You’re in Black River Falls, Wisconsin, home to the famous Orange Moose, and you have a few cameras and different film stocks with you. What would you do? Shoot the moose on four different films, of course.
Located just off Interstate 94, the Orange Moose stands approximately 15 feet tall, near a restaurant conveniently called the “Orange Moose Bar and Grill,” although it’s not entirely clear which came first, the restaurant or the moose. The story goes that the great moose was won in a dice game, and was originally brown in color. After the owner’s death, the moose made its way to the highway oasis and acquired its orange paint.
Armed with a Mamiya 645 ProTL and Mamiya 6, I set out to capture the moose on four film stocks, Kodak Ektar 100, Kodak Portra 160, Fuji Pro 400H, and Lomography X-Pro 200 (processed C-41). All film was processed by Richard Photo Lab. Take a look at the results:
The two square images were taken on the Mamiya 6 with the Mamiya 50mm f/4 lens. The remaining two were shot on the Mamiya 645 Pro TL with the Mamiya 80mm f/1.9 lens. To add a twist, one of the rolls shot on the Mamiya 645 Pro TL with a roll of 35mm, shot using the Mamiya 135 insert. Have you made your guesses? Let’s see how you did.
Let’s start with the easiest, the Lomography X-Pro 200, shot on the Mamiya 6. This can be processed with E-6 or C-41 per the label. This roll was processed C-41, and certainly produced the citrusy tones promised by the folks at Lomography.
The other image shot on the Mamiya 6 was shot on Kodak Ektar 100. It brought vibrant colors and was closest to the color of the moose as I remembered it.
The next two were shot on the Mamiya 645 Pro TL. The image in the upper right hand corner above was shot on the Mamiya 645 Pro TL using the Mamiya 135 insert with a 35mm roll of Kodak Portra 160. Great for skin tones. Not so great for an orange moose.
The last shot on the Mamiya 645 Pro TL was a 120 roll of Fuji Pro 400H. This film loves greens and blues, but doesn’t embrace orange like the Ektar, although the sky looks great.
The road takes us to more stops around Wisconsin and Minnesota this month, so stay tuned.
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!
A few years back, I returned to film photography, and now shoot both digital and film while traveling. With a lot of hits and misses, I’ve come to find that several film stocks have emerged as my favorites, reliable from trip to trip, and perfect for the way I shoot. Although I will continue to experiment, these film stocks have proven their worth and will be in my bag on every trip, or as long as the manufacturers continue to produce them!
Kodak Portra 400
Portra 400 is clearly my favorite of all film stocks. I used to shoot Portra NC and VC back in my pre-digital days, but the new Portra is so much better than it was before. It handles skin tones well, and accurately captures colors, with a wide latitude for exposure variances. I tend to shoot it at 320, and love the bright, colorful look. Some have commented that the colors are a bit warm, but I find it suits what I shoot well.
Mamiya Pro TL, Mamiya 80mm f/1.9, Portra 400
Canon 1v, Portra 400
Mamiya 6, Mamiya 75mm f/3.5, Fuji 400H
Fuji 400H
When I am shooting scenes with loads of greens and blues, I love Fuji 400H. The greens and blues are a bit cooler than on Portra 400. For images of mountains and trees, or where those colors are prominent, it is perfection. It’s also flattering to skin tones, making it a favorite of wedding and portrait photographers.
Mamiya 6, Mamiya 75mm f/3.5, Fuji 400H
Canon 1v, Canon 24-70mm f/2.8, Fuji 400H
Canon 1v, Canon 135mm f/2, Fuji 400H
Ektar 100
I love Ektar’s ability to capture the vivid colors of the Caribbean. It is super saturated with a fine grain, and I use it at box speed. The only down side is that skin tones on caucasians look a bit ruddy, so I avoid using it for portraits. However, when it comes to landscapes, it’s stunning.
Mamiya 645 Pro TL, Kodak Ektar 100
Canon 1v, Ektar 100
Canon 1v, Canon 135mm f/2, Ektar 100
Other Stocks
I just started experimenting with Fuji Velvia 100 on our trip to Nevis in June of 2017. Velvia 100 is slide film, meaning it is a “positive” rather than a “negative.” The colors are vivid and the grain is super fine. The only down side is that I have to pretty much nail my exposures, and the scene has to be consistently lit, not too contrasty. You can see a side-by-side comparison of shots on Ektar 100 and Velvia 100 here. It does not have the room for error I have with Ektar 100, but the color from Velvia is amazing. I still need more experimentation to see if it will work for me. The trouble is that with all the beautiful sunshine in the Caribbean, you tend to get a lot of contrast in scenes.
