Vice Moderation

Is film photography a vice? I was reading an article on Luminous Landscape about slide film yesterday, and the author's conclusion got me thinking. He said he couldn't imagine going back to slide film, especially from a cost perspective. Certainly, film does have more recurring costs than digital. But film photography is something to be cherished and appreciated. Some might call it a vice. The key for any vice though, is moderation. So shoot that roll of film, knowing full well what it's costing you in money, and what you're gaining in enjoyment.

What does the Great Wall have to do with this message? Nothing, other than the fact that it's the exact opposite of moderation. But who cares? It is truly a wonder of the world, and well worth the long trip to get there. I was lucky enough to take my new Leica M6 and 35/2 Summicron along last month. In spite of the cold, the Leica never missed a beat. And the Tri-X flowed.

Perhaps a Leica is an example of moderation in itself. No frills, no excess, minimal design incarnate.

Where does the 747 fall in the continuum of moderation?

That First Roll

There's a lot to be said about the first roll of film that comes out of a new camera. Simultaneously bringing all your experience to bear on a new photographic tool. The feeling of uncertainty that comes with film, followed by the satisfaction of getting that first roll back from the lab. It's completely intertwined with the act of photography itself.



Occasionally it results in disappointment. The first time I went out to shoot with my Xpan, I completely botched the film loading process. After walking all over downtown Baltimore to finish a whole roll, I opened up the back of the camera only to find the film lead just sitting there. In the end, I simply had to write off the whole thing as a "scouting opportunity" and move on. It wasn't until just a couple months ago that I returned to some of those places for a do-over:



Of course, the real reason for this article is my first roll through the Leica M6, which I acquired about a month ago. This thing certainly lives up to the name. The meter only worked for about the first half of the roll before the cold killed the batteries. No matter though, because this is a fully mechanical camera. As long as you can set the shutter speed and aperture, it will gladly keep shooting.

I'll admit, eyeballing the exposure was a bit intimidating at first, growing up in an automatic age. A little practice with a free Exposure-Mat and soon I was memorizing f/8 exposures for all kinds of situations.

I was also afraid that the pictures wouldn't have enough contrast since I didn't have any E39 filters. I almost always use a 49mm Orange(G) filter on my Xpan to add contrast. Lo and behold, the legendary Leica lenses came through, adding their own creamy contrast.



The sheer simplicity of it really is mind-boggling. And nothing else in photography feels quite like the smooth, manual action of winding the film crank on a quality camera. Just wow. Need a Leica alternative? Fear not, the winding action on the venerable Nikon F3 is extremely impressive as well.

But I digress, this is supposed to be about photography, not mechanics. It's that clean, featureless simplicity that allows the photographer to focus on being a photographer.

Here's to another amazing tool in the toolbox.

Camera Porn How To

Product photography is a curious thing. For instance, here's a picture of a Leica M6 with a dual-range 50/2 Summicron with ugly goggles, an uglier strap, and tape all over it. Yet you still want it.



Sometimes it really is the object itself that you want, and it doesn't matter how good or bad the photo is. However in most cases, people have probably never actually touched the object, so all they have to go on are some pretty pictures and reputation/cache/speculation/marketing (cough X-Pro1). Curious.

Anyway, here's a little how-to for creating your own camera porn for the masses. It's pretty straight forward. All you need is:

• A semi-long lens (100mm+)
• A soft light source (indirect light from a large window, or a softened off-camera flash)
• A clutter-free background (any plain wall will do)
• Oh yeah, and a camera

For these shots, I used an old Nikon SB-28DX flash triggered from my 5D with a low-end Pocket Wizard. The flash fired at 1/4 power through a Westcott umbrella, which softened the light.

Initially I tried using my trusty 50/1.8 lens, but quickly discovered that this was not long enough to keep the background clutter out of the lens's perspective. I switched over to the 24-105/4 (at 105mm), which did the trick of narrowing the perspective of the background, removing unwanted junk from the scene.

I also wanted to make the object stand out, so I had to make sure that there was enough light fall-off between the object and the background, so the object would be much lighter. To do this, I had to keep the light source close to the object (about 2 feet), but far from the background (about 12 feet).

In order to kill any ambient light in the shot, I used the fastest shutter speed I could. The 5D syncs at 1/200, so all the pictures were taken at 1/200 at f/11.

For more information on general product photography, I highly recommend you go check out Strobist. And now back to our regularly scheduled camera porn...

Gearing up for Southern Africa

The following is a guest post from my good friend, Tom Hennen. He and his wife recently returned from a three week trip to southern Africa. I've asked them both to share some of their experiences in a series of blog posts.



One of the first things I learned about Amy, my wife, was that she wanted to go to Africa. So it was no surprise that six years after we’d met we were finally on our way. What was a surprise was how long we’d be gone, three weeks. Three weeks of scrambling over the tops of waterfalls, game drives and walks, death marches to the bottom of large ravines, ostrich riding, exploring caves, harassing penguins, and petting lions.

