The tiny fishing hamlet of Penberth Cove lies at the foot of a wooded valley just to the east of Porthcurno. Fishing still remains part of Penberth but only to a few local families nows that still fish this cove and its Atlantic waters.
I spent a few hours one early spring morning capturing all that I saw. All images are shot on film. None of those pixels or photoshop here. Just real images
Camera’s: Asahi Pentax 6x7, Hasselblad 500 CM
Films: Kodak Ektar & Kodak Portra 160
cornwall shot on medium format film
Read MoreI’m a big lover of Portra as a film stock both on 35mm and Medium Format, so it was only question of time before I tried 400VC. The “VC” as you are all no doubt aware of stands for “Vivid Colour”. A brief history on this will tell you this film stock was around until 2011 when production stopped. The rolls I picked up on a on line auction web site were expired back in 2007. Shooting expired stock can be a bit of a gamble but i like that risk.
Images enclosed are shot on my Hasselblad 500 CM and my Pentax 6x7. No push, no pull, no over, no under, no one stop, two stop, Lightroom or Photoshop, just straight out of the box
Ive chosen a variety of colours and subjects to see how a 2007 rolls handles the colour. There are a little grainy but Portra’s never been a fine grain stock anyway. Would I say they were vivid. Certainly not by todays standards but the colours are there with little or no real separation to speak off.
Ive been shooting expired Provia 100f for some years now with some great results overall if Im honest. The “expired” element of shooting film interested me simply because I wanted to see what type of results Id get.
You’ll read a load of articles on line regarding expired film stock staying the rule of thumb is to do this and that with it, over expose, pull or push it. I just shoot it out of the box and see what I get generally. I reckon 95% of what Ive shot in past has turned out well. Is that down to luck? Maybe so, or is it the fact that Provia if stored well is just a really robust film.
The Colour
Now, I like Provia for several reasons. The first one being is its a slide film. i love slide. That moment you get your negatives back and then hold them up to the light and the colour bursts through, its magical. Secondly,
I love the rich tones Provia brings. The purple and greens have such a vivid texture to them and the overall colour palette to really appealing. Is the any colour shift? I haven’t noticed any but I am the worlds worst technical photographer so I wouldn’t see it. I just see lovely colours.
Examples
Enclosed within this post are a series of images shot on a roll of Provia 100f which expired back in 2000. I had no history on its storage other than what the seller told me. Let’s be honest here. Was it cold stored for 20 years, I think not. So, my opinion is that Provia is just a really solid and robust film stock and seems to store well. See what you think of the results anyway.
Please note: Other views and opinions are available but these are mine
documentary film photographer cornwall
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Projects for me will always be the main focus for my photography out side of my commercial work. Whilst work for me is a real joy, the projects keep me sane. They give me free control on what I want to shoot and to share with others. Finding the right style of project is challenging as it needs to fit my style of photography. What Im not trying to do here is replicate or copy ideas from others. I think with any project it has to carry some value and I think “the four points” project has that. I guess it will be down to you guys to see if it has.
Whats its all about?
The project content is all about the furtherest points of the UK. The furthest north, east, south and west of mainland Great Britain. My aim is to travel to all four point and document all that I see. the project will be shot of 35mm and 120 medium format film. I’ll take 3 days and travel over 2,300 miles to bring this project together.
What the end goal?
Thats simple. I’ll share it all with you on line through the usual social channels plus bring it all to print. I hope you’ll all find the time to follow my journey as I will be documenting the trip as I travel to the four points of the UK. RD
When I first decided to enter the world of medium format film, camera choice for me was key. I did find what I was looking for and I certainly made the right choice with the Hasselblad 500 CM. However, in the back of my mind at that time of that selection, the 6x7 did feature as a preferred choice but it was dismissed quite early on.
Moving forward a couple of years, I started to go through that phase like Im sure a lot of other photographers do where we begin to think about adding another camera to my collection. Do I really need one? will it improve my work?, nope, so why did I need the Pentax? If Im honest, Ive always loved the sear brutal look of the 6x7 and their retro design. What other camera has a wooden handle that size strapped to the side of it. I ask you.
So, I set about looking into all of the MF Pentax models, the Asahi 6x7, the Honeywell 6x7 ( its essentially the same as the Pentax 6x7, only marketed specifically to the USA) the 6x7 MLU (mirror lock up) the 67 and finally the 67ii. All very attractive in their own right but the Asahi for me was the most attractive in its design. A little further research into that model and it turned out that the MLU version was the more reliable one to have. Now, being the worst technical photographer in the world, I needed some help in the first instance and a big thank you to my on line technical guru, Gareth, for his impartial advice. His choice different to mine so I then set about finding the right one - what a quest!!
After searching the usual on line avenues of enquiries, it soon became quite apparent that the Japanese market was the best option for me as the UK’s examples were very average and extremely limited in supply. If you are in the market for a 6x7, or should I say a really good example of a 6x7, then Japan is the place to look. Not only that but after speaking direct to a few Japanese Pentax retailers, their very knowledgeable on all of the Pentax models.
My search took me a number of weeks as I couldn’t find a camera with a lens as a package that fitted the bill. Either the camera’s body was not a mint example, thats what I was after, or the lens with the camera had haze, fogging or mould etc.
