Film Portrait Photography by Natalia Abashidze

Natalia Abashidze is a 27 year old artist and photographer based-in Tbilisi, Georgia. She loves shooting film and shoots mostly people portraits. Natalia also owns some of film cameras that we featured her portraits with film cameras here. And today, here are some examples of her work on film photography.

Youth letter: Is it necessary to be worried about Kodak leaving Windsor?

Being a student photographer myself, I know that film photography will never completely fade out. In classes, we still use the “old-school” Kodak Tri-X film that has been very popular with professionals and hobbyists alike.

The film has stood the test of time, starting production in the 1940s. I believe that Kodak could save a lot of money if it cut its products down to what people actually buy.
I know for me personally, I buy Tri-X film, 400-speed film, 200-speed film and nothing else. I believe that Kodak is trying way too hard in order to appeal to other markets that they do not belong in.
The company is involved in such industries as touch-screen sensing technology, graphics and packaging. Kodak is an industrial giant in the production of film, and that’s where I believe they should focus.
As for being worried about Windsor, I am not. I believe that Kodak will downsize but will not completely leave. There are plenty of job opportunities for those living in Windsor around Northern Colorado. We are lucky to be surrounded by huge companies such as HP, AMD, Avago, OtterBox and many others.
There does not seem to be any shortage of jobs for those looking for industrial careers.
Windsor has plenty of the resources it needs to be successful without Kodak to bring in tons of people.

Ryan Arb, Fossil Ridge High School student

 

Film Photography by Mukadder Gülpınar

Film Photography by Mukadder Gülpınar

Mukadder Gülpınar is an amateur photographer from based-in Istanbul, Turkey. She shoots mostly film with her old camera Canon AE-1. "One of my father's friends gave me this cameme as a gift when he saw I'm interested in analogue," she says. "So I feel proud when I took remarkable photos with it."

Here's a selection of her work:

See more of Mukadder's work on her 500px page.

Pentax K1000 - FPP's 35mm Camera of the Year!

by: Michael Raso

Update 1/20/2014
This January The FPP donated 15 Pentak K1000 cameras (and over 100 rolls of Kodak film)  to Louise Contino and her Project Wanteete so she can teach photography remotely while in Uganda, Africa January to June 2014. Louise is working with two nonprofit organizations, ICP NYC and the FPP to make it all happen!
Michael Raso hand-picked the K1000 as "the" perfect camera for the job and tested each camera before its long journey.
More info soon on her project. In the meantime, you can help by visiting and donating to Louise's Kickstarter page HERE.
Why is the Pentax K1000 FPP's camera of the year? Read on!
Here at The Film Photography Podcast, listener questions are a big part of what we do. You ask, then we do our super best to get you the answer you seek. For at least one out of every ten of these questions, we’re bound to get a question like, “What’s a good camera for somebody just starting out in film?” or “What 35mm camera should I get?”. Though the choices are plentiful, there is one camera that has quickly made its way to the top of our recommendations list, the Pentax K1000.

"Cowboy Joe" by Michael Raso, Pentax K1000 SE

Hitting the scene in 1976, the Pentax K1000’s intuitive design, sleek form factor, and modest price point captivated photographers world wide. After being in production for over 30 years, and with 3 million+ units sold, the Pentax K1000 has been labeled by many as the sturdy “workhorse” of the 35mm world. But just what is it that makes this camera stand out from all other 35mm SLR’s? Let’s have a look at the specs:

•     Fully mechanical SLR
•     TTL metering system, powered by readily available LR44 batteries
•     Wide range of shutter speeds, 1/1000 - 1sec. and Bulb
•     ASA Range from 20-3200
•     Hot shoe with flash sync @ 1/60th sec.
•     Accepts all Pentax K-mount lenses

A fine assortment of K-mount lenses to choose from!

Is there anything really ground-breaking here? Absolutely not. But what is there is everything you need to function as a photographer, and not a lick more. The lack of auto-exposure modes and the ease of operation made this the ideal student camera. Even to this day, The University of Findlay (my Alma mater) still has a fleet of these cameras for its incoming film photography students.

