How to Shoot with Film

Lesson 1 of 1

How to Shoot with Film

 

How to Shoot with Film

Lesson 1 of 1

How to Shoot with Film

 

Lesson Info

How to Shoot with Film

All right uh welcome to our class how to shoot with film um I'm right in your head this is josh boats and we're really excited to teaches tio I've been shooting about seven years uh about five of those pretty much all on film I like doing kind of portrait work and beauty working my friends and a do some tour work with a band and I kind of like editorial and documentary work that's me awesome click too much all right josh moz I am a wedding and portrait and documentary find out photographer from montgomery, alabama and I've been shooting probably professionally since two thousand four and and I also am co owner of indie film lab awesome yeah so we want to talk to you about shooting film and kind of a big question that that is why you know why shoot film when it's it's slower it's more time consuming it can be expensive it's a skill set you might not have it something outside of your comfort zone so you know why do that? Why go through all the trouble and it's easy to take a shot look at...

it I mean so much to it. Yeah, so I wanted to answer that for me why film for me and in fact it's actually a really important question to me is actually really important subject because when I started doing photography I I wasn't in a very good place I didn't feel really good are struggling with a lot of like depression and anxiety, and I found an artistic outlet and immediately I wanted to use that to connect with other people because that was something I had such a hard time with was being brave enough to approach strangers, being willing to try and express something I was feeling that was hard for me to talk about, and I started doing that through photography, and I realized right away that the kind of turkey I wanted to do was all people. I mean, when I started out, I did everything, you're landscapes, your flowers or kittens that babies, but I realized really soon that I wanted to shoot mainly like one on one people, um and I started out like a lot of people do, and I just grabbed the digital slr that was out, it was a cannon ten d I had a kit lens and just started shooting right away, but I found that in the situations that I was shooting in where I really wanted to be shooting with another person, I was using all the buttons and menus on the camera as like a distraction because I didn't have the confidence to do it, and I didn't have the president's to just keep going with it so I would fiddle with everything that was on the camera and I did a couple shoots like that, it was really taking me out of it and I notice that they kind of said to someone like, you know, this is too much I wish I just had a camera where you just set the aperture and just set the shutter speed and then that was it and they were like, well, like a film can I was like, that's it that's when I shoot now I need to get one of those and I grabbed ah hostile blood right away and that really started my journey shooting it. So for a lot of people, it's the look and don't get me wrong and certainly love it, but I kind of fell in love with it because I could use these simple, beautiful tools that didn't have a lot that they could actually dio I mean, they do have some serious limitations in some of the stuff they can do, but I found that when I was using this really limited gear, everything else that was going to come from the picture had to happen between me and the subject and that became so important to me and I just kind of stuck with using gear like this, so for me, apart from the look and how much I love the cameras and now I love film and I love all the culture of it and everything but for me it was about using simple gear that could get out of the way so I had to force myself to connect with other people awesome well for me I started shooting weddings and I'd have like a cannon you know dslr and when I when I downloaded my images to the you know to the computer and I pulled him up I'm like I'm missing something it just didn't look like complete to me I was like it's just not right you know so I was like a shot film in college and I've had darkroom printed to make about towns and they were in the backpack and when I was moving to a new house remember finding the backpack pulling them out and saying whoa these air like what I what I'm missing in my work so so yeah I bought like and I went online and like research really hard like film and most of the film images are the images I've seen like it on the internet and stuff that are really gravitated toward they were like film images I'm like I got to get back into this so about r z sixty seven shot a role and when I got it back and I pulled up on the screen I was like wow like that's what my work is missing that's what I want my work to look like um and you know the grain and the texture and all that just spoke to me and that's what I want my work to look like so pretty much I love the look of it and I love printing so the final print it was just amazing to me it was just you know, the look was what I was looking for what else you know in search of not you know any other thing but just the final product is the print and the film is what got me there so so that's why she film is pretty much pulling a screen shot straight from a movie I mean just look so cinematic so that's why should it awesome what we want to get into now is I've personally encountered a lot of like digital shooters who have said to me like, oh, I love your work that's so cool I would love to try that but I have no idea how like I'd be too afraid tio even go out and do that but I don't know what I'm doing I'll spend the money it probably won't even get any images back I don't know the right camera to get I'll probably buy the wrong thing and I recognize that because when I got into film I kind of just jumped into stuff that was going around and I had to learn some of the gear choices I made were wrong and some of the media ring techniques I was using words the most accurate to my style so I love teaching I love teaching about film too because I don't know there's just the same place they are right now so scared to get in and I'm not my images are going to come out and you can't see what you're shooting and and what and what it did for me like help me so much that I love trying to pass that on to people, so we just kind of want to break down everything you need to know to shoot a roll of film with a cheap camera with an expensive camera in color in black and white how do I know you're going to get images back from your lab what you should expect for that just make you feel confident in choosing what you want so you can get started in this so the film times we have thirty five millimeter one twenty two twenty so let's just talk about this for a second so we have thirty five millimeter, which is pretty common film. Uh yeah, if you guys remember probably if you're over than thirty you're mijo my kid photos were pretty much for thirty five millimeter home, you know? My mom had a little point shoot, so we're all kind of familiar with that and the good thing about thirty five is I mean it's small so going to go in small cameras so it's not this big heavy you know thing you're carrying around um and one twenty to