Going shutterless with Antique glass

Discovering a Treasure:

it's not every day that you come across a piece of history that you can actually use. That's what happened when I stumbled upon an Antique Brass Auzouz & Bauz 5" f3.2 French Petzval lens from the 1850s. This lens is more than just a tool; it's like a relic from tomb raider. Holding it, you feel the weight of history - its brass body tells stories of photographic expeditions from over a century ago. I can’t help but wonder what images it has captured though its glass over the years!

The Modification Journey:

Adapting this vintage masterpiece to my modern Intrepid 4x5 camera was an adventure in itself. The task involved some DIY skills, specifically modifying a copal 3 lens board. Picture this: me, at my desk, surrounded by clamps and knives, with gorilla glue at the ready. It was not delicate operation, there may have been some choice words. But, I managed to frankenstein the old with the new, and after some trial and error, the lens was securely attached and ready for action - no selotape or elastic bands required!

Feline Photography Fumbles:

My first subject was, naturally, my cat. Cats and cameras have a long-standing relationship, However, this was no ordinary photography session. I had to creep up on the snoozing fat kitty, tripod ready, with film sheets loaded and hat in hand - The lack of a shutter on the lens and the need for slow exposure turned this into a game of patience and timing. The results were overexposed and full of motion blur. Perhaps using Harman Direct Positives didn't make things any easier! – not quite what I was aiming for, but certainly a memorable experience!

Garden Shoot Success:

Next, I ventured outdoors, choosing a dying potted plant on a frozen picnic bench as my subject. a shaft of sunlight starting to hit the plant and corner of the bench. This time I armed myself with Ilford80 film, hoping for a bit more latitude and forgiveness with the exposure. There was still a battle with focal distance and vignetting, but all in all, a significant improvement on my first cat-astrophe. I felt like a wizard, experimenting with black magic, trying to coax the best out of this old lens.

Lens Face-Off:

Intrigued by the differences, I took a similar composition with my 210mm lens, wide open at f5.6. The comparison was fascinating – the modern lens brought me closer, capturing finer details, a cleaner image and a stark contrast to the dreamy quality of the Petzval lens with its swirly bokeh (that is just about visible). Both had their charms, but it was like comparing night and day.

Developing:

Developing these shots in 510Pyro for 9 minutes and getting resulting images was fantastic. I had serious doubts that my makeshift shutter timing was anywhere near 1/60. So to see good negatives was a hug relif and confirmation that my process was working. I even remembered to prewash the film, to remove the anti halation layer which stains the prewash water crimson.

A Little HUMOUR in Hindsight:

Funny thing happened when I scanned in the contact prints - I kept seeing Newton rings and dust speckles on all my scans. It Took me a while to realise that they were from the contact prints, where the negative and paper were touching during exposure. I’ll need to watch out for that next time! I can barely see them in the 4x5 contact print - it isn’t until they are blown up on screen that they become visible. a reminder of the of the hands-on nature of this process. a mix of old-school challenges and modern-day frustrations. Next time I’ll just use the enlarger!

Reflections and Musings:

This entire experience has been a deep dive into the heart of photography. There's a raw, unfiltered quality to working with such a lens that can't be replicated. It's not just about the resulting images; it's about embracing imperfections and unpredictability and learning to adapt and overcome imperfections and frustrations.

What's Next?

I'm already planning my next outing with this lens. Perhaps a portrait or a close up! low speed film and lots of patience needed. oh and use an enlarger, rather than be lazy and make a contact print.

Printing Venice

Recently, I've been in the darkroom catching up on developing films taken in the last few months. One of these film series, was the rolls from my short trip Italy and in particular an extremely wet Venice, all shot on Berger Pancro400 film using my reliable and compact Contax TVS, which I carried everywhere and used to capture the city's essence in the waning days of October, between showers.

During the same trip, I also had the opportunity to spend some time in Peschiera del Garda, a resort town at the southern tip of Italy’s Lake Garda, which during this time of year is very sleepy and, as I experienced it at the time of my visit - extremely misty. 