FPP Midwest Meetup attendees Dave Mihaly & Jason Benning

By Michael Raso, Pentax K1000 SE

So how do you know if the Pentax K1000 is the camera for you? If you are: a student, on a budget, a camera junkie with GAS, someone that never has fresh batteries, or just a no frills kind of photographer, the Pentax K1000 is right up your alley. Still need an excuse to try out this bangin’ bargain bin camera? FPP host Michael Raso and regular guest Lauren Bagley love, love, love this camera! Here’s some more on what Mike thinks of his fabulous Pentax K1000SE:


If you’re now on the hunt for a Pentax K1000, have no fear, there are plenty to be had. Just head on over to “the bay”, Craigslist, or even flea market, a used K1000 is bound to turn up. And with prices more reasonable than a dinner and a movie date, you should try one today and see why it’s one of the best selling 35mm SLR’s of all time!
Happy shooting, and long live film.

"For the Love of Polaroid" by Lauren Bagley, Pentax K1000

Why Shoot Expired Film?  Update!

by Michael Raso
Back in the 1990s the concept of shooting on expired film seemed crazy. You would buy or drink an expired carton of milk? Nuts, right?
The digital photography explosion has pushed traditional film photography out of the spotlight and into the underground, where a rising cult of film shooters grows daily. Many shooters are attempting to steer away from the crisp look of digital and are open to the idea of using expired film to achieve that different, vintage look.

above: Genesis guitarist Steve Hackett on his 2013 Genesis Revisited II Tour (Times Square NYC 25 Sept).

I shot the Steve Hackett image on expired Kodak Tri-X using the point and shoot Olympus Stylus 80 camera. I processed the film in exhausted Kodak D-76. That combined with the slow shutter speed of the camera gave the film it's low contrast "spent" look.

above: FPP Guy Mark Dalzell / below: John Fedele (with his "Road Rage" face. Both shot with the Canon T70 / Tele-Lentar f2.8 135mm lens on "Batch Fried" Kodak Portra 800 (expired 04/2005)

Open to the grain!
With the advent of pockets of communities like this (The Film Photography Project),  Lomography and other companies promoting fun, plastic cameras, the new breed of film shooter seems less rigid and has embraced shooting expired film for the various funky colors and effects it can produce.

So, you ask…why shoot expired film and where can I purchase it?
Both retailers and private shooters alike are literally dumping their refrigerated stock on e-bay as they convert to digital. This is an excellent way for you to save money as well as being able to pick up some film stocks that are no longer produced.

FILM TYPES
Before buying or bidding on expired film, lets talk about film type. Color Print Film (processed in C-41), Color Slide Film (processed in E-6) and BW film (traditional BW processing) are the most common auctions. You will see auctions for instant films and for unique stocks like infrared film. Use “The Google” to look up stocks you might not of heard of before to make sure that processing is still available.

THE BAY
Door # 1
What to look for when buying film on "the bay" ( http://www.ebay.com/ ) are professional photographers that have switched to digital and are cleaning out their fridges & freezers. These auctions are GOLD. Film could be 15+ years old and still great because these guys stored it properly. Most of these films were also “batch tested” by the seller. As I mentioned, these are the best auction for purchasing expired film.
Door #2
The 2nd type of auctions I look for are guys selling bulk CVS, WALGREENS or other off-brand films. Most big pharmacies are liquidating their 35mm film and are selling for well under the $5. per roll sticker price. Most of these films are stored at room temperature so, don't buyer beware if the expiration date is pre-2007.

Door #3
The 3rd type of e-bay seller is the “I don’t know nuthin” guy. These sellers state that they know absolutely nothing about the product and have no idea how it was store or where it came from. This film was most likely stored in basements, attics and sock drawers and probably tortured in high temperatures. Buyers beware!
Regardless of what type of auction, don’t be afraid to ask the seller questions and/or try to find how the film was stored. If your into weird or funky film and want to take a chance on the “Type 3” e-bay seller, you might find that tortured film yields a desired effect!
The Final Door
The final door also happens to be The Best Door!  Why? This is the door to the FPP Store where I've been compiling lots of expired film just for you! Not only do you get film batch-tested by yours truly, but you are also helping support the Film Photography Podcast by making this purchase! So, sashay over to the FPP Store to check out the current inventory! Expired 35mm (and fresh-dated) film HERE.

Above: The many moods of expired film! See my Flickr Expired Set HERE (or the slide show below!)

Have fun shooting film and feel free to drop me a line to tell me about your shooting experiences!