twenty that's a roll film that is the next step up from thirty five that is medium format what it's known as meaning format so you have one twenty and you have to twenty and the only difference there is get more shots parole into twenty and one twenty just a shorter rolls you get less frames for shots so they just added more film to it so they called it to twenty yeah so in the medium format film I'm not gonna unroll it could ruin it but it's just a strip of film and on the one twenty it's about this long and on the two twenty it's twice as long so one twenty two twenty is in a different kind of film it's just in a different size of film they get for the cameras and the difference between these is if we kind of get into a slide here the thirty five millimeter is what dslr users will be familiar as as full frame twenty four by thirty six millimetres and the capture size is the same size as a dslr full frame chip so if you're using a camera that shoots thirty five millimeter film it's going to be really familiar and what you'll get your fifty millimeter lens all look the same the depth of field will be familiar something that can get a little tricky and trying to learn the sizes queens when you get into shooting film you help here people thrown around like oh my six four five my six six my four by five the sizes of the numbers actually changes here thirty five millimeters referring to millimeters of measurement in a six by four five six by six six by seven in these medium format cameras is actually referring to centimeters of the size and when you get into sheet films like for my five and eight by ten cameras that is referring to inches so you just a complicated but kind of ah a little bit of a grid those aren't exactly to scale but we're going to be talking mainly about the role films meeting where you could just load a roll into the film camera and take several shots the large formats are shaped films like for my five five by seven that is one sheet of film at a time you take one photo yeah so that's a bit more advanced it's not so much of an intro thing that you would probably jump into uh so we're not going to cover those but we do want to talk about role films and the cameras that use those all right yeah film type so in this this slide here you'll see how they lay out the frames on the film so with thirty five millimeter you know this they're all like horizontal down the frame and you get thirty six shots for role or they also make twenty four shot role that's available most you're pro film is going to be thirty six shots and you know it's how they're laid out here like this six forty five you get into medium format now six forty five of the smallest of the medium format um and that's how they're laid out vertical like this so the camera manufacturers are just using the film and they're just you know making the cameras fit differently and to use the film differently I don't know another way to say so for six forty five it's going to look like this when you get your negatives back and you get sixteen frames for one twenty and get thirty two frames for two twenty so you get twice as many shots as to twenty that's important if you're shooting a wedding like if I followed a bunch of two twenties I know I got x amount of shots and two twenties to me or it's really cool because I could just keep shooting and not have toe you know change my roles as much so it's really cool to shoot to twenty on if you go down to six six it's the next next size up notices a square and notice how they're laid out there just in a row you get twelve shots for one twenty twenty four forty twenty and six seven is a larger of the three and it's laid out. I mean, you're cutting your frames a lot. I mean, if you're shooting six, seven, you shouldn't want twenty get ten shots parole or, you know, twenty two to twenty, so this is how they're laid out just notice how it's like using the film differently and the like, the bigger frame, like six, seven bigger that we'll talk about this in a minute. But the bigger quote, the bigger the frame sees the bigger the negative, bigger the quality, more, more quality from that from the negatives. I just made me laugh when you're talking like you could get thirty two shots, two fillets? Yeah, it sounds exciting, you know, that is a lot for us when we're shooting, but that kind of reminds me that that is also one of my that's, another y film for me, is what I'm shooting films. There is no way that it can slow you down because you're thinking about it it's like thirty one shots until I have to reload, and this cost me this much money in film and this much in processing and again, that can kind of seem like a limitation, but I love that about it because when I'm shooting film, I hold the camera up and instead of like, you know, there's something there I'll take five or six and we'll look at that when I get home, I look at it I think is not worth paying for is that worth reloading and eight more pictures? And I do so much more evaluating of my work while I'm shooting as opposed to looking at it on the computer, so yeah, I noticed when I met, like frame thirty two more left on one, six, forty five and I'm shooting a bride and I'm not gonna get that trigger that's not going to see that shot and I know it's right special with two frames left before have to reload, which reloading is, you know, kind of tricky, so you know, on location winner buys outside it's like, hurry up, you know, so those last two shots, I know I'm going to take my time and get right besides, you know, just blasting away, so yeah, I love that about it we want to get into some of their results or film types or what all these are differently, so a thirty five millimeter film like we describe love it with thirty five millimeter film it's these rolls of film and they go in thirty five millimeter cameras were going to get into the camera types a little bit later, I just wanted to talk about their results of some of the film and what you could expect coming from the digital world if you wanted to try him out thiss thirty five millimeter frame right here was made on my likea with twenty eight millimeter lens with kodak portrait eight hundred film. I like to use this as an example because one of the differences you're going to notice in thirty five millimeter film as opposed to digital, is that at the same s o, you're going to see a lot more grain. This is an s o eight hundred film, but if you get close to this or look at it or look at it full size, it is quite a grainy image, but from you, I don't care. I mean, some people you know are like was so grainy, but I love it. You know? I just choose films to match the effect of the image and wanting to go for and in this shot, with all the sand in the water and the clouds and everything, I don't mind at all that it got, uh, so textured. Yeah, so we're thirty five while the depth of field and stuff isn't going to change from your full frame dslr, you will notice more green at the same mine. Esos so that's something to think about and six forty five is, like I said, the smallest of the medium format, so this is pretty much a good way to start, like if you're going to start in the medium format, you can jump in any medium format I'm just saying, like the six forty five is it has a different look to it then thirty five, the total ranges I'm