The Filmosaur Year in Review

Your Humble Filmosaur managed to make quite a large number of photos this past year, which seems a bit of an accomplishment in itself, and knowing that no good deed goes unpunished, it seemed only fitting to do a little wrapping up before 2016 plunges into bitter disappointment and abject failure.

Looking back at my photos from the year just ending, I noticed a few trends, so I’ll organize this post around them.

Medium Format

I expanded my collection of medium format cameras considerably in the past year, adding 6×9 to the repertoire as well as collecting a few more options for the ubiquitous 6×6. I’m only just beginning to explore the 6×9 format, but it does have real potential, I think. The negative is enormous, and the longer focal length of the lenses (105mm in both my Super Ikonta and Bessa II) can create an almost-large-format look in certain circumstances.

Zeiss Super Ikonta C 530/2, Ilford HP5+ in Caffenol C-H(RS)
Zeiss Super Ikonta C 530/2, Ilford HP5+ in Caffenol C-H(RS)

The square remains a favorite, however, and I ran a fair number of rolls through my various 6×6 cameras. I find it a very flexible format, which seems perhaps a bit counter-intuitive, as with a rectangular format you can use either portrait or landscape, but with a square you’re stuck with 1:1. Nonetheless, I find the square fairly easy to use, and this past year confirmed that it is my first choice medium format, um, format.

Mamiyaflex Automat A, Ilford FP4+ in Caffenol C-H(RS)
Mamiyaflex Automat A, Ilford FP4+ in Caffenol C-H(RS)

Composition

I began exploring more graphical composition in the past year, sometimes to the point of abstraction. The compositions are simple and direct, and generally head-on. While I’m fairly pleased with these initial efforts, there’s a lot more work to be done in seeing how these can be made more interesting by changing the perspective and adding depth to the composition while preserving the clarity of the subject and without cluttering it up.

Certo Super Dollina II, Ilford FP4+ in Caffenol C-H(RS)
Certo Super Dollina II, Ilford FP4+ in Caffenol C-H(RS)

To a significant degree, I find it easier to construct this sort of photo in B&W. Color adds a fair bit of complexity to the equation, partially by the nature of it and partially because I still tend to see better in monochrome. Finding subjects that lend themselves to color photos of this sort is not always easy, and there is always the temptation (for me, anyway) of allowing the color to dominate the photo to the detriment of other aspects.

Konica III, Kodak Gold 200
Konica III, Kodak Gold 200

Film

My conversion to Ilford for my B&W film needs is essentially complete. I shot Tri-X when I went to Arizona at the beginning of last year, but after that I started moving to HP5+, which gave me similar results with a little more tonality in the middle (easily controlled with development) and slightly less grain. It also dries completely flat and costs half of what Tri-X does in bulk. It is a perfectly acceptable substitute that has a few advantages to boot.

For slower films, I tried a few rolls of Pan F+, but I haven’t really been able to wrap my head around it. The results can be good, but it’s slow enough that it really requires specific conditions or a tripod to work well. I just haven’t shot enough to get to know it. Out of curiosity, in the spring I got a bulk roll of FP4+, and I was in love. It’s buttery smooth in every way. Within a few rolls I knew I had my new everyday film. It’s not really fast enough for flexibility in the winter months, or for street photography generally, but when I can get away with the slower speed, I will have FP4+ in my camera. I need to buy more.

Cars

Regular readers will not be at all surprised that I chased old cars around. Still, there was a slight shift in my approach this past year. While I did take some photos of them on the track, I concentrated my efforts on photographing them while static, and especially on photographing the details. I tried some different angles and compositions; this was encouraged by using my Rolleiflex fairly extensively, which allowed a lot of low-angle work, the results of which were generally positive.

Rolleiflex Old Standard, Kodak Ektar 100
Rolleiflex Old Standard, Kodak Ektar 100

B&W was not neglected, and the results I got with FP4+ in particular only served to further my adoption of it as my standard three-season film.

