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Showing posts from December, 2019

APS-olutely Auto - or Using My Obsolete Canon EOS

[Wow! This is my 300th post!] I first saw the EOS IX7 in a picture and it looked so small. It also looked very much like a camera I'd never feel the inclination to use. Yet, here I am, already on my third roll in a fortnight. And it's colour film at that. How did I end up here? In late summer of this year I had bought a Canon EOS 5000 for a pittance. I'd never cast an eye on the EOS-cameras since I am usually a manual exposure kind of person. But the EOS 5000 was the one auto-exposure camera that had caught my attention with manual shutter settings on a control wheel instead of those annoying menus. Come November and I'd not finished an entire roll yet through my EOS. Yet on the Swedish auction site an EOS IX7 surfaced and was sold for a steal (~ €15). Canon EOS IX7 Yes, it's an APS-system camera. A system which, yes, is discontinued. But, yes, I had three rolls of Fuji Superia 200 ASA with 40 exp for sale in my camera shop. And every once in a while they do p

Red-Handed Captures - My Continued Love for Redscale Film

My 'underperformer' camera Adox Golf IIA was utilized to expose my second roll of redscale film. The film is reversed and thus the colours are exposed in the 'wrong' sequence on this type of film, bringing unexpected colour shifts compared to common films. These photographs were exposed at 25 ASA and are thus overexposed if you follow the instructions of the manufacturer Lomography. I'd done research before exposing my first roll and had come to the conclusion that I liked the results more where the film was exposed to lots of light. The photos exposed at box speed ASA 100-400 were too red-tinted for my tastes.   When seing the results from my first roll I also realized that greens came out very nice, which spurred me to include more vegetation in my compositions. These scans were made by a lab (Carmencita Film Lab) which were specifically instructed by me to tone down the colours overall. I don't know yet if the negs are more red-tinted than

Blind Memories - a Film from the Recent Past

These photographs were made 2015 with my Canonet QL17 - I think! I wasn't much for note-taking then, unlike now, so the camera remains a mystery. Come to think of it, the camera may be the Minolta AL-F. Then again... The location is in/on and around the medieval fortress in the city of Varberg, on the west coast of Sweden, where I grew up. I really need to learn how to scan and edit my photos properly... Thank you for reading my blog! Check our my Instagram at #ourbooksmalmo and my Etsy shop getOurBooks where you can find plenty of analog camera equipment!

Baking with Light - On Location Photography

Assignment: 'Produktion/Production' Some time ago I had the opportunity to photograph a local baker in action. I wanted to make the most of it so loaded three cameras with the black&white Fomapan 400Action film. Here are synonyms for the Swedish phenomenon Konditori: Café Confectionery Tearoom Cake shop Patisserie Pastry-shop the Preparation I brought the Olympus XA for the wider compositions - it's a 35 mm lens. The Canon P had the Jupiter-8 50 mm. Taking advantage of the Olympus Pen F crop factor the 45 mm Cassarit would act as a semi-tele at 67 mm for tight compositions. The lens was recently cleaned by "my camera guy" so is in spick and spam condition. I had to be prepared for bad or sporadic light sources so I brought a small LED-light with the option of mounting it on the Canon P's hotshoe. the Experience It's a small bakery. They sell bread and pastries at the counter and serve up to 30 seated customers. In the morning at 3 AM the baker a

The Determined Photographer - or How I Photograph

"[M]aking a revolution is more important than making a story about the revolution." "[Photographs] - but for both myself and the people there - they're like souvenirs or landmarks... so it's not so much what they are - but where they lead you." - Photographer Susan Meiselas. “I grew up both in front of and behind the lens of the camera. My father taught me at an early age to use a camera (his Leica M3) and make a print. His practice was to give me one roll of Tri-X film every two weeks and an assignment that was simple in its goal, but difficult to achieve. "He would ask for a still life lit with one light source or a portrait of my sister jumping rope, with the purpose of my learning the importance of shutter speeds. I would go into the basement darkroom where I soon realized how a good edit would effect the outcome of the assignment. "With dried prints in hand we would meet on Sunday night where my father would critique my work." - Photo