- Michael Raso / Podcast@FilmPhotographyProject.com

Originally published July 27, 2011 / Revised November 16, 2012 and September 26, 2013

Exhibit focuses on black and white photography

By Pinehas Nakaziko 

WINDHOEK- Namibian photographer Tony Figueira, has announced that the exhibition  Every one hundredth of a second exhibition will focus mainly on black and white photography.
Figueira made the announcement at the media launch of the exhibition on Tuesday at Studio 77 saying this will give the taste and show the reality of the images taken during the late eighties and early nineties. Every one hundredth of a second which opens next Friday until March 19, is a photographic exhibition by John Liebenberg and Tony Figueira, and it will be exhibited at Omba Gallery on February 21 with the opening remarks by Professor Andre du Pisani.  In the exhibition, arranged by Omba Gallery’s Shareen Thude, and sponsored by the National Arts Council of Namibia (NACN), photographers John Liebenberg and Tony Figueira create, through a selection of 20 images each, a personal account of some special photographic moments of events in Namibia, Angola and South Africa. The images cover a wide variety of topics with emphasis on the liberation struggle in Namibia that led to independence on March 21, 1990.
This exhibition, Every one hundredth of a second, is about special moments in both the photographers’ lives, and in the role that photography played in documenting a process that affected three countries. In addition the exhibition is about the essence of photography, and in particular film photography as viewed from, and in contrast to, today’s digital world. It is a stark reminder of what it was like to photograph without digital immediacy, and relying only on light meters and light judgements in situations often insecure, challenging or uncertain. Photography is always around us, and Every one hundredth of a second, there is a photographic moment, an opportunity to capture the world we live in. For both photographers this exhibition is a great way to go back in time, pick out a handful of images and collaborate in a small but uniquely powerful display of black and white photography about the world we lived in and should never forget.
John Liebenberg was introduced to Namibia in 1976 when, together with his fellow conscripts, was sent to Ondangwa Air-force base near the border with Angola. He later returned to Namibia and in 1985 was appointed photographer for the Namibian newspaper, then a brand new newspaper challenging the apartheid status quo and promoting the independence of Namibia. Following independence his family moved to Johannesburg, from where he covered the Angolan civil war as freelancer for Reuters. He later joined Media 24 magazines mostly working for Drum. He is an established news photographer whose work has been exhibited in Africa and Europe. His Namibian photographic collection documenting Swapo’s war of Liberation and the South African occupation is widely used by historians, researchers and film makers.
After graduating from Rhodes University, Angolan-born Tony Figueira’s passion for documentary photography and photojournalism saw him cover a wide variety of themes involving people and processes. The liberation struggle and Namibia’s road to independence became a key focus, and during the implementation of United Nations Resolution 435, Tony was commissioned by the United Nations to document the process. Freelance journalism and photography led to stringing for several local and international media organisations including Voice of America (VOA), Radio TSF (Lisbon), Gemini Agency (London), The Rand Daily Mail and the Weekly Mail (Johannesburg). Throughout the years, Tony has exhibited widely in Namibia and internationally. In 2004 he started Studio 77, a commercial photographic, printing and design studio in Windhoek.

Film Is King

Noted photographer still prefers film

Walter Choroszewski

Posted: Thursday, February 13, 2014 2:45 pm

By ANTHONY LUSARDI Contributing Write 

Novice lessons at the Rockaway Twp. Library

ROCKAWAY TWP. – Things were coming into focus Saturday at the Rockaway Township Public Library.

The library hosted a free course in photography, known as “Getting to Know Your Digital Camera,” hosted and taught by professional New Jersey photographer Walter Choroszewski.

During the class, Choroszewski taught the basics of photography, a brief history on the subject, the science behind the techniques and art form, and the difference between regular film and digital.

Choroszewski also gave tips on buying the best digital camera, how to use certain types properly, and applying it in today’s growing digital world.

The photographer explained his opinion on whether film or digital was better. Throughout his photography career for over 30 years, Choroszewski prefers film.

“Film is quality, but digital is convenience,” said Choroszewski.

“If I wanted the best possible picture, I would shoot film. We’re a lot better where we are now with digital, but in the end, film is superior.”

Though originally from northeastern Pennsylvania, Choroszewski is known for his photos that celebrate the beauty of the Garden State. His first big breakthrough came in 1981 when he published a photo essay on the state, “New Jersey, A Scenic Discovery.”

The success of Choroszewski’s works established his signature photographic identity and made him the primary photographer of the N.J. state tourism campaigns, “New Jersey & You… Perfect Together,” throughout the 1980s and 1990s.

