I have been using my Holga without either the 12 or 16 frame mask and getting some really nice results. I love the exaggerated vignetting and light leaks that occurred on every picture. These pictures all come from The Art of Waiting roll from September 2010, shot on Fuji Velvia.
I also got some really nice overlapping pictures. I don’t remember if these were intentional or not, but they’re still really cool. Here’s one example.
The two shots just bleed right into each other. I really like it. Here are the shots separately. I don’t think they are nearly as interesting.
Here are a few more overlapped shots shown together and then singly.
Unlike the first example, I think these two pictures stand well on their own
This was on the end of the roll. The shot on the left is pretty underexposed so it doesn’t stand well on it’s own.
Here is my favorite overlap on the roll…
…and the two pictures separately, which I think stand pretty well on their own.
I love happy little accidents. I’m going to have it printed and see what it looks like ‘for real’.
Tomorrow I’m going to Philadelphia to see the Van Gogh exhibit. I’m taking the Fuji Natura Classica and am hoping for some good photo ops.
It’s been awhile since I’ve written about or reviewed new film but while scanning my latest vacation pictures, I made an interesting observation worth blogging about.
I love slide film because of it’s saturated colors and cross-processing ability. The only type I’m really partial to is Fuji Velvia because it’s so much fun to cross process and see the world through rose-colored glasses
For negative color film Fuji is by far my preferred film as well. I love Porta and the rich, but not too saturated, natural tones is gives. Plus, there’s a nice greenish/bluish tone to it that I prefer over Kodak’s orangish/reddish cast.
Here are some good Portra examples
I’ve realized, however, that I now have a NEW preferred slide film and that is Agfa CT Presica. While scanning my shots the difference between Fuji and Agfa was very clear. The blues were bluer, reds were truer and the overall color a much more accurate representation of what I actually saw with my eyes.
This is Fuji
This is Agfa
You can really see the difference. Now, was my Fuji film expired? Possibly. I don’t even keep track of that stuff. But the camera was the same and the lighting was comparable. Here’s another example
Those last two are among my favorite images from the trip and, again, were taken with the same camera (Vivitar UWS). The lighting was more harsh in the palm tree shot since I was looking up but I think the difference is still pretty clear.
The great debate over which film is best will certainly continue. I’m going to get some Agfa and Fuji (unexpired) and put them through some tests in the coming month. Hopefully the results will yield a clear winner…we’ll see!
Yes, it is possible to get some of that crazy pinkish tinge to your Fuji Velvia shots WITHOUT crossprocessing. Let me explain.
As Fuji Velvia is my favorite color slide film I picked it to use when experimenting with my pinhole Diana F+. I chose to take some pinhole shots on a wickedly bright day at the beach and was pleasantly surprised at the face-of-Jupiter-like results. Long exposures on this 50 iso roll gave my pictures a warm, pinkish glow that I’ve only seen replicated by cross-processing.
I first noticed this phenomenon while taking pinhole Diana shots at the bowling alley. Those exposures were for around 15 minutes in low light so the ‘Velvia Effect’ isn’t as dramatic in those shots as it is in the beach shots, but it’s still evident. Pretty cool, huh?
I almost threw my ‘new’ Land Camera out the window today.
I finally got the batteries to work the shutter and after properly installing them, I promptly filled my camera’s hungry little belly with Fuji-100 instant film. I took a shot of three pumpkins in my backyard and went to pull the picture out of the side. No dice. It was stuck. Big Time! I pulled and pulled and pulled and only succeded in ripping tiny shreds of white paper from the tag of the film. I got tweezers, pliers (both flat and needle-nosed) and tried to extricate my film that way but only succeded in ripping the paper even more. I took it into a dark closet (even though we’ve only known each other a few days) and tried to re-load the film tags. What a nightmare! To spare you any further details I ended up with a big, goopy mess and wasted 75% of my film pack trying to free the pictures the correct way. I must’ve taken 10 pictures of those stupid pumpkins. It was time to consult the internet.
Thanks to Flickr I found a Polaroid Land Camera group that had a big thread relating to such problems. It took a bit of searching and of course now I can’t find my way back to that glorious thread, but here’s the basic problem. It seems as though there are two little pins near the rollers that cause undue tension on Fuji film. It was recommended that you either bend back these pins or break them off and pop a piece of weather stripping in it’s place. After a little surgery my film was still sticking. I did some further modification on my own by completely removing the bar that holds these two pins. This bar was bent up and was putting more tension on the film than just those two stupid little pins ever could have. After throughly cleaning the rollers and checking the battery connections I was FINALLLY able to get my Land Camera working! I’ll post pictures of my modification and a direct link to the ever-so-helpful mod directions in a later blog. Until then….