Upon my return from Italy, I had some concerns that the films might have suffered damage from the X-ray machines at the airport - a common hazard for film photographers, when refused a hand examination, but to my relief there was no discernible damage to the negatives. I develop Berger Pancro400 for eight minutes in Rodinal diluted to 1+25 at ~20-21 degrees C and find that with this film, I get very consistently good results. I’ve spent a lot of time in the past 12 months or more exploring alternative film developers and have my favourite combinations. Rodinal and Berger Pancro400 is one of these favourites. 

The tranquillity of the darkroom has been a welcome respite from the chaos of work. It's good to catch up on my backlog of film, reconnecting with my passion for photography as life settles back into a familiar cadence, after a hectic few weeks. I find the entire process from shutter click to the final prints, is a deeply personal journey that allows me to engage with my experiences through a different lens and having my own darkroom has been a tranquil escape where I can focus on just that photographic process and nothing else; it’s where the red safety light dims the outside world to a distant murmur, and it's just me dancing in the dark with chemicals, watching images appear as if out of magic onto paper.

Among the collection of photographs, three frames stand out from Venice as print-worthy. Two are centred around the Rialto Bridge, a Venetian icon and the Third looking out across to San Giorgio Maggiore across the water. 

The Rialto Bridge frames were carefully printed on Ilford Multigrade Art paper, which I find renders the textures and contrasts of the scene with a tactile quality that's simply mesmerising. The first print offers a view of the bridge standing in the distance, covered in tourists, with gondolas moored in the foreground left of the Grand Canal. The second is a lively contrast, featuring a gondolier in the midst of steering his vessel through the waterways that crisscross the city, the bridge providing a stoic background.

The third print is something a bit different. It's presented on Ilford Multigrade FB Warmtone paper, which imparts a certain depth and warmth to the image. It captures the moored gondolas at the forefront, with the serene backdrop of San Giorgio Maggiore across the water, through the mist. 

All prints were developed in Adox Neutol Eco developer, pulling out a range of mid tones, despite the need to use a high contrast filter to achieve dense blacks in the shadows. 

Catching up with my backlog of undeveloped film has been good time to reflect on the memories from this trip and reconnect with some of the emotions from the experience. The darkroom is a space where time seems to stand still, allowing me to reflect on the places I've been and the sights that caught my eye.

I'm already looking forward to, not only my next trip, but also my next darkroom session, where I can relive these trips again and create new memories, set in Silver. 

ASHNESS BRIDGE

Nestled in the peaceful landscapes of the Lake District, Ashness Bridge carries within its stone structure a rich history spanning centuries. Dating back to the 17th century, this enduring stone bridge has served as both a practical link for local farmers and shepherds and a part of photographic history.

Constructed during a time when necessity drove innovation, Ashness Bridge played a vital role for the local community, aiding the movement of people and livestock across the rugged terrain. Its sturdy design stands as a testament to craftsmanship that has stood strong over time.

But Ashness Bridge's significance goes beyond its historical function; it has also captured the attention of photographers over the years. The bridge seems to possess a stillness that inspires creative expression. Photographers have embraced its stone architecture, using the surrounding landscapes to frame their compositions.

Despite the march of technology, Ashness Bridge remains unchanged in essence – a reminder of the past, linking us to history. It symbolises continuity, where the blend of human innovation and nature's beauty finds a voice through the camera lens.

During a family hike from Castlerigg Hall campsite to Ashness Bridge, I aimed to capture this essence on film. Armed with my Hasselblad 500c and Ilford FP4 Plus film – known for its timeless qualities – I seized the opportunity to freeze the bridge's beauty in the morning light before we continued our walk along Derwentwater's edge to Keswick.