Choroszewski is also an accomplished graphic designer and videographer and owns Aesthetic Press Inc., with his wife Susan, who lives and works with him in Somerset County. Aesthetic Press Inc. publishes regional books and calendars that continue to glorify the state’s landscape.

In his career over the past three decades, Choroszewski has received many awards and has also given classes on photography as he did at the township library.

Staff said they were pleased to have someone of his expertise come to their facilities.

“Choroszewski was very informative on the history [of photography] and very hands on,” said reference librarian and event organizer Kyle Craig.

“It’s nice that we can offer this program for free to the community.”

Even the attending crowd of photo enthusiasts, numbering to about 30 people, was excited and pleased to hear what Choroszewski had to offer the basics of film and digital photography.

“He taught it so that the dumbest of us could understand,” said White Meadow Lake resident J.E. Alston-Johnson.

Others felt the same way.

“It was great,” said Meri Tango, another White Meadow Lake resident.

“Choroszewski was very informative. I was set to sell my 35mm camera, but now I’m gonna keep it. The potential for best pictures is still there.”

After the class, people departed with new knowledge on photography, hoping to apply it themselves in today’s age of picture taking.

But Choroszewski reminds everyone that although digital is a great, film will always better.

“When quality is needed, film is needed,” said Chorozewski.

“Film is king.”

Filtering it All Out

This column is dedicated to all those who, like our friend M, say they look at this stuff every week and don't understand a word of it. And also to those, like our super-intelligent pal A, who says: ''When I see the word 'pixel' I stop reading.''
He stops at pixel? Really? He never gets up to ISO sensitivity, RAW versus jpeg, phase and contrast detect auto focus and bokeh - not to mention the anti-aliasing filter, as we do in the review of the Pentax today. We are hurt. We've spent 10 years coming to grips with the technical jargon of digital imaging and find we are writing for a tiny cohort of nerds and geeks who want to know about zoom ratios and the burst mode speed and how to improve the dynamic range of the photograph's tones.
Well, there's no point in sulking. What does a person need to know in order to take photographs? If you can find the on-off switch and the shutter release then you are pretty much ready to go. After all, in 1954, Virginia Schau won the Pulitzer Prize for Photography with a box Brownie.
Presumably, Virginia didn't think about the physics and chemistry involved in making, exposing and developing the film, so why should you?

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The difference between Virginia's interaction with a film Brownie and yours with a digital camera is that you have more choices. More choices means more decisions, which involves having information on which to make them. And information and decisions is what most people want to avoid.
When Virginia put the film in the camera she had set the ISO sensitivity automatically (it was ASA in her day - American Standards Association - now it is International Organisation of Standards); she had also decided in advance whether it would be black and white or colour; the image resolution was set by the size and dispersal of the silver crystals in the film. She only had to see the photo opportunity, frame the picture in her little reflex viewfinder and press the button. Just like a smartphone, you might say.
Here's the good news: your camera, no matter how complicated it may appear to be, can be set up to work like a box camera. The important thing is to make sure that when it has been optimised for point and shoot, the little knobs and dials must never be touched again. That is, except for one vital, easy-to-understand control that we will come to in due course.

Has Film Photography Gone the Way of the Dinosaur?

