This year, I participated in the Second Annual Negative Positives Double Exposure Challenge. The contest pairs up two listeners of the Negative Positives Film Photography Podcast, and each shoots the same roll of 35mm film. This year, I was paired with Marc Schoolderman, a photographer from Nijmegen, the oldest city in the Netherlands, and we collaborated to create double exposures featuring scenes from our two cities. Partners then submit their two favorite images, which are judged by the two hosts of the podcast, Mike Gutterman and Andre Dominguez.
Marc and I decided to shoot a roll of Fuji Pro 400H. He shot a Pentax MX, and I shot my Canon AE-1 Program. We decided not to make specific plans or even share what we shot or planned to shoot, other than scenes around our respective cities. Although we followed procedures to line up our frames, the cameras appear to have advanced a bit differently, and frames did not line up, particularly the deeper you went into the roll. Because of this, or sometimes in spite of this, we ended up with some pretty awesome images.
Let’s kick it off with the two images we submitted to the contest. The first we entitled, “Looked Too Deeply Into The Glass,” which is Dutch slang for being intoxicated. Marc shot a series of doll heads peering out a window, and I shot a beer flight at a Milwaukee brewpub.
The second, which we entitled, “Stairway to Heaven,” featured stained glass from Saint Stephens Church in Nijmegen over the Greek Orthodox Church designed by Frank Lloyd Wright located in Wauwatosa, Wisconsin.
It was tough to choose our two contest images because we had a lot of great images on our rolls.
The tallest office building in Nijmegen, glowing colorfully at night, with the Denis Sullivan Schooner in Milwaukee’s Harbor in the foreground.
A Nijmegen windmill and the Denis Sullivan Schooner in Milwaukee Harbor.
A typical Dutch bike, in the classic orange, and the skyline of Milwaukee as viewed from the harbor.
A statue honoring the opening of the railway between the cities of Nijmegen and Cleve, Germany, set against Milwaukee’s Harley-Davidson motorcycle museum.
A statue of Mariken van Nieumeghen, a legendary girl that gets seduced by the devil and later regrets it, appropriately set against Miller Brewing Company in Milwaukee.
A row of patron saints next to Saint Stephen’s Church, Nijmegen, overseeing Kitt’s Frozen Custard, Milwaukee.
A spire in the City of Nijmegen and the roofline of the Greek Orthodox Church designed by Frank Lloyd Wright.
A Nijmegen cafe in the shadows of an ornate gate at the Greek Orthodox Church.
A sign for a cannibis dispensary in Nijmegen over the bottling building at Milwaukee’s Pabst Brewing Company.
A street sign for a flight of stairs over the Pabst Brewing bottling building at night. “Lieve vrouwentrappen” is grammatically ambiguous in Dutch. The intended meaning can be interpreted as “very sweet stairs for women” and even with some effort as “the act of kicking sweet ladies.”
The Waalbrug, the arched bridge over the Waal River in Nijmegen, and boats outside the local bait shop in Pewaukee, Wisconsin.
A view of the “kruittoren” inside the Kronenburgerpark, constructed in 1426 as part of the old medieval defense wall, set against an old barn in Pewaukee, Wisconsin.
An artist’s interpretation of a Les Paul Gibson guitar the City of Waukesha, Wisconsin, the birthplace of Les Paul, set against First Things First, coffee roasters, in Nijmegen.
The new bridge over the river Waal in Nijmegen, De Oversteek, serving as a war memorial for American paratroopers that tried to cross the river in 1944, set against the interior of the Milwaukee Art Museum designed by Santiago Calatrava.
The Milwaukee Art Museum designed by Santiago Calatrava on the left, and De Witte Molen (The White Mill) in Nijmegen on the right.
Dutch teenagers dressed in typically silly garb for the celebration of the King’s birthday, set against an interior hallway of the Milwaukee Art Museum.
Many thanks to my great partner, Marc Schoolerman for all the wonderful images! I had a great time sharing photos and information about our cities and would encourage everyone to give a listen to the podcast, join the Facebook group of listeners, and compete in next year’s Double Exposure Challenge!