just so much I mean, it's, just a little bit better than thirty five the look of six forty five, especially the cameras that they make, and we'll talk about cameras in a minute. But it's pretty familiar, like some of the six, forty five cameras, are very similar to kind of like how your dslr is kind of how you interact with us so it's a good entry level? I mean, I definitely recommend a six forty five if you're going to jump in the medium format because they're kind of familiar with the way you shoot. But the total range is, ah, step up, I was saying, we have a step up from thirty five and it's. It's not his skinny and toll as like a thirty five frame so it's a little more like a like a five by seven ish I guess so yeah that six point five yeah six forty five or six four five you'll hear a lot of different things but it's a very popular choice for people wanting to get into film in a way that isn't too much different he's like josh said like the contact six four five is a very popular film camera that is a six four five camera obviously on dure still getting a decent number of frames per image but the look is noticeably different like I mean the negative is so much larger than a full frame digital or thirty five then immediately will notice a different look some people like to get into thirty five because it's familiar and some people want to just like jump into medium format because it's fun to try something different and see something so much out of the ordinary of what you're used to yeah so another size of film that you could be shooting is six by six um I made both of these frames on sixty six film on my role of flex here we're going talk about cameras in a second but I made it on this role of flex here on day six by six obviously if you guys were pretty good at math you can figure out it's a square perfect main selling point of shooting squares is not propping your images for instagram like you get it back and just get it back and they're just ready for instagram no obviously it's an even larger in the negative six four five to now six by six centimeters so you have even more detail in that negative and six six is another fun one to jump in because it is so different like composing in a square just instantly challenges and stretches you because most formats you know like the thirty twenty four by thirty six ratio of digital or a lot of other formats are horizontal and we kind of see wider than we do tall anyway so it's very natural to compose in a rectangle it's very easy to frame beautiful pictures but a square gets very difficult especially if it's just a face or you have a simple shot too not just senator punch it to figure out interesting I point to I hope they're interesting just to figure out interesting compositions or different ways to shoot um sixty six could be really fun yeah I got one I remember when I got my first five of one cm I like flipped up was like so excited I was like oh man, this is so different but I love because it it challenged me and that was a fun camera yeah another step up in the medium format rome is six by seven, which is obviously just one centimeter bigger than the six by six and it has kind of the same aspect ratio of like eight by ten or like a magazine page it's really similar to that you want talking about that's a lot I mean, I know like my friend stephen I mean, he shoots a lot of magazines with, you know, six seven former because he doesn't have to crop it, you know, and that's super important, but the total range on six seven is just again just the next step up I mean um from the highlight to the shadow is just so much more information and you can pull out with the scanners and we'll talk about this a little bit you can pull out so much information out of the six seven I mean it's like so close to almost like a large format you even mentioned like it looks a lot like a large format yeah, and the depth of field don't like, oh my gosh, the definite filling that is insane like a two eight one ten and I don't wanna confuse you, but that haven't two eight on a six seven is like I mean what to shoot these two points both of these both of these photos are on my pentax six seven with a one hundred five millimeter at f two point four but the larger your negative gets the shallower and shallower that depth of field is gonna look compared to the f stops you're used to using on thirty five millimetre like I mean the shot of her face right here is it at two point four but by the time you get to her feet it's almost like completely blurred yeah so six seven is is pretty amazing actually my first jump into medium format was a six seven camera so when I pulled those images up for the first time I mean it was like whoa like it pretty much blew my mind I was like this is what I'm missing so if you want to really get like and the good news about six seven as you can by cameras and we'll talk about it like it like it said in a little bit but you can buy six get seven cameras that are like insane quality unless you the rest your life for like a fraction of what they cost new because you know there's no use market when people ask me like ok I'm willing to try I wantto shoot something really different with film what should I go? One of my favorite recommendations is this pentax six seven with this one hundred five millimeter two point four lens because I shot both of the images on it right there and I think I got this camera set up like four hundred fifty dollars so there was just some insanely amazing year that was made back in the day when film is all there was, you know, like a lot of the fashion photographers did some incredible things, all metal, yeah, like herb ritts did some yeah, it's heavy and all metal did some incredible work with these systems, and the prices they sell for now are nowhere, you know, like if you saw a digital camera for four hundred dollars, you'd be like, oh, that's, terrible, but you can get some of this film here, and we're going to talk some more about cameras and specific choices, but you can get it so cheap and get results with some of the best year you've ever used for just hundreds of dollars, so you'll see you're working a new light looking at there is, yeah, negotiate a six seven role, and I mean, it changed how yeah, how she so yeah, absolutely it's amazing. So that kind of covers the different, uh, film sizes that you might be shooting if you were an intro shooter. So what we're going to get into next, I'm gonna put some films back up here. Um, we have film types for all the section because you could call the size of the film, you're shooting the film type, but the film types that we're going to talk about now is like what actual films are available out there for you to use and when do you use them and what are they? And we just want to talk a little bit more about that. So what we're going to start for what we're going to start with is c forty one, and that already sounds confusing. Basically, what that means, his color negative film. I've actually got a color negative on my shirt right here, so if you and if you invert your screen out there somewhere, you can see a color negative two new realize that, um, but the most popular color films that are being used today are color negative films. They're called c forty one films because that's, the chemistry that's used to develop them, and