Mamiya 645 Pro TL, Velvia 100
On our next trip to Kentucky, I will be shooting some Kodak Portra 800 for the first time. Stay tuned!
“I’ve never been to a place where the palm fronds clack together,” my husband said while sitting back in his beach chair facing the calm of Kamalame Cay. Coconut palms surrounded our chairs on what seemed to be our own personal beach. “You have,” I replied. “You have just never heard them before.” We have been to quite a few private beaches and luxury resorts in the Caribbean, but Kamalame Cay was distinctive from the rest. It was like nothing we had ever seen, or heard, before.
Mamiya 6, Mamiya 75mm f/3.5, Fuji 400H
There are no televisions. We thought we would miss that, particularly with the NBA Finals going on at the time of our visit. We didn’t. We spent more time talking, and reading, and listening, hearing those palm fronds, or the patter of a late afternoon rain. You saw more. Perhaps it was the lack of distractions. You noticed the tiny marks left by the hermit crabs as they made their way across the sandy path. You saw the tiny birds, hopping from branch to branch. The loudest sound was the sound of the seaplane taking off, bringing new guests or taking new friends home.
Mamiya Pro TL, Mamiya 80mm f/1.9. Kodak Ektar 100
The water was calm and clear. In the early mornings or late evening, it was like glass, and in those early mornings, you were treated to the sunrise from your beach chair. The water is shallow for quite a distance, perfect for those uneasy with the surf, or those who just like to walk or lounge in the water.
Mamiya Pro TL, Mamiya 80mm f/1.9, Kodak Portra 400 Mamiya Pro TL, Mamiya 80mm f/19, Kodak Portra 400
There are personal touches throughout your visit. In the morning, a basket of breakfast goodies is delivered to your door, including freshly-squeezed orange juice, coffee, pastries, yogurt and fruit. In the afternoon, you look forward to the warm cookie delivery, wanting to be there the moment it arrives. The staff was warm and caring without being intrusive.
Mamiya 6, Mamiya 75mm f/3.5, Kodak Portra 400
It took me a while to put my thoughts together to sum up our visit. I left well-rested, yet we did more activities on this trip than any before. I felt pampered, yet staff members were not present at every turn. This is not the Four Seasons, or Jumby Bay, or any of the diamond award winners we have visited before. It’s difficult to compare, because they don’t compare. It is elegant, but in an understated way. A visit to Kamalame Cay may be best described as a visit to a friend’s beautiful beach house. You are welcome and comfortable, and if you need assistance, they are already there with what you need. But you have the run of the house, literally. You can pour yourself a drink, pick a book off the shelf, and settle in where you are comfortable. You can walk barefoot, anywhere. Relax. You are home.
Mamiya 6, Mamiya 75mm f/3.5, Kodak Portra 400
Lead image: Mamiya Pro TL, Mamiya 80mm f/1.9, Fuji 400H
All photographs in this post were shot on film, using a Mamiya 6 with the 75mm f/3.5 lens, or the Mamiya ProTL with the Mamiya 80mm f/1.9 lens. Processing by Richard Photo Lab.
This post was the winner of a bronze award in the 2016 NATJA Awards for Excellence in Travel Journalism in the category of Photography: Photo Essay – Online Publication. For more information, click the image below.
NOTE: Originally published on July 10, 2016 on our sister site, My Irie Time.
The 2017 NATJA Conference was held in Chapel Hill, North Carolina. Our sister site, My Irie Time, was honored with silver and bronze awards for its images of Kamalame Cay, Andros, Bahamas. For more on the awards…
We were in St. Louis, Missouri for a FIRST Robotics regional competition, and in exploring the city, stumbled upon the Stout and Oyster Festival sponsored by Schlafly Brewery.
Mamiya 6, Mamiya 75mm f/3.5, Fuji 400H
Mamiya Pro TL, Mamiya 80mm f/1.9. Kodak Ektar 100
Mamiya Pro TL, Mamiya 80mm f/1.9, Kodak Portra 400
Mamiya Pro TL, Mamiya 80mm f/19, Kodak Portra 400
Mamiya 6, Mamiya 75mm f/3.5, Kodak Portra 400
Mamiya 6, Mamiya 75mm f/3.5, Kodak Portra 400