I love shooting film, in part, because of the thrill of seeing what you captured. Unlike digital, where you have immediate feedback, you never quite know what you’ve got until you either develop your film or receive it back from your lab. With double exposures, the excitement is that much better. It’s not just a matter of what you have captured, but how you lined up the two exposures to reveal an entirely new composition. Here’s a super quick step-by-step guide on how I shoot double exposures on film.
Exposure #1: Mamiya 6 on my picnic table in full sun. You can see the shadow to the foreground and to the right. Exposure #2: Trees in my backyard. Shot on the Canon AE-1 Program and Fuji Velvia 100 RVP.
When you think about a double exposure on film, you have to know the basics of how exposure works. When you take the first shot, the areas which are white or very light are fully exposed. You will not be able to see anything in this area in the second exposure because essentially the film is spent in those areas. The are fully exposed and the film has nothing more to give. What is darker in your first exposure still has potential. When you make that second exposure, what was dark in the first exposure will be where the second exposure will materialize.
Exposure #1: My daughter, shot from below looking up to set her profile against the sky. Exposure #2: Beautiful hibiscus found on the island of Nevis. Shot on Canon EOS 1v with Kodak Portra 400.
Exposure #1
For my first exposure, I look for high contrast subjects. You can shoot a skyline against a bright sky, a person’s profile against a white or light-colored background, or a dark shadow surrounded by bright sunlight. What is white or light in color will be washed out. What is darker in the image is your canvas for your second exposure. It’s not necessary to have an object in silhouette or high contrast, but I like this look. Double exposures can also be effective without a silhouette, but the final product will have more of each exposure retained. When you make the first exposure you have to keep in mind what is fully exposed and what is left for your second exposure.
Exposure #1: Villas and palm trees at Belmond Cap Juluca, Anguilla. Exposure #2: Maunday’s Bay , Anguilla. Both shot at sunset. Shot on Canon EOS 1v with Kodak Portra 800.
Exposure #2
For your second exposure, you are looking to fill those dark spaces from your first exposure. Anything white or light in the second exposure will likely be blown out in the final image. The challenge is placing the second exposure when the first exposure is only in your memory.
Exposure #1 is the camera, my Mamiya 6. Exposure #2 is the pile of film. Bottom photo is the final product. If I did it again, I would eliminate the rolls of film which are predominantly white as the shape and detail of the camera is lost in the lower left. Shot on Canon AE-1 Program with Fuji Velvia 100 RVP.
What settings should I use?
Depending upon the sensitivity and latitude of your film, you may have to make adjustments to your exposures to make sure that your final image appears as you like. With slide film, the exposure latitude is pretty tight, so consider underexposing so that the final image is not completely blown out. I would suggest doubling your speed or stopping down a full stop for each exposure. I have had success with shooting at box speed with most of the color negative film stocks used, but it takes some experimentation and the need to make adjustments will vary depending upon the circumstances and what you desire in the final image.
Exposure #1: Palm tree in full sun. Exposure #2: Beach and ocean along Maunday’s Bay, Anguilla. Shot on Canon EOS 1v with Kodak Portra 800.
I should point out that although commonly called “double exposures,” a more accurate name is “multiple exposures.” You are not limited to two exposures on each frame, although you should keep in mind that the more you shoot on a single frame, the more potential for overexposure and losing details.
Exposure #1: Palm tree at Belmond Cap Juluca, Anguilla. Exposure #2: Sailboat on Maunday’s Bay, Anguilla. Shot on Canon EOS 1v with Fuji Provia RDP III.
Are all film cameras capable of double exposures?
No, although some which don’t have the feature have some workarounds to allow for double exposures. For example, my Canon EOS 1v is very easy when it comes to doing double exposures. You open the side door, push the multiple exposure button (it looks like two photos stacked upon one another), rotate the camera’s dial to the number exposures desired, and start shooting. It automatically resets to normal shooting mode when the multiple exposure is complete.
Canon EOS 1v
On my Mamiya 645 Pro TL, there is a switch on the side of the camera which has two positions. Switch the camera from the unlabeled normal position (the white box) to “MULTI.” In this position, the film will not advance, but the shutter will be recocked, allowing for multiple exposures. You have to manually return the switch to the normal position and advance the film to exit the multiple exposure mode.
Mamiya 645 Pro TL: Left photo shows the position of the multiple exposure switch with the grip removed; Right photo shows the position of the switch on the Mamiya WG401 Power Drive Grip.