we don't want to confuse anybody by using a bunch of different terms. But when you start asking questions, you'll hear kind of a lot of different terms for the same answers. Yeah, so we just want to kind of mention him. Um it is the most popular color film the color films out there are c forty one uh kodak makes some great ones food you make some great ones and if you want to jump out there and get some, you're going to go see forty one film there's also slide film or e six but there's only a few labs and stole a process that there's only a couple of films so out there and a lot of them are better suited to like landscape than portrait and wedding or kids with a lot of people get into so we're not going to cover those as much yeah it's more popular to do see forty one and just like jump into the dynamic range of the c forty one film it's so I mean it's from the darkest point two lightest point that's such a great dynamic range in that in that film and that's what makes it so popular because you can shoot in all kind of different lighting american shooting outside still keep all the highlights you're not worried about you know in digital your word about blowing your highlights and with c forty one you're you're not yeah that's one of the most important things to point out to a brand new film shooter is that with digital as you guys know, you're most worried about blowing your highlights over exposing losing your sky with color negative film it is the exact opposite you will not blow your highlights, you know, seem shot six seven stops over exposed and everything still there, but your shadows are what you could be in danger of losing. We're going to talk about monitoring more in a little bit, but that's an important kind of mental switch to flip is that which can be tough at first, I mean, we're not first are shooting and meeting with shadows is so opposite of what I'm used to doing with digital and I was so scared to blow my highlights, but when I got my film but they were never blown, they were always there and so it just kind of like easing the shooting, you know, adding more light hitting wilmore light and it was just always there, so see, forty one is a very safe film is very forgiving, very forgiving film you can overexpose it a lot and still and still get great results. There's there's also quite a few different kinds of c forty one film from like I s o one hundred up toso eight hundred there's a couple different offerings there's something really punching contrast he good for landscapes like ect are then there's portrait lines of film foodies four hundred h looks great for everything well, yeah, and also when we talk about the role film being to twenty, uh well see forty one is the on ly film available in two twenty so on and it's very popular for event photographers like weddings and stuff like that because you have more shots parole so I shoot portrait one sixty and two twenty all the tests like one of my main films because you know I need that to twenty and I love the look of forty one sixteen yeah, that is worth pointing out that the only two films currently available in two twenty where you would get the thirty two shots or the twenty four the more shots are portrait one sixty and portrait four hundred so those are kind of like the go to films for medium format like event work when you need to be reloading yeah if you like to down here you don't need that many shots yeah so yeah cool yeah yeah let's go the next black and white do it why would you shoot black and white? Oh, so black and white to me is so beautiful but there's a yeah I don't know what to say about black and white besides it's classic it's beautiful there there's there's a wide variety of stocks you can get but if you look at any of them and this way I like it because any of the shots that I've seen that I'm really inspired by that's you know, pre seventy's or even even then is just how it looks and how it feels and how much like character it has and how classic it looks I mean when I get my black and white film back I mean it just immediately looks like this classic like it could be from the fifties or forties or thirties or whatever and it had been shot last week so I don't know black and white to me is just one of my favorites favorites of all time because in fifty years from now my shot will still look classic it will not look you know dated in any way still look amazing I think I think you can kind of see that sometimes with color work that if you see color work from ten twenty thirty years ago it's pretty easy to like place when those images were made because color palettes change and what is popular in rendering and color image goes back and forth but I absolutely love black and white too I mean I could talk a little bit more about that when I got t o photo school I eventually decided to go to college for photography I really didn't know what I liked was just getting exposed to all that work and I found that the work has really connecting with was like richard avedon stuff in irving penn stuff and mary ellen mark and elliott erwitt and so many of the people whose work I really admired was on this on true black and white film, and it has it has a very, very distinct look to it. You know, whether it's printed in the dark room, whether it's scan to a computer, my work always looks different to me. I'm true black and white film, and it always looks like correct. It looks like how I meant it to feel. So a lot of mood in those films, it versus c forty one, getting the color film back and just be saturating if you took the execs ing shot de saturated see forty one or shot on to black and white those those images look totally different. S so much mood and character to it. Um, yeah. It's. Beautiful. Yeah, another advantage of shooting on true black and white is if you want to. Or if you find a setup. You, khun do darkroom printing? Yeah. That's fun with that on darfur and putting is traditionally done with a true black and white negatives. There is colored are from putting but it's a really demanding process. I mean, you can process yourself. Yeah, you can process your process it yourself at home. Could act and other companies make, you know, simple powders that you can mix on, just use tap water and it's easy the process that your home I did it in college. Old yeah there's a couple of different blog's out there that you can find where you can see how to develop your own black and white film and it's really easy something tio think about if you do want to go developing your own black and white film is that you will either have to come up with your own scanning solution getting liken ups and flatbed or one of the nine khan thirty five millimeter scanners or you will want to be putting in the dark room or you will want to have a plan to san of the film like to allowed to be scanned and uh sometimes it you don't want to be mailing developed film so if you want to get into the doing it yourself developing on black and white it's worth like looking into some of the scanners yeah, you won't say anything else felt like no man it's beautiful actually told time I love it it's definitely one of my favorites for especially waiting workman it looks so classic when I'm you know when I get the negatives back and it's like the mom helping the broad get the dress on and I mean that shot will