That then meant the only option for me was to spend a little more money and buy separately. After some further searching I found a mint body, and it really is, the lens was next. Servicing was also super important for me when required and I managed to find a UK based Pentax experienced engineer who gave me some solid advice on which lens to get in his experience, thank you Parmath.. The 105mm lens so Im told is one of the best lenses ever made, but the SMC version is the one to have. Parmeth lost me a little on the technical reasons why but he takes them apart and has decades of experience working on them so his help was invaluable.
Finally, I managed to track down a truly excellent 105mm SMC lens so I now have the complete package. Now, if Im looking to buy another decent camera at any point, there’s always a certain number of prerequisite that I like to take into consideration.
In the event of me selling or moving on any of my kit at a later date, how attractive to a potential purchaser will my camera be. So buying the best example I possible can for the right money is key. Secondly, the more attractive and desirable models will be the ones to have so I take that into consideration too.
To summarise then. Ive now got what I set out to buy, a cracking example of a Asahi Pentax 6x7. Yes, I did pay a little more money by buying separate but I got what I wanted. Will it make me a better photographer, certainly not. I have to put my knowledge and shooting skills into it first and then see if it might produce another element to my work. The larger 6x7 negative will certainly do something to the viewing aspect of the images I produce and perhaps I’ll take that into consideration when shooting with the Asahi. Off to the gym now to build up those guns so I can lift this beast, hell!!
One final note if I may. If you’re looking to get a service done on a 6x7 and your based in the UK, look no further than Asahi Photo. Ask for Peter. He offer excellent advice and is able to service all of the 6x7’s
Some data for you guys that might be helpful if you’re looking at grabbing one:
Asahi Pentax 6×7 – the original model, launched in 1969 (first generation)
Asahi Pentax 6×7 (MLU) – with a mirror lock-up mechanism, launched in 1976 (second generation)
Pentax 67 – with minor cosmetic changes, launched in 1990 (third generation)
Pentax 67II – the fourth generation model, launched in 1999
Please note: Other views and opinions are available but these are mine…
I got the opportunity recently to shoot a team of sheep shearers carrying out the difficult and tough work that they undertake for a living. Id seen the odd sheep sheared in the past of TV but when you come to see it in real life, hell, what a skill. These guys really work for their money.
You’ve no idea just how sharp their shearers are. Its only the skill of the shearer that the sheep dont end up with cuts all over. The inexperienced Im told do make those type of errors but learn from each sheep they shear. There’s a certain way to hold these shearers which only comes with further experience.
Each sheep is counted in and counted back out again. A counter is placed close by so each shearer can claim their rewards,
one price per sheep sheared. Im told that a pretty good average shear for a highly experienced sheep shearer is somewhere in the region of the 300 mark. Watching these guys is tiring work, i cant imagine how their backs must feel.
Sadly the market for the sheep’s wool has nearly collapsed. This is due to the current issues we’ve been facing of late. The biggest market for this wool is China and the carpet makers of the world. Once these fleeces were all bagged up, they are heading for mass storage until the markets shifts and the demand grows again
One of the times I look forward to each summer is when the farmers harvest their wheat and barley. Its a time when the skies are blue and the fields have turned to a light golden brown. It’s a time when I head to the fields myself and capture the harvesters working hard to finish the job in hand before the light and weather fades. The Cornish summers are always unpredictable but the farmers carry a wealth of knowledge when it comes to harvesting time.
Podgora is a small town located within the Split-Dalmatia County of Croatia. It’s located on the Adriatic coastline about 65 km south of Split and about 130 km north of Dubrovnik. Its a little gem. Far enough away from the large tourist crowds and Brit free. I certainly dont want to be reminded of home or the UK when travelling oversea.
I didn’t shoot Podgora with a travel magazine related view in mind, I shot it the way I like to shoot content. Searching for people and colour and I certainly found that there. Croatian blue is like no other. Ive only seen similar tones in Cornwall when the light is right. Shooting there with the Q certainly brings the best out in the camera. I also shot Podgora on 35mm and 120mm too. In fact I shot the place on four formats if Im honest with the added instant format of my Leica Sofort too - see here
Podgora is one of those lovely small villages in Croatia that hasn’t really been totally invaded by tourism yet. Im sure its coming though. Im glad I discovered it when I did.
Im a firm believer that if you shoot film on a regular basis, you should work your way through most film stocks that are out there. Im a bit colour lover and favour certain films but Id never tried Portra 160 until a few week ago. I was keen to save this roll until I found a certain subject matter which I thought might lend itself to well to Portra’s vivid colour and tones. So a recent trip to Croatia seems a perfect choice.
A photographer that I often speak on film related stuff reckoned i should over exposed Portra 160 by a few stops. I’d say that his work has a very neutral look to it and suits his style of photography really well. For me, I do what I always do, shoot it straight, no tweeks and very standard ish. Ive never bothered with the over under exposed option or that push and pull process stuff when developing. I just shoot film out of the box.
So, enclosed are a selection of shots I managed to grab. See what you think. Im happy with them. Would I shoot Portra 160 again. I guess so but it doesn’t rock my boat enough to go nuts with it. Photography is all about choice and what best suit your needs and requirements given the kit you’ve got and the film stock you shoot with.
Please note: No photoshop, lightroom or presets were used or will ever be used in the making of my images. All the shots you see are straight out of the box. Real photography you might say
documentary film photographer cornwall
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