With my Canon AE-1 Program, it was not designed to offer double exposures as a feature, but I have been able to create a workaround. After you shoot the first exposure, press and hold in the rewind button on the bottom, and move the advance lever forward, but don’t release it. Then release the rewind button and allow the advance lever to return to its normal position. Then fire the second exposure and advance normally.
Canon AE-1 Program
I haven’t found a workaround for my Mamiya 6, so if anyone has any ideas, I would be glad to give it a try!
Exposure #1: My daughter’s profile, taken from a low angle to have the sky as a background to fully expose the area behind her face. Exposure #2: Palm berries on the island of Nevis. Shot on Canon EOS 1v with Kodak Portra 400.
I’ve had failures as often as successes, but I find double exposures to be loads of fun and I will continue to try them in the future. Give it a chance and you’ll be hooked!
Postscript: One more from the island of Grenada, shot on Fuji Provia 100F RDP-III, and developed with my own sous vide:
This post originally appeared on our Caribbean travel website, My Irie Time. Give it a look for more posts on our travels through the islands.
I have been a member of the North American Travel Journalists Association since 2016, and am honored to be recognized again this year, this time for an image featured on Film Road Trip. This image was taken at Buffalo Trace Distillery in April of 2018, shot on the Mamiya 645 Pro TL with the Mamiya 80mm f/1.9 lens on Fuji Pro 400H film. Many thanks to the judges and please take some time to admire the work of all those receiving awards and recognition on the NATJA website.
For more images from our trip to the distilleries along the Kentucky Bourbon Trail, click here, and for images from the spring races at Keeneland Race Track in Lexington, Kentucky, click here.
For our work previously honored by NATJA in 2017 and 2016, take a look here on our sister site, My Irie Time.
Photographers, particularly film photographers whose work is rarely “instant,” may find using Instagram to be cumbersome. It is generally thought that you have to scan or process your image, send it to your phone, and then use your phone to post it to your Instagram account. I saw this recently in one of the Facebook groups I follow, so I offered to do a brief post on how I post to Instagram from Lightroom.
Posting to Instagram from Lightroom is easy with a plugin called “LRInstagram,” which can be found here: LRInstagram I am not in any way affiliated with the producers of this plugin and receive nothing by way of compensation for this post. I just find it to be a really useful tool. LRInstagram allows you to publish from your Lightroom gallery directly to Instagram. You can set up different Instagram accounts to publish to, and can add hashtags and watermarks using the plugin.
Here’s how it is installed. First, download the plugin from the website, and save it in a place on your hard drive.
Then go into Lightroom, and go to “Plug-in Manager” (under the File menu).
Click to open Plug-in Manager, and then click “Add” in the lower left corner.
This will open a dialog box where you select the plug-in from the saved place on your hard drive. The plug-in will be added, and then you add your Instagram account information. I paid the one-time registration fee because I found the plug-in so useful and wanted to support it.
Once you enter your Instagram account information, you can select from any of your watermarks to be applied to the image when it is uploaded or leave the box unchecked if you choose not to watermark. This can be changed every time you upload an image if you like.
Click “Save.”
With Lightroom in “Library” mode, drag the photo you want to post to the lower left corner where it says “Instagram photos” underneath “LR/Instagram” and the account you are using. You’ll see the number “447” in the image below. Drop it there. The number will tick up as you add photos.
Then click that box that says “Instagram photos” and it will take you to the library of photos you are posting and have posted to Instagram. You may get this nasty message suggesting it won’t work. When I first saw it, I was concerned that my plug-in wouldn’t work anymore. I just updated to the latest version of the plug-in and everything was good. Just click “OK” and you’re ready to go again.
Now you will see that the image you dragged into “Instagram photos” appears in the Instagram library ready to publish. Here is where you add your post information, including hashtags.
In the right panel under Metadata, you will see a box which allows you to choose which Metadata you want to see. Choose “LR/Instagram.” Enter your caption and hashtags. There is a separate box for each, but I just dump everything into the Caption box.
Once you have your caption and hashtags set, go to the “Publish” button at the top of your Instagram library, and click it.
Poof! It’s posted to Instagram, with your caption and hashtags, and the watermark applied.
It is the easiest way I have found to post to Instagram for Lightroom users. Give it a try!