look amazing and whatever year yeah, so yeah it's another thing I love about black and white film is it's a very archival process you know like you can get your black and white negatives back and I know if someone finds my work in seventy years it's not going to be hard for them tio take those negatives because all the technology needs to be is shining a light through it and capturing it to be ableto recover my work or what it wass on without having to interpret the color or anything you have a question yes when you're scanning for instance they develop native do you find the difference with depending on this kind of you use way have almost section on scanners and the kind of scanners we like to use all probably just let us get to that if that's okay but we're definitely going to cover that yeah everything yeah oh yeah cool yeah sure I said you're going to talk about meeting but m red wanted to know what your techniques to meet her fucking way have the whole night section after recover the films is monitoring so if we don't answer that to your satisfaction pleasence please ask us again s so that's kind of a main breakdown in the role films like we said there's also a slide film they're much less forgiving you have to be much less accurate there's not allowed a lot of labs that do those and there's not a lot of slide films left I mean really really easy onee six yeah, yeah. So another thing worth mentioning about black and white film it is not quite as forgiving as the color negative films with color, negative films it's so easy to overexpose by quite a bit and still get a great image back with black and white, and that will probably be that that question that we'll answer, but you do want to be me during more accurate accurately when you're shooting your black and white films. Um, ok, the other kind of film, and I guess we can call it film it's definitely not a roll film, but would be instant film. Or, you know, most people just refer to all instant film those polaroids I absolutely love shooting instant film and there's a couple different ways you can do it right now. The impossible project on dh fuji insects they kind of have, like fully automatic instant film going the impossible project got ahold of polaroids old stuff like the sx seventy and those one step cameras and they're making polaroid film that you just put a pack in and just point it and shoot it and it develops itself, and then you have an instant image and both kind of the impossible project and fuji insects, they're both kind of doing that same thing, but my favorite kind of film to shoot is the appeal of heart films. Yeah and what the peel apart film is is it's a pack of film kind of like we have rolls of film with the peel apart you get a pack of ten images and they go there's a couple different ways you can shoot it a lot of these film cameras that we have like the pentax here or the contacts or the hostile blood's they make things called polaroid backs a lot of the cameras have the film loaded in the back and it's not all just part of the camera you can actually take the back on and off so with the polaroid back you can put these sheets of polaroid in a special back and attach that to a camera and then you can shoot the polaroid film on the medium format camera yeah and that's really cool because say you're on a shoot and you want to nail your exposure you just want nahla just right like get it exactly how you want it before you actually lower roll of film and shoot you could put that back on shoot it get the exposure how you want because you could pull it out and see it right there you know after it develops and I think going to shoot one here a minute, right? Yeah all right so so yeah, you can pull out and see your exposure and see your composition before you actually low the loathe roll in andi, make sure you've gotten everything you wanted. Yeah, another way you can shoot these peel apart films is you can shoot him in a lamb camera it's called like this edwin land is the inventor of polaroid just little trivia just learning that all of this but these cameras what's so cool about him is they make full use of the polaroid negative all three shots you see right here I made using this polaroid one ninety five land camera thiss can usually runs like five or six hundred dollars and there's really cheap versions of that like forty or fifty bucks but most of those are fully automatic cameras where you just some of you have a light dark well that just hit the button and the lens is like an f eight point eight lens but this one I have you want this like that on nine, but this what I managed to get has a fully automatic lens on it, meaning you can set your aperture and you can set your shutter speed so it's really easy, tio when you know how to meet her you can control the artistic effect of the shot so this camera kind of works like this just be cool that's a big cooler all there so you can take these photos and you pull him out and the ones I have right here is ready the's karen's right here they just kind of come out in sheets like this on the development times are different from the different films what I the two I just made our fuji three thousand b and that's a thirty, two hundred speed black and white polaroids you can shoot really dark, but I absolutely love this film there's a couple other options though. This photo on the far left there, my friend joey I mean that on fuji one hundred psi and really, really tragically fuji one hundred psi is the on ly pack film still being produced made super favorite. The three thousand b was recently discontinued so I got about eighty boxes under my bed but I don't really have it's really right? Yeah. Go go on. I'm not home right now so they could be stolen. Another thing about yeah, the backs like six forty five back they will not fill up this entire screen like I have tons of little little tell anybody that she's three thousand tons of these we have tons of little six forty five frames on the, uh on cell wasted like seventy five percent of about shooting six forty five but it zale fun and I was really this continue. Another really cool thing about the fuji three thousand b is it only takes about fifteen seconds to you develop you know I'll just get past me to you guys and only takes about fifteen seconds to develop and the cool thing is it also produces a negative meaning when this dries you have the print josh made but it also leaves a negative behind and it's kind of goopy and covered in chemicals right now nontoxic we hope just getting but when you let this dry uh it actually produces a negative that you can then uh scan their shot on the left here of ah brit brett brit mckenzie from flight of the conchords I made that shot on this camera with the print but then I let the negative dry and I just took that to an epson flatbed scanner and I scanned the print and then I just inverted it in photo shop so you can end the negatives they'll pick up all this like hair and dust and they have extra information in them and they're crazy greeny but it's actually a very large negative when you think about it I mean, this is the capture science isaac seven that's a huge negative and if you scan this at a high resolution you can make huge prints from these foreign negatives. Yeah, it was awesome thie other shot that's up there and my friend burton