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My Camera + Film Reunification

How I ended up shooting and loving film again after 30 years away.

The picture above of my beloved dog from earlier this year is the first film picture I have taken in 30 years. I used my old Nikon FTN Photomic that I’ve had for 50+ years to take it. I haven’t used it since 1990.

I always loved photography. So, at age 20, I enrolled in photography school and learned all that I could about film photography that was available at the time. After graduating, I worked in a custom photo lab using the knowledge and skills I had learned in school.

In school, we only used medium and large format cameras since they were the primary cameras used in commercial photography of the day. Years later, as digital photography began to emerge and grow over time, I immersed myself in that world. I eventually returned to school where I took online classes in a visual communications program. There, I learned more about the digital world I was moving into. As a consequence, I left film photography behind.

Digital and Analog coexistence.

I love technology. For all the virtues and convenience the digital world offers, I feel there is ample room for it to coexist with, rather than replace, an analog foundation that has been enjoyed by so many for years. For me, that is the case for adding film back into my photography again after 30 years away.

It started as a whim that I couldn’t get out of my head. I saw how film never died out as many expected. Instead, it became increasingly popular over recent years. This change was initially driven by younger generations. They did not grow up with analog photography but were learning and living it deliberately instead. As I took notice, I began saying that I might get out my 50+ year old Nikon FTN. I wanted to throw some Tri-X film in it, and see what happens. After saying that too often, I finally backed up those words and took the plunge early this year, 2025. I did not know if my old Nikon camera would work and if so, how well. All that would be lost by trying if it didn’t work out would be a roll of film.

It was odd at first. The Nikon FTN Photomic that felt so natural in my hands in my 20s and 30s now felt strange, heavy, and cumbersome. There were many profound differences between this camera and all the digital cameras I had used over the last 25 years. This included my current Nikon D750. That said, after some cleaning and dusting it off as best I could, I haltingly loaded a roll of Ilford HP5 Plus into it from memory (muscle or other), and away I went. I discovered that the Kodak Tri-X I knew and loved in the 70s had been “changed.” As a result, I went with the other film I remembered from old film days, Ilford. To my delight, it did not disappoint.

Diving In

As I dove in, I knew the shutter worked from playing with it at different shutter speeds and apertures with the back open so I felt I would be okay. I stepped out onto the covered back patio looking around for something to shoot. Then, I looked down at my side and saw our beloved puppy looking up at me with curiosity.

Using the light meter on my Android phone, (since the batteries and light meter on my old camera were defunct), I saw there was not much ambient light. I had to adjust accordingly. Shooting handheld at 1/125 to help ensure no motion blur left me with only one option. With film, the ISO is fixed. To get a good exposure, I had to stop down to f 1.4, the lowest aperture on my 50mm lens. That left me a razor thin DOF to get her eyes in focus. I swayed back and forth, with her eyes going in and out of focus. Then, I held my breath, steadied, hit the shutter and let it fly.

I practiced shooting outdoors in daylight with the rest of the 24 exposure roll. I only bought a 24 exposure roll instead of 36 in case none of the pictures on this test roll came out, there would be less waste. As I finished, it was off to the lab and wait. I seriously thought if anything came out that this might just be a one and done experiment for the novelty of it and I would go back to my digital world. I never expected what happened instead.

Shooting film catches fire with me.

After a few days, the scanned pictures came back. After seeing the aesthetic of that first film picture I had shot in 30 years (of our puppy looking at the camera), I was immediately hooked. Since that moment, shooting film has caught fire with me. I have lost count of how many different films and number of rolls I’ve shot this year. Even more exciting is that 2025 is not over yet. I even bought two more old film cameras to go with my old Nikon. I have been playing with them as well.

So, I finally “got” the “why” so many people shoot film in our digital world these days. For someone who cut his teeth on film photography back in the day, my new foray into the world of analog photography felt like a warm welcome home. Shooting film has taken me back to the essence of what I learned and loved in my youth about photography.

I now slow down and treasure every frame when I set it up and shoot, whether digital or film, as if it was my last. It has brought the joy back in photography for me. This is just a beginning for me. I am looking forward to what is yet to come.

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Photography Resolutions for 2024 | Justin Mott

Justin Mott offers some good new year photography resolutions of his own that photographers of all levels might want to follow.

Personally, he reinforces one trend I began this year of shooting more with my “Nifty Fifty”. In the past, I only used it it when it was the optimal lens choice and focal length for a given situation. On my city walkarounds, I preferred to use my various zoom lenses mixed with my phone camera photo grabs for many of my “street” shots. This arrangement and process began to feel cumbersome as I began wanting to travel light on those walkarounds. The efficiency of the phone camera grabs was good for immediate editing and getting images “out there” on Social Media, etc., but afterwards I found, in spite of having one of the best phone cameras available, some shots simply did not measure up to the images of the same subject/time/place I captured for comparison with my full frame Nikon DLSR. It also meant having pictures in multiple locations, furthering the complexity of image file management down the road.