A couple of years ago, there was a story about Kodak’s CEO, Jeff Clarke’s unique business card, a strip of film with his contact information. When my supply of promotional key chains for my Caribbean travel website, My Irie Time, ran out, it was time to find a replacement, and I chose one to reflect my dedication to film. So I turned to Kodak’s Film Strip Creator and put together my own “business card” for My Irie Time and Film Road Trip.
Kodak Film Strip Creator puts your information on a genuine piece of Kodak print film. Because they are created on movie film, they are smaller than your 35mm negatives. The images measure 22mm x 19mm with the audio track, and 25mm x 19mm without the soundtrack. They ship worldwide, and the processing is relatively quick, generally within 7 days. The shipping, I found, took quite a bit longer, as it shipped from England to the States by Global Mail and took about 10 days. The minimum order is 100 pieces.
The process is easy. First, you select whether you want it with or without the audio strip along the edge. The audio strip along the edge includes the only known recording of George Eastman’s voice captured in 1930. The audio captured is, “It’s a great satisfaction to be able to speak to you from the medium of this wonderful invention.” Pretty cool. Then you select the number of frames you would like from 4 to 12. Five frames is the perfect size to fit in your standard business card holder. Finally, you add your text, images, or logo to the individual frames. The strips are transparent, so where there is no color or the color is white, it will be transparent on the strip.
The strips are shipped to you with a small cardboard box for storage, and a small Kodak sticker. Keep in mind that the final images are small given the size of the medium, so keep your text simple for ease of use. It’s a fun way to send the message that you are dedicated to the preservation of film as a medium. Give it a try!
Listening to my favorite film photography podcasts, I occasionally hear of people creating zines, essentially simple magazine-style booklets of their photographs to share with others. Coming off a Labor Day trip to San Francisco, I had a good set of photographs of Chinatown, which I thought would make a nice collection, so I made my first zine!
I used Blurb Books to create it. I am quite familiar with Blurb and use the Lightroom to Blurb book creator tool to create photo books of family trips. Sadly, that book creation tool in Lightroom, does not work to create magazines, so you have to use the Blurb BookWright application to lay out your zine. It’s easy enough to use, but I love the templates I’ve created in Lightroom, and feel restricted by the BookWright offerings. Perhaps this has been remedied with Lightroom Creative Cloud, but I haven’t broken down to go to the cloud yet. I like both Lightroom and Photoshop as standalone applications. I can use my templates in Lightroom and export as a .pdf to upload too BookWright, so it’s not tragic, just not as easy.
Blurb offers two options for its magazine, economy and premium. The economy magazine offers 65# covers in semi-gloss finish and 70# glossy pages. The premium has an 80# semi-gloss cover and 80# matte finish pages. I opted for the premium magazine with the perfect binding and I’m really pleased with the final product. It feels more like a slim book than a magazine. Blurb is not cheap, and the coupons they offer oftentimes do not include the magazines. There is a price break when your order larger quantities, 10% off 10-19 magazines, 20% off 20-49 magazines, and 25% off 50 or more magazines.
It is always great to see your images in print!
Our friends, Andre Domingues and Mike Gutterman, share their impressions of the zine on the November 1 and October 25, 2018 episodes of the Negative Positives Film Photography Podcast. It’s a great podcast for lovers of film photography. Subscribe here!
Photographers tend to collect camera bags. It’s not all desire. We buy more gear and reorganize our kits, and continue to look for the perfect bag to meet our needs. Some bags find the back of the closet quickly, and some are designed so beautifully, they continue to meet our needs until things are falling off. One bag, which I have owned for ten years, continues to wear well and regularly proves that it was well worth the money spent, the BillinghamHadley.
I purchased this bag ten years ago. It was probably my third or fourth camera bag since really getting into photography, and the others not only moved to the back of the closet, but to the far reaches of the basement. My intention in purchasing it was to have a bag which would hold my 15″ laptop and camera gear for travel. For long-distance travel, I now have too much gear, so I use the Think Tank Airport Airstream and International roller bags, however, for local travel or general use, the Billingham has never let me down.
I own the large Hadley. It fits a 15″ laptop in an optional laptop sleeve which slides behind the main compartment, although I no longer carry my laptop in this bag unless using it with a small camera kit for business travel. The main compartment can hold a DSLR or SLR with a 24-70 lens attached, with room along each end for more lenses or a flash and accessories. The best feature is the gusseted front pockets which are each large enough to hold two flash units with room to spare.