cracking of the used is on expired polaroid film polaroid before they went under was making some just really beautiful polaroid film is my favorite is polaroid six six nine which that shot is and it used to look much more like color accurate like it used to look, you know way more predictable but as it's like expired I think that package film right there expired in like two thousand three so it's already like eleven years passed in state and the colors have just gone crazy and you just kind of guess what the exposure where do you find it out? Just ebay, ebay or trade with people so that shot in the middle is on very, very expired polaroid film which can still give this now it's awesome really cool look so that's instant films the impossible projects making some great stuff for one step cameras fuji has their little in stacks we're kind of like party fund cameras. They kick out credit sign a credit card size photos my favorite way is still doing the peel apart films because you can have so much artistic control. I have a whole gallery of those on my website it's one of my favorite things to shoot cool talk about some films josh let's do it these are some of the manufacturers that still make films so we have kodak lars which is used to be cut back they change the name fuji film we have pilfered photo which ilford makes on ly black and white film we have mammography which is like a fun kind of uh you know what? They make a lot of toy cameras that you can use the film and you can use it any camera but it's more experimental and fun and the colors are really cool senate still film which we'll talk about a minute is a really technique company too so we have this this array of companies that still make film absolutely yeah. So let's get in let's talk about some of them let's talk about it I need a high five so doing good. So the first one we're going to talk about is kodak film uh it's my favorite meet you um so kodak film actually it is really personal to me because they really really helped me out in my film journey early on after I had only had a film camera for about a month or a month and a half I went down to w p p I which was the wedding convention in las vegas on and I went to it film shooters party I was I was friends with some people who shot film and I just went to this film shooters party and I didn't even know it but I was sitting next to like the head of kodak film like the head of distribution everything and he was just talking to me is like what do you do? And I was like well, I take picture, I guess, you know, I like paint on your face is like I did. I'd sparkly paint is taken very seriously. Wow, I totally forgot, but he just asked me what I did and all I had was my iphone and kind of scrolled through my work, and he was like, what? You should film when I was like, I really don't, but I would love to. I just got a film camera and they told me, well, you know, we have we're about to remake some of the films, which is something so cool that kodak is in the last few years, they have actually produced two new films. While a lot of it has been disappearing, they made two nuts insane. I mean, think about a company making a new film in two thousand ten. Yeah, it's amazing. It made me, like super fast. Yeah. So anyway, they told me it was coming out and he told me they would shoot me some of the film that wasn't even out yet if I wanted to try it out just to send him back the images. And I did one of my first big shoots on film, and I sent it to him, and they decided to use those images for the international ad campaign to launch the film and that was the portion four hundred and then they did the same thing with the porch on sixty they ended up using the images to promote that too and I just started it an amazing relationship with kodak for me because with all the film they then provided me as a result of us working together me without knowing what I was doing or really being a professional photographer but knowing how important it was for me to be able to shoot on film they kind of made that kind of helped make that possible with relationship we developed so I absolutely love kodak I think they have, like the most see forty one color film right? They have the most a ce faras like they have a one sixty in one twenty and two twenty they have four hundred one twenty two twenty and they have a eight hundred color I saw a film that's amazing. Yeah that's actually the reason we get so excited about that is something you have to realize when working with film is that your I also isn't a dial on your camera you know you're also is the soul of the film but you are putting into the camera so with kodak's offering of a one hundred speed color negative eight one sixty speed a four hundred speed and eight hundred speed and two of those being available in two twenty has a large offering almost all my color images that you'll see I've been on kodak film so I really appreciate how much is the the motion picture technology in the film so they've when they when they come bind all their color negative film to this new portrait line they started incorporating their their vision three technology into the film which is like super insane so well into the one hundred one sixteen yeah, something that makes the kodak film really awesome is we said as we pointed out, color negative is very sensitive to under exposure when it doesn't get enough light the fuji is very sensitive to that and the kodak still is but what this technology that carried over from their motion picture stocks it's actually very, very forgiving to under exposure you'll get different kind of colors in different kind of contrast, but it still can produce some very beautiful images even under exposed on color negative you have a question is when you know that feeling you pretty much stuck with it until the finishes the manage different grades projects like let's say one day you want to shoot color on the other they want to shoot black and white you need to have different cameras because you're going to change the film there's a couple different ways to kind of approach that like if I was heading out and I wanted to shoot a lot of color and black and white sometimes I'll bring to like is and have color and won and black and white and the other sometimes I'll just have one camera always have tio either finish or prematurely rewind the roll of film if I want to switch what josh was kind of saying a lot of the medium format cameras like the contacts and I have a half a block husband has the different backs you can buy so what I do in a wedding, I have five backs and I load, you know, black and white like a load of tracks and won and then the rest with color and so that way I label um and so when I'm shooting at his pop it off and it doesn't ruin the role, yeah, you just pop it back because as the dark side of so called a dark side where you can stop it from exposing the film and then take the film out of the camera mid role and put a different kind of that that will actually like not limit you, but it'll kind of like when I'm picking a camera to shoot weddings with it kind of you know, I mean that's like one of the deciding factors can I have a back on it or because, you know, I wanted I would love to have a bunch of these, but I have to have five ten tax except well, as some people load him where they have