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How I Shoot Tri-X Black And White Film | The Slanted Lens

The recent resurgence of film photography has fascinated me to the point that now, years after it began, I finally decided to go back to my film/darkroom days where my interest in photography is rooted and shoot my first roll of film for the first time since the mid 1990s.

As one who was schooled and worked many days and hours on end in darkrooms over several years, I thought getting back into film after 20+ years of digital photography shouldn’t be difficult at all. That said much has changed with the new incarnation of film. For one, Kodachrome is no longer available for color film photography, my absolute favorite for capturing the best 35mm images back in the day. Most of what I did in school/work during my early days of photography was of a commercial nature, so technically perfect and high-quality realistic sharp images were what was in high demand. There was nothing like processing an 8 x 10 color transparency in the darkroom and taking a look at it after it dried, and it was almost looking like the real subject, not a positive image since the resolution was so high and grain almost invisible! Creative photography was not something I was involved with professionally but was my favorite genre on a purely artistic level. Black and white gilm photography was paramount for me in the creative realm then and still is today in the digital world.

This all brings me to today, and my planned venture into black and white photography after decades away. As mentioned, much has changed since then, so to venture forth, I wanted to begin with a familiar “constant” from my past. With that said, I decided to go with the first two basics, a camera and film. I chose my Nikon Photomatic FTN 35mm camera I’ve owned since 1974 for my camera and Kodak Tri-X 400 for my film. While Kodachrome was my favorite color film, but it is long gone. Kodak Tri-X 400 was my favorite black and white and needless to say. I was elated when I found it is available today!

I am looking forward to this endeavor and still looking at film processing and print options. To get the most out Kodak Tri-X 400 film, they closely work together, almost one and the same. I was never able to get all the creative and extraordinary images out of Kodak Tri-X 400 back in the day that others did, so now is my chance to make happen, what didn’t back then.

https://theslantedlens.com/2022/how-i-shoot-tri-x-black-and-white-film/

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Shooting with Smartphone Camera only Caveat

Late in September 2022, I traveled to the Trinity River / Downtown Dallas area to shoot some pictures. Normally, I take a backpack with one of my Nikon DLSR cameras and lenses. This day, I wanted to travel light, so I just took my Samsung Galaxy S22 Ultra and my Leica D-Lux 7.

While I had only planned to shoot a few river and skyline shots from a distance, then leave, that did not happen. As often happens, I began walking and exploring instead. I hiked down the levee to the Trinity River bottoms trail and kept walking when I discovered the view of some landmarks and infrastructure was very much different and interesting than what we all usually from street and ground (or drone) level. It was captivating, and I kept walking further, shooting pictures with my smartphone, until it “crashed.” There was a message saying the camera had overheated, so it had to close. It was only a mild 91 degrees, which is not hot by Dallas standards, and I’d never had any film or digital SLR/DLSR or.any camera for that matter “shut down” due to the heat, ever in my decades of shooting, including many middle of summer 100+ degree days in TX. The camera did not come back on no matter what I did, and I could see many potential good pictures ahead on the trail.

Fortunately, I had my taken my small Leica D-Lux 7 along with me. It was working, but as with moast mirrorless cameras, it was eating battery power up as I continued to shoot and didn’t have an extra battery. In the end, I was able to capture most of the images I wanted between the two cameras that day. The picture in this post of the Margaret Hunt Hill Bridge taken from below at the river botttom level was taken with my Leica after my smartphone “shut down.”

I experimented with the choice of camera gear I took with me that day and learned a lesson with that experience. Fortunately, it was not a serious shoot, and had it been, I would’ve had my backup Nikon cameras and gear available.

I am sharing this experience as a caveat for those who set out with a smartphone “only” to capture important images. Keep a backup camera close.

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A Statue at Fair Park and the Ever Changing Light

The statues along the Esplanade are some of my favorite photo subjects at Fair Park in Dallas. I went to the State Fair of Texas yesterday and took the picture below. I usually go when the weather is nice and sunny, but it was overcast yesterday and the first time I have taken a picture of the statues in the flat natural light that a cloudy day provides. It is much different than all my past photos of the statues I have taken in high contrast sunlight. These statues have stood in the virtually the same place since the Fair Grounds opened in 1936, but the natural and artificial light sources that illuminate their surfaces have been changing ever since and with that how they are perceived visually. I first saw these statues as a child, and see them differently today as an older adult than I did then. All this reminds me of the quote below from the Greek philosopher, Heraclitus. It is a quote that increasingly comes to mind as the years pass for me.

“No man ever steps in the same river twice, for it’s not the same river and he’s not the same man.”

This statue is the work of Lawrence Tenney Stevens and was created for the first State Fair of Texas when it opened in 1936.