Should we keep shooting slide film?  Photo Cananda's Dale Wilson argues why we shouldn't forget this form of photography.
In a rather ironic twist of circumstance, a friend recently forwarded me a photo of his latest camera purchase. I had to look several times to ensure this indeed was what I thought—a real camera.   You know, something made from metal and not plastic, same goes for the lenses, and the same kind of device that shot, heaven forbid, some kind of recording media made from cellulose.
The irony rested in the fact that just at the moment I received his e-mail, I was trying to locate E-6 chemical kits for my in-house processor, without success I might add. Next on my agenda was to locate a retail outlet that could process my slide film. I was thinking that since I live in the largest urban centre east of Quebec City, surely there would be a lab in the city still processing E6. My one time favourite dip-and-dunk lab now ships film processing off with an advertised turn-around time of four weeks! The next largest lab also ships the film outside for a two-week turn around. I then went to a couple of labs in New Brunswick—same thing. Goodness, even the largest retail outlet in Toronto ships E6 processing to their subsidiary store in Calgary.
While I subscribe to the notion that we can’t stop progress, I also wish we could embrace the past for just a while longer. There are reasons why we should still be shooting slide film. Please allow me to offer a few.
1.    Enjoyment—There is something different about the psyche of the film photographer. Generally we were more slow and methodical in our approach. We studied the viewfinder carefully and only released the shutter when we were quite certain we had the composition that best fit the reason in the first place. Every time we released the shutter, the camera went ka-ching and that was the sound of 50 cents, and that forced the photographer to be aware. That forced awareness made us more in tune with our surroundings and environment, and as a consequence, we enjoyed those surroundings more.  From my experience, when cost is not a consideration, I shoot many, many more frames per day than I would with film.
2.    Learning Experience—Yes, our modern DSLRs most often have a “M” on the mode dial. However, I wonder how many beginners actually use the manual mode? Those of us from the old school didn’t have a choice, we might have had an exposure indicator in the viewfinder, but for all intents and purposes the camera was shot in manual mode. Somewhere in our photo vest there was probably a spot meter, that necessary pain-in-the-butt device that told us what a proper exposure should be. However, over time, most photographers would be able to discern a proper exposure just with the naked eye.  In other words, we taught ourselves how to “see the light.”
3.    Taking Command—Once we learned how to see the light, we learned how to take command of the camera. We knew that a correct exposure of f/16 and 1/125 of a second was the same correct exposure as f/8 at 1/500 of a second. Correct exposure was the assurance we would see a proper appearing piece of film once processed; the right exposure was the ability to know the interaction between the shutter and lens iris to create effect. When we bracketed exposure, it was more often for effect than for exposure. Today, I fear, many beginning photographers never give themselves the opportunity to truly understand how the most basic theories of light and camera interaction.
4.    Gratification—By being forced to slow down and having learned how to take command of the camera, film photographers probably gravitated to roll film or sheet film. There is something about looking at the mirror image on the ground glass of a view camera. The photographer becomes part of the camera by controlling its movements and “imagining” how that final picture will appear. We are mentally running through a check list to ensure the “right exposure”—after all, we only have one opportunity before we have to remove the film holder and start over. Consequently, when that perfect transparency or negative emerges from the chemical bath,  there is a sense of fulfillment that I have yet to experience despite having captured many, many thousands more digital images than I have on film. Perhaps it is the anticipation that comes with having to wait for the results that enhance that sense of gratification?
5.    Appreciation—Most importantly, film photography provides a much better appreciation of the advances in technology that brought us matrix metering, autofocus and digital capture. I would never subscribe to the notion that film is better than digital, or vice versa, as that is simply an argument without merit. However, I will also state that, for me, shooting film was far and away more enjoyable than digital capture in the overall process.  At the same time, digital capture, I suspect, will allow me to live a longer life to enjoy the pursuit of photography due to the elimination of anxiety attacks that come with waiting for the film to be processed.
With the above in mind, I am hoping someone can write Photo Life and tell us where we might be able to purchase E6 chemistry kits. After all, nostalgia can keep my friend and I doing it, as opposed to telling war stories about the good old days.
Did I ever tell you the time that…?
This article was first published on the website of Photo Life Canada's guide to everything photo.

Film Scanning

Scanning 120 film

Edward Giarusso , Feb 08, 2014; 07:07 p.m.

Years ago I scanned many of my slides to Kodak CD. What a wonderful process. This past week I sent out 40 frames of 120 (30 landscape slides/10 people negatives) I shot years ago and they all suck. The lab did enhanced scanning and the quality for resolution is just OK but they are all flat. The highlights are all blown out to be almost a gray sky for the slides. Researching scanning topics on this site does not address my concerns. Some of the better are 5/6 years old. So my question is where do I go from here. I want to shoot landscapes on my Rollei film camera and scan the good frames. Should I pop the money for a Coolscan or is there a lab that can help me out. Very much appreciate your kind response.

Responses

Karim Ghantous , Feb 08, 2014; 10:09 p.m.

Edward, perhaps you don't need a Coolscan. There are two very good options at this time. One is the Plustek OpticFilm 120:
http://www.filmscanner.info/en/PlustekOpticFilm120.html [Edit: after fully reading the review, I cannot recommend this scanner.]
Another option would be a good flatbed scanner such as the Epson V750 Pro:
http://www.filmscanner.info/en/EpsonPerfectionV750Pro.html
Read this forum post on the V700 for an interesting perspective:
http://photo.net/film-and-processing-forum/00Zdeb
Unfortunately I have not used any of these scanners. Not yet, anyway. :-)

David Henderson , Feb 08, 2014; 10:48 p.m.