assistance, load. I mean, you could totally do that. But for me, you know, I just have to have a camera that has a lot of backs and I happen to love the hasselblad but backs or a way to solve that problem. Yeah, yeah. Or one way. Good question. Thank you. Just to wrap up with kodak, they also make some black and white films. They have team acts in one hundred s o t max in four hundred s o and try ax in four hundred s o and tracks four hundred is just might have been around for really formula for that has been around it's that classic like thirties, forties, fifties, circular green, grainy, black and white look, yeah, that was that wedding shots on tracts that with thirty five millimeter. Yeah, so I love trying. Yeah, yeah, the kodak story is so cool and you never know who you're going to sit next to at dinner with sparkly paint on your face where it will lead you and then your photos were on kodak campaigns. How cool is that? Yeah, it was it was really inspiring for minute. It really meant a lot to get me going and shooting film, I gotta get some sparkle pain great story thanks. Um the next kind of film eyes fuji film thirty years to make a lot more films than they do now I think for there film they're kind of down tio fuji four hundred h which is a color negative film four hundred speed and down to their neo panel one hundred, which is a one hundred speed black and white film it's sad that there's not as many as there used to be. That's always sat in general, but both those films are very beautiful films four hundred h is super popular, like in the wedding and portrait world that shut my shot on the right there of the girl of the windows on four hundred age um and the neo pound one hundred is also a beautiful film. Uh really find green really contrast t right out of the scan. It's beautiful. Yeah. So it's something worth noting the fuji four hundred h you know, we say it's a four hundred s o film and we also said portrait four hundred is a four hundred s o film so you think all right, they're both four hundred I so films well, that's true from the manufacturer they behave very, very differently. The portrait four hundred is find in under exposed the fuji four hundred is not finding under expose it all it has a beautiful look all its own but the food he wants more and more light like you can shoot the fuji four hundred h it's one sixty s o or one hundred s o meaning giving it you know, stopping a third or two stops more light then you would think it would call your aunt of shooting at that. Yeah, we can still look really beautiful it's also me I kind of fuji has a tendency when you over expose it to kind of the colors kind of soften and pass a bill that's why it's so popular for weddings? Because weddings are solved and beautiful and the film match is that I like to shoot kodak for a lot of that because it still has that soft look you can still get that but four hundred h right off the bat when you expose it can consult him gettable pastel so that's super popular too cool for talking about it. Ilford is really cool company there a european company who make they only make black and white film so they have a vast like a ray of stocks and black away. So from fifty to thirty, two hundred so the on ly company making thirty, two hundred black and white film and it is a beautiful film like ryan and we talked about earlier thirty five millimetre is a little grainy you know so thirty two hundred and thirty five could be pretty grainy but when you step up to six six six seven six forty five things like that a medium format that kind of grain kind of goes away have a shot that's thirty two hundred um and it's with six, forty five came around that grain kind of disappears so I wouldn't be scared to use yeah there were two hundred black and white film studio it is really pretty but they make a nice oh fifty you know and they have a couple different lines you check out their web site they have tons of black and white film and so they're pretty much dedicated to only black and white and that makes a beautiful stuff yeah another brand new kind of film which is exciting for us is called sinise still film and it's actually made by two friends of ours brian and brandon wright and what they did is kodak actually makes a ton of motion picture film like for movies there's still a lot of directors like spielberg and tarantino and christopher nolan that shoot everything on film so there's still producing the motion picture film for these people it is color negative film but it's a little bit different in motion picture film it has this backing on it this black backing on it so that when the light goes through in the motion picture camera it doesn't bounce all around but what they did is they figured out a way because they're amazing to run this movie film thirty five millimeter movie film through a machine and remove that backing. So now you can shoot movie film in thirty five millimeters. Still, camera and what's. So amazing about this film is it's tungsten balanced film, as you guys know from your white balance on your camera, you know, daylight and tungsten significant difference. All the color films we've been talking about so far are daylight balanced. They're meant to look right under sunlight. But what this instill is since movies mostly used these artificial lights, it's, tungsten, balanced film and it's, an eight hundred speed film, and it can be pushed in development to be like a sixteen hundred speed film or a thirty two hundred speed film. Because the movie films frequently call for that so it's built to be like that. So this is grand new. They just started making it. It might come out and medium format sometime soon. We'll see how that goes. But if you need to it's starting to be carried by major distributors uh, so you can get on there and find the senate still film and be able to shoot. Movie film and I know it's really cliche to say, but as a very cinematic just it just does I shot this on a thirty five millimeter cameras fifty one point two lens under las vegas it's all like neon lights and billboards and shop fronts and the film just looks so beautiful and tow have like an eight hundred speed that you can push the sixteen or thirty two color looks pretty amazing ok, so that's the kind of films you can use now onto the camera types, which is honestly just one of my favorite things to talk about because one of the best things film has going for it is that the gear isn't just different brands of cameras there entirely different kinds of shooting experiences, whereas I know I noticed you know a lot of additional charges we're starting to see some food you stuff in some range finder stuff, but for so long it was like, yeah, you have canon and nikon they both work like this they both have with zooms and the primes it works like this, but with phil there are cameras where you take pictures in a completely different way change your whole perspective even if it's not something you end up completely doing or loving just to take a picture in a completely different approach, there is no way it won't change the pictures you see and sometimes when you see that different work, I had experiences, we'll get into it, but I had experiences were seeing work I never would have made on an slr held up to my head whether it's because I could see what else was going on or I took