron fans. I received the following letter from Chuck Norcutt ( published here with his kind permission ) :

7/21/2009 via e-mail
Hi, Michael
Your negative blog post on the Kiron 28-210 "super-zoom"
( http://michaelraso.blogspot.com/2009/07/super-zoom-is-ka-boom.htm )
has been mentioned on the Yahoo group "Kiron-Klub" and has raised some
eyebrows amongst this group of Kiron lens aficionados.

First, I'd like to state that there is no confusion about who produced
this 28-210 lens and all Kiron lenses. Kiron was a subsidiary of the
Japanese company, Kino Precision Industries. Kino had long been a
supplier to Vivitar (including Vivitar Series 1 lenses) but wanted to
produce their own line of lenses. They established the Kiron
Corporation in 1978/79 as a subsidiary in Carson, CA to market the brand
in the U.S. The first lenses went on sale in 1980. Unlike Vivitar,
Kiron did not produce a range of different qualities and prices. All
Kiron lenses were fairly expensive and, like Vivitar Series 1 lenses,
the highest quality that they could produce given the technology of the
time. They are generally regarded as equal to or better than the camera
manufacturer's own and the test results in Modern Photography magazine
will bear that out. Many of these lenses are still highly sought after
and especially the 105mm f/2.8 1:1 macro which, even 25 years later, is
about as good as they come.

Now, with respect to the 28-210 "super-zoom" it's not clear to me from
your mini review why you've chosen to consider it a bust. Unless your
particular lens is defective or damaged in some way it should exhibit
outstanding performance... for what it is. It is designed to be a
walk-around, all purpose lens. It comprises the unheard of (for the
time) an amazing 7.5:1 zoom range. Such a lens must necessarily exhibit
some performance comprises. These come in the way of weight, limited
speed and optical performance. But what is most amazing is that the
Kiron 28-210 actually gives away very little in the performance
department. If you check the Modern Photography resolution test results
reported by Robert Monaghan: ( http://www.mflenses.com/content/view/55/ )
you will see that the 28-210 equals or exceeds the resolution of high
quality prime lenses at 105 and 200mm and still compares favorably at 28mm.

But your mini-review doesn't talk about the lens's optical performance.
I don't think it could since your sample images are in no way a test
of that. It just calls your experience with it a bust. And I think I
would agree with you if, as you did, I used it to shoot a nightclub
performance. It is heavy and it is slow. I'm sure that, at f/4-5.6 it
was no joy to focus in low light. In the same venue I'd have probably
taken my Tokina 28-80/2.8 or perhaps a trio of fast primes. In my
opinion you have simply misjudged the lens by using it in the wrong
place. The 28-210 is in its element as a daylight walk-around lens.
Heavy as it is, its purpose is to allow you to travel light by leaving
a whole stable of prime lenses, an extension tube and a big camera bag
behind. Daylight will overcome its relative slowness for focusing and
allow shooting at middle apertures for best performance. So don't just
park it on the shelf for a year. Take it out again but during a
daylight outing where you want to travel "light".

ps: I'm having some difficulty interpreting your shot of "Dirty
Blondes". You say you used your Canon FTb with the Canon 177a flash
unit. The 177a is a rather petite and low power shoe mounted flash.
Yet the flash shadow is not from an on-camera flash. The shadows are
not behind the subject but displaced well to the right, which would
require a flash well off-camera to the left. I'm just curious. How did
you do that?

Chuck Norcutt
Endwell, NY



7/21/2009
Chuck,

Thank you for your e-mail.

It a digital world, it is nice to know that I am not the "Last Man on Earth" shooting film with manual focus lenses.

Firstly, I would like permission to re-print your letter. I would like to do a follow-up to my blog. Your letter would be a nice inclusion. I really appreciate the technical information and it would be a nice way to plug your Yahoo group. I didn't know about the "Kiron-Klub" on Yahoo. Considering my blog, do you think that I would be allowed to join the group?

My blog is about film photography and my personal experiences related to the hardware used. After reading your letter, I agree with you about my choice of lens for the evening. I really didn't know what to expect at the club. Lighting, distance to the band was all a mystery. The Kiron seemed like a good choice at the time. It was a chore to use in the dim light. I will take your advice by not "parking" the lens and taking the lens on a day trip in the near future.

Lisa Keane of "Dirty Blondes" was shot vertical. That is the only way I can explain the displacement of the shadow.

Again, thanks for the letter. I really hope I didn't piss anyone off. Was not my intention!

Best,

Michael Raso




After sending my response to chuck, I realized that I shot exteriors in New York City using the Kiron on July 4th. It slipped my mind because I shot Kodachrome and have yet to review and scan the slides. I’ll make good on my promise and will post the results soon. In the meantime (if you’re a Kiron user), check out the Kiron Yahoo Group - http://groups.yahoo.com/group/Kiron-Klub/

Pentax Auto 110 SLR Film Camera

The number of new and used vintage film cameras on e-bay fascinates me.

My latest rediscovery is the 110 film format. Unknown to most, Pentax made an unbelievably small SLR camera system for the 110 format called the Pentax Auto 110. A miniature single lens reflex camera that was introduced late in the 110 film format market.

The 110 film cartridge has garnered little respect over the years and by now is almost forgotten (although my Aunt Linda still shows up at family functions with her trusty Kodak pocket 110 camera!). When I mention the format to friends they give me a blank look followed by “ohhhh, yeaa…110.”


Many of these camera systems are still available (both new and used) on e-bay. I just started shooting with it and here are a few images. More soon.

Images shot with:
1978 Pentax Auto 110 SLR Camera.
Kodak Ultra 110 Color Print Film (400asa)
Processing by Dwayne’s Photo

More on the Auto 110 here:
http://en.wikipedia.org/wiki/Pentax_Auto_110

http://www.submin.com/110/collection/pentax110/

http://www.pentax110.co.uk/