Inside from left to right: Canon 35mm f/1.4 on top of Canon 135mm f/2; Canon 5D Mark II with 24-70mm f/2.8; empty but will easily hold a large flash unit, two smaller lenses, or other accessories.
Inside one of the front pockets: Canon 580EX II Flash, Canon 430EX II Flash, Think Tank Pixel Pocket Rocket, and room on top for more accessories.
Inside the other front pocket: Canon EOS 1v with loads of room for film or other accessories.
The front pockets are fastened with snaps if you like, or you can use the quick release system, a leather strap with brass fittings, to pull open either side off the top flap to access the main compartment or either pocket. That way, you can pull out another lens to make a change without having to open the entire bag. When shooting film, I put my film in one of the front pockets so I know exactly where to reach for it.
Adjust the strap using the buckle and quick release the top using the leather strap and the brass fitting on top.
The padded interior sleeve is removable, and can be used in other bags when needed. The dividers, held in place by their Velcro edges, can be arranged as desired for your gear. I can fit my very large Mamiya Pro TL with the winder grip, prism, 80mm lens, and film back inside, with room to spare for extra film backs or inserts.
Inside left to right: Two Mamiya 645 film backs, Mamiya 110mm f/2.8, Mamiya 45mm f/2.8; Mamiya 645 Pro TL with winder, AE prism, Mamiya 80mm f/1.9 with hood; Sekonic L-358 Light Meter
Five 5-roll boxes of 120 film in the left pocket (you could easily fit another).
Mamiya 6 in the right pocket, with room for more film or another lens.
Given that it can hold so much, I would recommend the optional shoulder pad to provide more comfort when wearing it on your shoulder. The Hadley also comes in a “Pro” line, including additional features such as a rear zippered pocket and top handle.
It has survived rainstorms, as it was often used for shooting cross country meets. The underside of the canvas is coated with a rubbery substance to resist water. Despite regular use, and sometimes abuse, it has held up quite well. The leather trim is a bit worn on the quick release straps, and there are some stains from the rain and dirt it has encountered. If I wanted, I could replace those leather straps as they are sold individually by Billingham. There is also some wear on the padded insert and velcro dividers, which can also be replaced separately. However, it still looks pretty good after ten years of regular use!
The style is not for everyone. I was drawn to it because I loved the look of the classic camera bags made of canvas and trimmed in leather. It’s not just for those of us over 50. My daughter requested her own for her 18th birthday a few years back.
This bag has stood the test of time and will serve you well for many years to come. Check out the Billingham site for all the new bags including the awesome new navy bags!
Film photography has generated a lot of interest recently, but not everyone is willing to plunge in and spend hundreds of dollars on gear if they’re not quite sure. Others are interested in getting the gear, but aren’t quite sure if they can get their head around fully-manual cameras or be able to handle manual focusing. At a relatively low cost, you can dip your toe into film photography and see if it’s right for you. For digital shooters, here is a way to get started in film photography for under $50. This post is written from the perspective of a lifelong Canon shooter, but many of these suggestions carry over equally well to Nikon or other systems.
I started shooting an SLR when my children were small, starting with a Canon Elan II, which my husband purchased for me along with a Sigma lens recommended by the folks at B&H Photo. The Elan II was an “enthusiast” or “prosumer” camera, fitting in between the professional line and the cameras, like the Rebel, targeting the vast majority of consumers. The Elan II was released in 1995, mine was purchased in 1997, and was manufactured until 2000.The camera served me well, and I shot some of my favorite shots with that camera, a camera which I still own today.
In 2000, the Elan II was replaced by the Elan 7 and 7E. In 2004, the 7/7E was replaced by the Elan 7n and 7nE, and I upgraded to the 7n.
In 2007, with some resistance, I purchased a Canon DLSR, the 40D. I upgraded in 2010 to the Canon 5D Mark II, but in the last few years returned to shooting film. I borrowed a Mamiya C330 to play with film, but it wasn’t the right fit, so I went through my old stash of film gear and pulled out the 7n. All my lenses which I had collected over the years worked with both my Elan II and the Elan 7n, as they both have the EF mount. It cost me nothing more than a couple rolls of film and the cost of processing to see if this pursuit was worthwhile. I found that all the cameras in the line felt the same in my hands and the controls were essentially the same. It turned out that it was easy to transition back and enjoy film, more than when I started.