Throughout the hike, I carried a Contax TVS point-and-shoot, capturing candid shots (See above). However, at Ashness Bridge, I switched to the Hasselblad for a more focused approach. The children's need for a break allowed me to concentrate on the shot I desired, amidst the backdrop of fellow visitors appreciating the location.

I took six variations of a similar composition, positioning the bridge in the foreground against the backdrop of Derwentwater and distant fells. The outcome exceeded my expectations.

Back from our holiday, I began developing the films from the hike, particularly the roll of FP4 that featured the bridge. I opted for Zone Imaging DeFer’s 510Pyro developer and my homemade TF-2 alkaline fixer, resulting in well-defined negatives with a pleasing tonal range.

One particular frame stood out, displaying the right amount of water movement and retaining highlights. It also showcased shadow detail in the bridge's arch and the distant fells in the soft light.

After experimenting, I settled on using Ilford Multigrade FB Warmtone Semimatt paper for printing, employing Adox Neutol Eco as my developer. Though I made a couple of comparison prints on Ilford Multigrade ART 300, the FB Warmtone Semimatt paper proved superior in delivering the desired finish.

To optimise the negative, I engaged in split-grade printing, using contrast zero and five filters. This technique brought out the distant hills and sky, while maintaining detail in the rocks and flowing water beneath the bridge.

In summary, Ashness Bridge isn't merely a relic of the past; it's a living connection to history that also resonates through the art of photography. My journey with my camera became a conduit to appreciate its enduring appeal, echoing the bridge's own legacy – solid, transformative, and ageless.

Shooting on Film

There are a few reasons why I have chosen to shoot my photography exclusively on film for the past five years.

First and foremost, I love the look and feel of film. Digital photography has come a long way in recent years, but there is still something special about the way film captures light and color. Film has a certain warmth and depth that is difficult to replicate digitally.

In addition to the aesthetic qualities of film, there is also a certain level of craftsmanship that comes with shooting on film. Mixing my own chemicals and developing and printing in the darkroom allows me to have complete control over the process. I can fine-tune every aspect of the development process to get exactly the look I want. This level of control is not possible with digital photography.

Shooting on film also forces me to slow down and think more about each shot. With digital, it is easy to snap hundreds of pictures and sort through them later. With film, each shot is precious and must be carefully considered. This forces me to be more intentional with my compositions and helps me to create stronger images.

Finally, I enjoy the wide variety of cameras and films available to me as a film photographer. From 35mm to 120 to 4x5 large format, there are so many different options to choose from. Each film stock has its own unique characteristics, and I love being able to experiment with different combinations to see what works best for a particular scene.

Overall, shooting on film has become a passion for me. It allows me to create images that have a timeless quality and are infused with my own personal style. The process of developing and printing my own work in the darkroom is also incredibly rewarding and helps me to connect more deeply with my art.

Developing Milestones

I had zero expectations from the particular roll of HP5 where these prints originate form. It’s been sat in my OM-1 for the best part of two months and I just knew that it would be problematic to spool. Eventually I persuaded it to go onto the reel without too much frustration, even though it was ridiculously curly.

Despite the stubbornness, it’s a significant milestone in my photography journey and marks the first time where I have developed negatives using chemicals independently procured and mixed by me, using a recipe for Kodak D23 from a copy of the recently gifted book called “The Darkroom Cookbook” by Steve Anchell.

Admittedly, this particular recipe is perhaps one of the easiest out there, only requiring Metol, Sodium Sulphite and Water but non the less, to be able to produce such awesome results from something I have made myself feels extremely rewarding and I am really proud of myself!

Where this gets even more interesting for me is, there are so many other recipes in the book that are within my ability to mix, with the minimum of effort.

I’m so impressed with the results of D23, I will be adding this to my arsenal of choice developers for the future and I am also planning to try out a homemade version of 510 Pyro, an alkaline fixer and also a stop bath for and hopefully paper developer for Silver Gelatine Prints! 2023 is starting to shape up extremely exciting for me! All I need now is a bigger darkroom  - watch this space!