Knowing that Africa might be a once in a lifetime trip I wanted to document the trip and take some excellent photographs. When we planned the trip, the little photography experience I had was limited to framing photos with our point and shoot. I didn’t know anything about f-stops, ISO or crop factors. Luckily I had about a year to prepare so we purchased a Sony A580. In order to get comfortable with it I started work on a Photo-a-Week project. Each week I’d post a photograph with a different theme. Many of the early weeks were rough, but I eventually got the hang of it and really learned how to use the camera.

When I started the project I was using the kit lens (Sony 18-55 3.5-5.6) and a telephoto zoom (Sigma 70-300 APO 4-5.6). Between the two of these I was definitely getting the range that I wanted, but I didn’t find it very flexible when walking around. I’d often find myself seeing a great shot but having the wrong lens on. To top it off, walking around with both lenses made for a heavy bag. I knew changing lenses on the trip wouldn’t work since there are so many fleeting moments on game drives. I also knew weight would be a problem since I’d be carrying the camera and equipment around all day. With that in mind I wound up buying a super-zoom, the Sony SAL18-250 3.5-6.3. It’s not quite as long as the 70-300, but the flexibility it afforded was well worth it.



Another concern was how I was going to carry the equipment. Theft is always an issue, no less so in southern Africa. Many camera bags scream “steal me” and since we were going through so many border crossings I thought it was important to have something inconspicuous. After searching for a while I chose the ONA Union Street bag. It had plenty of room for my equipment and other essentials like bug spray and sun screen. Most importantly, it doesn’t look like a camera bag.

With the lens and bag issue settled I had my packing list: camera body, 18-250 lens, charger, spare battery, lens cloth, lens pen, dust bulb, and bag. The only remaining question was if I wanted to bring a tripod...

Zim-Zam Border Crossing

The following is a guest post from my good friend, Amy Hennen. She and her husband recently returned from a three week trip to southern Africa. I've asked them both to share some of their experiences in a series of blog posts.



One of the things that made me the most nervous when contemplating our trip to Southern Africa was the border crossing at Victoria Falls between Zimbabwe and Zambia. The two countries (especially Zimbabwe) are not known for their stability or lack of corruption. I worried we would try to cross the border in either direction and be told we couldn’t without a steep bribe. However, I really wanted to see the falls from both sides so giving up on it was out of the question.

Doing some research before we left meant that we were as prepared as we could have been. We chose to walk across the border; driving is a bad idea if you want to keep costs down, due to the taxes on cars crossing the border.

We got a double entry visa for $45 at the Victoria Falls airport in Zimbabwe, which made it easier and cheaper to leave Zimbabwe and come back. The single entry visa is $30 and you can also get it at the airport, but it’s not clear if you can leave Zimbabwe and come back while the visa is valid.

If we wanted a multi-entry visa for $60 it would have been necessary to get it from the consulate before leaving for Africa. When we got to Zambia, we bought a “day pass” visa at the border in Zambia for $20.

One of the most surprising parts to me was how professional and orderly everything was a both border checkpoints. The people working in customs and immigration were cordial and direct. When there wasn’t a crowd in the immigration office, they were downright friendly.

Apart from the customs and immigration the actual border crossing was remarkable. It’s a walk in the hot African sun of at least 1km once you leave the Zimbabwean border post until you get to the bridge over the Zambezi River. It’s a no man’s land that is dry and desolate. It’s nothing like the lush landscapes of the national parks on the other sides of the borders. When we were there, we saw people actually making tar over a coal fire to repair the road. There are also huge trucks that are constantly zooming by because foot traffic, vehicles, and trains share the limited amount of space.

Another option, which we did not choose, is to leave Zimbabwe, but stay in the no man’s land between the two border posts. You can go through the Zimbabwean border post to the zip line / bungee jump / restaurant spot on the opposite side of the bridge without going through the Zambian border. If you do that, you won’t need to “re-enter” Zimbabwe on the way back, but you need to tell the officials that’s what you’re planning to do because you do not want them to put an exit stamp on your passport.

Once you get to the Zambian border, ignore people who want to “help” you get through immigration; you don’t need the assistance. It’s also best not to get too close to the baboons that hang out at the Zambian border post; you won’t need their assistance either. Once past the gate, the Victoria Falls park is only another .5km on the left; you don’t need to take a taxi, though the drivers can be pushy.

I was glad we researched it ahead of time. We did see one couple who hadn’t prepared for this and didn’t understand that the double entry visa they had did not mean it was good at both borders. They likely wound up “burning” one of their entries when they decided to go back and try again the next day.

Most of all, I was glad we did it. The falls look totally different from the two perspectives the countries offer. Zimbabwe views are close, straight on, and you can feel the mist from the falls. Zambia looks down the falls, so it’s a different perspective. From the Zambia side we hiked down to the Zambezi River and we walked on top of the falls because it was the low season. Viewing the falls from both sides is an absolute must!




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