Since then, I’ve purchased a couple medium format cameras and purchased my dream SLR, the Canon 1v, but it got me thinking. If you are a Canon DSLR shooter, the transition back to experimenting with film is easy and relatively inexpensive. Today, the Elan II can be purchased on eBay for $30 to $50. All of your lenses work on that camera. For less than $50 plus a few rolls of film and development costs, you can have fun with some film. You may just find that it is more enjoyable. You may find the pleasure of composition before clicking the shutter, and the excitement of seeing your images upon return from the lab. Film photography does not require a mastery of manual controls or manual focus. You can give it a try with the comforts of a camera so similar to the DSLR you already own that you feel at home from the start. You may just find that your digital imagery improves, as you take more time to create each image as if you only had 36 clicks available. You’ll find out you don’t need all 36, and find that you are shooting less, and shooting better.
So give it a whirl! I have only this word of caution — prepare to get GAS, Gear Acquisition Syndrome. There are a lot of great film cameras out there and new films from a variety of film manufacturers you never knew existed. You’ll find yourself joining Facebook groups devoted to film photography, and looking forward to every new podcast on the subject. It’s an addiction, so be responsible, and enjoy!
Since getting back into film photography, I’ve purchased the vast majority of my film gear at KEH.com. The equipment always meets or exceeds expectations. At the time of writing this post, I saw several Canon Elan IIE’s in good condition on KEH for under $50. If you’re starting completely from scratch, you can get a great lens, the Canon 50mm f/1.8 II for under $95. Click a link to KEH in the sidebar to give us a commission for purchases there, or explore some of the cameras they offer here:
For film, I purchase my film from B&H Photo. I am an affiliate for both and receive commissions from any purchase using these links. Thank you!
I am oftentimes asked why I shoot film. In 2007, I went from a film SLR, a Canon Elan 7n, to a digital SLR, the Canon 40D. I held out for quite a while. I was comfortable shooting film, but at that time, it looked as if film was in its last days, and it was either go digital or go home. So I made the switch.
Mamiya 645 ProTL, Fuji Pro 400H
I loved the instant feedback of digital. Digital told me right away when I pooched a shot, and gave me a chance to try again. I was able to experiment with digital where I had not felt comfortable experimenting with film. When you know the cost of every click of the shutter, you hesitate. With digital, I could try all sorts of new things with no cost for the effort.
So why go back? I got to the point where my images looked like everyone else’s. There was nothing unique about them. I also felt like I relied upon that instant feedback and the ability to click to my heart’s content. I felt that I was losing touch with putting an image together. They became more “snapshots,” and less “images” or “photographs.” Film was the answer.
Canon 1v, Kodak Portra 400
Film forced me to think about the images again. You stop the “spray and pray” habit, and think about each frame. With 15 shots on a 120 roll on my Mamiya 645 ProTL (12 on my Mamiya 6), and the cost associated with the film and development, each shot had meaning. Each shot was worth taking the time to make it right, to think about the composition, the light, and how to make the image better.
Film photography was also seeing a resurgence and although some film stocks were being discontinued, others were appearing. There was a renewed interest in film, and the market was responding.
Mamiya 6, Fuji 400H
There was a downside in the resurgence of film Film cameras, which used to sell for pennies or be given away, were now selling for hundreds of dollars. Luckily, I never disposed of my old film cameras. I first reached for my Canon Elan 7N, and later upgraded to the Canon 1v, a camera I had admired for a long time, but could not afford before. Even with the price increases, I could now dip into medium format, which was far beyond my means back in the days of film. I purchased the Mamiya 645 Pro TL with the fastest medium format lens available, the Mamiya 80mm f/1.9, and later purchased the Mamiya 6 rangefinder.