Leica IIIc, Summitar 50/2, Ilford FP4+ in Caffenol C-H(RS)
Leica IIIc, Summitar 50/2, Ilford FP4+ in Caffenol C-H(RS)

The Year of the Leica

When 2015 began, I did not own a Leica. Through good fortune, happenstance, and lack of willpower, I now own more than one. While I may have been initially drawn to them because of the history and the mystique, I quickly found that they fit my photographic needs and wants remarkably well. I ended up using them more than any other cameras this past year, and I see no reason to think that this trend will change in 2016 or beyond.

The body is only half of the camera equation, of course, and the accumulation of Leica bodies leads inevitably to the accumulation of lenses for those bodies. The Summitar that came with one of my IIIcs is really a spectacular lens. I finally found a good example of the Canon 100/3.5, which matches the signature of the Summitar pretty well and makes a nice companion. At the wide end, I picked up a Voigtländer Snapshot Skopar 25/4, which is of course a much more modern lens; the results are very good, and the ergonomics are nearly perfect, but I’m still slightly torn over the modern high-contrast rendering. I also hacked together a couple of lenses in LTM, the Nikon L35AF 35/2.8 in a chopped-down Industar-50 body, which I consider a near-total success, and just for fun the Praktica M60 26/5.6 fixed-focus, fixed-aperture body cap pancake.

So there we are. 2015 is on its way to the door, and 2016 is lying in wait behind the shrubbery. I need more film.

Home

Yeah, I know, it’s been pretty quiet around here lately. Thankfully, it’s for a good reason: it’s been unseasonably warm, which means I’ve been taking every opportunity to get out and take photos before winter sets in and I have to start allotting several hours a day for curling up in the fetal position, rocking gently back and forth, and establishing a first-name-basis relationship with the new crop of operators at the suicide hotline (I’m exaggerating, of course – I’m not really flexible enough to curl into the fetal position any more).

Anyway, following on the blockbuster success of my recent series ‘Fading’, I’ve got another set of photos on a similar theme. This time around our subject is a grand old mansion, built in the early 20th Century, which along with the extensive associated grounds was given over to the state on the death of its owners. The state turned the grounds into a park, and some well-meaning but enthusiastic and perhaps slightly intoxicated visitors burned the house to the ground decades ago. All that’s left are the foundation and the stone walls of the first floor, which are now overgrown and showing their age, moreso with every winter.

So, a few weeks ago, with the fall foliage near its peak color, I headed out with a couple of cameras and appropriately-sized yellow filters. The latter inclusion was particularly fortuitous, as most of the trees around the old house were maples that had turned a rather vibrant shade of yellow, meaning that the filters lightened the foliage a lot, creating quite a nice effect, I think. I had along my new Super Ikonta C and my Certo Super Dollina II, a finicky camera on its best days, but with an excellent lens. Both were loaded with Ilford FP4+, which ended up being a bit slow with the low autumn light combined with the added filter factor. Still, I was pretty happy with the results, and I was able to put together a small but cohesive set of presentation-worthy photos. Enjoy.

Click any photo to start a full-size slideshow.

 

Transitions, Part 4

There are lots of trees around Filmosaur HQ, and while there was a lot of snow over the season, it wasn’t enough to bury the trees completely. So here are a few of the more interesting photos of them from this past winter.

Voigtländer Vito, Kodak Gold 200
Voigtländer Vito, Kodak Gold 200
Fuji X-E1, Voigtländer Color Skopar 21/4
Fuji X-E1, Voigtländer Color Skopar 21/4
Voigtländer Vito, Kodak Tri-X in Caffenol C-H(RS)
Voigtländer Vito, Kodak Tri-X in Caffenol C-H(RS)
Certo Super Dollina II, Fuji Superia 200 (redscaled)
Certo Super Dollina II, Fuji Superia 200 (redscaled)