Couple of points for the moment.
First, in order to give good advice on what sort of scanning/scanner might be required for your purpose depends on knowing what your purpose is for the scans. For example if you're intending to produce large prints to hang on a wall then you need a different sort of scan than if you're just planning to display your images on a screen-based application such as a website.
Second it is quite usual for scans- even good ones-to require some work in an image editor before they are ready for their intended usage. Some sources work harder than others to match the colour and contrast of the original, but as long as the data is all there its generally not such a big deal if the colours are a little flat. But it is a big deal if they have lost significant data that was in in your originals as you won't be able to put it back. I'd consider it unusual for scans to be both flat and with blown highlights as you infer.
Third there are certainly scanning services that can produce a good scan for whatever purposes you envisage, Whether you should buy a scanner or not is IMO more a function of how many you want to scan rather than being necessary to produce respectable quality.

Alan Klein , Feb 08, 2014; 11:38 p.m.

Edward: I shoot 120 color film and scan at home with an Epson V600 flat bed scanner. The Epson V750 mentioned above or Epson V700 is even better). Most scans come out somewhat flat and do require adjustments in post processing. I'd say my scanner is faily decent for internet posts and prints under 20", maybe less. http://www.flickr.com/photos/alanklein2000/sets/72157625476289859/
I haven't seen my scanner blow the highlights of film if I scan "flat" with no adjustments during the scan where the highlights were not blown on the film. However, I have blown highlights when using the scanner to auto adjust the light levels during the scan. Maybe that's what this particular lab did.
Why don't you post a couple of the photos you had scanned so we can see what they look like.

Leszek Vogt , Feb 09, 2014; 12:56 a.m.

If you're looking for (6x6) "good enough" then V750/700 will deliver. Many of us were disappointed with the Plustek 120/35...to be polite. It was hyped all along...and unable to deliver. Many of us have sizable archives and some would pay even $500 more (I know I would) for better DR and be able to get a crisp scan....in a timely manner.
Essentially, and unless you go to drum quality, the Minolta or Nikon scanners are no longer supported....so any sort of service will be uber expensive or nonexistent.
Frankly, you can do a digi copy with P&S or DSLR for web use or you can have it done by more reliable lab....and get high quality scans done when you wish to enlarge your image/es.
Les

neil poulsen , Feb 09, 2014; 12:58 a.m.

Here are the last couple of paragraphs from the above linked review. Check the last sentence:
"The Plustek OpticFilm 120 does not have many competitors on the film scanner market. The extremely fast film scanners Nikon Super Coolscan 9000ED or Hasselblad Flextight X1/X5 play in a different league both in terms of price and in terms of quality. The Reflecta MF5000 is cheapter and much faster than the Plustek OpticFilm 120 and delivers a similar image quality, however, in a lower resolution. Flatbed scaner like the Epson Perfection V750Pro don't achieve the image quality of the Plustek.
"Since we and lots of our customers had many problems with the Plustek OpticFilm 120, we have taken that scanner out of our assortment."

Anthony Oresteen , Feb 09, 2014; 11:04 a.m.

Humm. Here's a review of the Plustek Opticfilm 120 scanner that gives it high marks:
(link)

E. Short , Feb 09, 2014; 05:57 p.m.

Use a different lab.