Canon 1v, Ektar 100
What about the weight of the equipment? Some people understand the differences between the digital images and film images, but still question the return to film photography for travel. Granted, it’s not easy to take the Mamiya 645 ProTL along on trips. Although it breaks down into parts easily for packing, the weight of the lenses creates the struggle. However, if you travel with high-quality lenses for digital cameras, you are no stranger to lugging around a heavy camera bag. If you choose to travel with both digital and film as I do, you can use the same lenses on the Canon 1v as you use on your Canon DSLR, in which case you are only adding the weight of the 1v body. I bring one roller bag with everything which I leave at our house or hotel, and then take out the camera and lenses I intend to use for each outing, so I’m not carrying the entire kit around throughout the entire trip.
Canon 1v, Fuji 400H
What about traveling with the film itself? Before 2007, when I traveled with film, I used a lead-lined bag for my film. I have been told that since 911, if they see a bag on x-ray where they cannot visualize the contents, they jack up the power of their scanner, which could cause damage. Whether that’s true or not, I don’t know, but since then, I travel with film in my carry-on without a lead bag. Undeveloped film below ISO 800 is generally considered safe when passing through airport x-ray machines. However, you have to avoid too many scans. So think about how many countries you will be entering along the way and double that for the return trip. I have never had trouble with my film (100-400 speed) passing through 4 x-ray machines.
If you have a higher speed film, instant film, or will exceed the number of scans (generally regarded as safe up to 5 scans), you may request hand-checking of your film. My daughter has traveled with Instax film and has had no difficulty having the film hand-inspected. Place the film in a clear plastic bag, having removed canisters and outer packaging. If you will have too many stops along the way on your trip, you should consider getting the film processed at one of your destinations. After a trip, I mark unused rolls so they don’t see air travel again.
Do not pack film in your checked bag. The x-ray scanners on checked bags are higher intensity and can damage film.
Mamiya 6, Kodak Portra 400
With all the hassles, why travel with film? For me, I love the feel of the film cameras and lenses. They are solidly built and beautifully machined. I love that I don’t know exactly what I captured until the film comes back from the lab. It makes me focus more on what I’m doing. When I get the film back, I can see the differences. Film handles the light better. There are no ghastly blown out areas of the image. The images are more beautiful to me. Digital may show more detail, but technical perfection is not necessarily beautiful. Do I want to see every grain of sand on magnification, or every pore on someone’s face? Nope. I want to get the sense of the place. I want to capture how I felt when I was there, and that’s what I get from film.
We recently updated our film site, Film Road Trip, and will feature more film photography articles. The site is not limited to Caribbean travel, and with four domestic trips already planned for 2018, you’ll see us posting there more frequently. Take a look!
Is this a cooking post or a film photography post? Well, a little bit of both. Today, I processed my first roll of color film ever, and processed it with a sous vide.
Back when I shot film, I used to process black and white film myself. It wasn’t too hard, once you got used to feeling your way around a roll of film in a changing bag. I never got into processing color film, primarily because of the difficulty in controlling the temperature. I understood that temperature control was far more critical in color film processing, and I had difficulty getting the temperature right. Color film processing seemed beyond me.
Then my husband ordered a sous vide, the Anova Culinary Precision Cooker. If you’re not familiar with the device, it’s a tool for cooking food in a temperature-controlled water bath. You place food into a vacuum-sealed bag, place it into a water bath into which you have inserted the sous vide device, set the temperature, and the device circulates the water bringing the food up to temperature. Once up to temperature, the food remains at that temperature and does not overcook. My husband has made amazing steaks by bringing the meat up to temperature using the sous vide, and then finishing them in a cast iron skillet. The steaks were perfectly cooked every time.
Something that could control the temperature of food so perfectly should work with color film chemicals, right? I decided to give it a whirl. I purchased the Unicolor C-41 Powder Kit, and found an excellent tutorial on Lomography on how to mix up the chemicals and process film. I immersed the sous vide, the Anova device, into a large plastic container of water. Because I was paranoid about chemicals getting into the device, I placed the bottles of Developer and Blix into another plastic container filled with water and placed that inside the water bath. I set the temperature to 102 degrees, and away we go. Given the bottles and the interior plastic container, I did end up boosting the temperature up a few degrees, to 105 degrees, to bring the chemicals up to 102 degrees.
I then followed all the steps in the Lomography tutorial, and success! On my very first go!
Give it a whirl! And when you’re done, you can cook up some perfect steaks!
NOTE: Originally published on September 27, 2015 on our sister site, My Irie Time
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