Print On Demand Photo Books

By Clive G — You are probably sick and tired of me extolling, ad nauseam, the virtues of film photography. You are no doubt fed up to the hind teeth hearing about how digital photographs are so very vulnerable to oblivion. And you are probably fit to be tied when you see me rabbiting on about how we must avail ourselves of photo printers and good quality photographic paper and print our best shots as insurance against our digital storage devices getting corrupted, self-destructing, or becoming obsolete. And you no doubt feel an almost overpowering urge to strangle me with my own camera strap when I say that if you do not make an effort to look after your best photographs and preserve them for posterity, then you are robbing your descendents of their right to a family past. No problem, you can thank me later!
“Enough already! We get the message,” you are probably yelling at this page. “How about giving us a few solutions for a change instead of just going on and on about the legions of problems associated with digital photography?” OK, here’s one. The week before last, I joined a couple of friends for dinner at a little Thai restaurant in Qurum. There was a Thai soap opera showing on the television, there was a gaudy fountain in one corner gurgling incessantly, and there were plastic covers on the tables. In short, the place was so unpretentious and unassuming that I could easily imagine myself back in my favourite little family-run eatery in a side street off the Surawong Road in Bangkok. If the food is half as good, I thought, then I’ll be a happy man.
My friends, a married couple from Australia, are both very interested in photography, though never having been through the mangle of an undergraduate Photography course as I have, they are much less hung up on technical issues than I am. The fairer half of the couple is the more prolific photographer, as she makes a point of having a high-quality compact digital camera in her handbag at all times and of using it on a regular basis. While we waited for our papaya salad, spring rolls and Tom Yum soup to arrive, she produced a ‘print-on-demand’ photo book they had made together as a Christmas gift for their family and friends. The book contained dozens of excellent photographs, documenting their travels around Oman and their holidays to such photogenic locations as Ethiopia and Italy. As I leafed through the pages, I couldn’t help thinking how wonderful it must feel to be in such a loving relationship that you are constantly impelled to record your life together. Well, Australians are famous for knowing how to enjoy themselves, aren’t they?
Some of you may be wondering what the heck a ‘print-on-demand’ photo book is. Well, simply stated, it is a way to produce a professional-looking book of your photographs at a very reasonable cost. The beauty of it is that rather than having to pay for a print run of, say, 1,000 books, which would cost the earth and which you will never be able to get rid of in a thousand months of Sundays, you can print whatever quantity you like, from just one upwards. If you Google ‘print on demand photo books’ you will find quite a few companies that can turn your collection of digital photographs into hard or soft cover books. All you need is a computer and a bit of time to edit your images and drop them into the easy-to-use templates you can download for free from the website of whichever company you choose.
Last week I mentioned one such book I made of my late grandmother’s old negatives. I have also made one of the best photographs I took when I went to India with my little boy. And I’ve made some others relating to photographic projects I’ve worked on here in Oman, including one I made last summer on the beautiful old village of Al-Qaryatain in the Wilayat of Izki, in which the two photographs accompanying this article appear. Print-on-demand books are relatively inexpensive, they bolster your pride in your photography, they are immense fun to do and they will make you want to up your game as a photographic practitioner.
Most importantly of all, they put in place a safety net for your otherwise vulnerable digital photographs. (“Oh, no! There he goes again!”) I can easily imagine that in twenty, fifty or even a hundred years from now, future generations of my Australian friends’ extended families will be able to look at those photographs taken in Oman, Ethiopia and Italy in the first decades of the 21st century and marvel at what a beautiful couple their ancestors were. I offer one word of warning, though. Making such books is highly addictive!
And by the way, the food was absolutely delicious.

Paul Sweeney's Portfolio

 

Guardian Camera Club: Paul Sweeney's portfolio

Through Tower Bridge. Photograph: Paul Sweeney/Flickr
These images were made with lovely little 1970’s rangefinder film cameras - the Olympus 35 RC, and the Canonet Q17 GIII. The natural perspective of their lenses has given these photos a pleasantly ‘easy’ feel, combined with that forgiving film tonality. It’s made for a very interesting set. What with the film grain, the tonality and a bit of flare, this photo has a necessarily 1970’s feel; it’s lovely.

Reaching Out. Photograph: Paul Sweeney/Flickr
This has depth and tone, the natural perspective of the lens making a very ‘ordinary’ looking image (and that’s not a criticism!). Photography used to be this simple, if you ignore much of the excesses of 'post production' it still can.

Downtown. Photograph: Paul Sweeney/Flickr
The field of view of the 40mm lens on the Canonet encompasses these buildings perfectly, only the sign on the left hand side grates a little. However, it’s certainly a lucid image.

Platform. Photograph: Paul Sweeney/Flickr
This photo has captured perfectly that characteristic heavy, oppressive light, you can almost feel the next train coming. The solitary figure counterpoints the heavy atmosphere, it’s excellent.

Milk Crates. Photograph: Paul Sweeney/Flickr
This is the only image in this set that I don’t get on with, maybe it’s because photographing a homeless person asleep is a bit sneaky! Next time, you could wake him up.

Waiting for the "L". Photograph: Paul Sweeney/Flickr
The strong sunlight, deep shadows and flare all combine to make a very cool and confident image. All it needs is a little more foreground, so as not to crop that central figures shadow.