it from my waist level, you're servicing your own work in a different light and for me, like as an artist, that could be invaluable because you're always trying to shake it up or see things from a different perspective and to be forced to do that by gear is amazing. Yeah, absolutely I was taking a shot of gun a coffee shop um and I didn't want him to know I was there, but I had a r e I know it's crazy? Yeah, I kind of do that, so I like to shoot kind of that kind of style sometimes, so I'm in the coffee shop he's talking so I have r z sixty seven, which is a little bigger than this, but it still has the waist level finder, so you can take the photo by just looking down. You can see where you're going to get instead of holding up. If I held the camera to my face, it would've totally distracted he would have saw me, so I'm I'm actually drinking my coffee and I haven't seen it sitting down like this, I'm looking down and I'm focusing a little like I'm trying to fix the camera that's like my whole life trying to fix it. And I was like, oh man, is it what's going on? And I took a shot click and I was like, oh, man, so I kind of like, looks like I was messing with it and hold time. He had no idea. So I got, like, ah, whole roll with him, not even knowing what I was doing because I can look down in the viewfinder, see him frame it up and I was shooting sideways. I was drinking cup for this was playing with it and that shot. So I shot a whole roll of this guy. He had no idea on dh there. They turned out great and I was really happy. So your camera experience is super important. That's a pretty dishonest way of shooting when you say it is and then afterwards are primitive form and I brought it to did you? Yeah, any any hung them up and I was I'm glad I don't even know each other stories. Okay, we already kind of covered this, but we just want to point it out when you're trying to choose a camera for you it is again broken into that light cameras that will take your thirty five millimeter film and then cameras that will take your roll film obviously there's the sheet cameras but we're gonna not I talk too much about that, so one other thing we have to cover really quick because if you left today and headed out like I'm going to do what I'm gonna buy something on ebay is that the lenses when you jumped two different formats of cameras like when we said six, four, five or six six or six seven the millimeter of the lens is going to seem unfamiliar to you and we just wanted to give one example like on a thirty five millimeter camera you guys all know what you're fifty millimeter lens looks like right? You hold it up, you understand? Oh, I'm looking through a fifty millimeter lens when you're on a six four five camera that equivalent where you will hold it up and see the same thing is a seventy five millimeter lens when you get to a six seven it's like a one hundred millimeter lens it's where that my one o five millimeter lens I told you I took those portrait's on is like a fifty two or fifty three millimeter it's whoever won what you would be and he was still in that, um, it's really easy just ask you use to google that for you, like, if you're curious about what lens looks like, what there's charged all over them that help you because I wanted to like an eighty five equivalent and I had to look it up, it was like, oh, it's a totally different number so just know that those charts there so when you jump into those formats, so be careful if you get a fifty on six seven you think it's a fifty it's going to be in very light, so just know that that's way don't want to cover that a lot, but it says you wanted to tell you in case you getsem so let's talk about some of the different film cameras you can shoot and why you might want to do that uh, single lens reflects is a very common camera that you guys probably were used to if you're shooting digital because you're dslr is an slr camera with a deal in the front for digital. I'm glad I told him that yeah, very home. But you know, the thing about this is you're looking through the lens, you're actually looking through a prism in the mirror and you're looking through the last year and you're seeing exactly what I'm going to get as far as depth of feeling all that so you're you're familiar with that already. So that's what an sl arias! And like I said, you're familiar with and it's not just in thirty five format there's slr in six forty five there's f lars and my pentax seven six seven camera, which is huge, which has this giant negative is still in slr still looking through a mirror that still goes up and down when you take a picture. So but on another thing with that's all ours it's kind of an easy place to jump in because canon and nikon both still have sl ours where you can use your current lenses on that off. If you own a whole candidate or nike honore, you can get a night kind of one hundred or can in one year one and just plop the lenses you already have on and shoots in film and really great intro to shooting thirty five if you already have all the winds is just get a body for one hundred bucks and pop it on and you're shooting film it's pretty cool. Okay, next is the twin lens reflex, or sometimes called a teal are some really common teal ours are like a role if lex, you know, you probably heard of those it's pretty famous brand that's one right there in case you haven't heard of it, there is but it's a twin lens reflex, and what that means is it has two lenses. One of the lenses on the top is just for looking. The light comes in and it has a mirror that it hits and then it pops up into this prison here, let me switch spots where you're where you can look down into it and you're still seeing light from the mirror. The second lens is the taking linds, meaning the film is right behind here, and when you take the picture, this leaf shutter opens, but it just goes straight on to the film, so it never blacks out there's never a mere going up and down where you're not seeing it. A couple of a couple of advantages to this it's very quiet because there's no mirror moving it's, a small leaf shutter that opens and closes another advantage to that without a mere slap shaking the camera with practice, you can shoot these cameras very, very slow, like I'm pretty confident shooting his role. If lex, at an eighth of a second hand, held on with the understanding that you're limited to the so with film of what you put in it, being able to shoot at very slow shutter speeds can be also you're adding like a stops and just so just in hand holding it which is awesome another thing I love about this camera is this is one of those cameras that changed how I shot in this portion of this guy I met in washington when I asked him if I could take his picture we started talking about the camera first I mean before actually I asked him I just carry this and people say like what's that they're like, oh, this is a roll of flex cameron's from like the early sixties and the like why does that still work? You still get film for that like yeah actually I have phil minute can I show you how it works? So it's kind of like you talked about taking sneaky pictures, having some of these old cameras kind of really helped me was something that was super important to take vintage photos it does take vintage I've heard that a lot is that camera take vintage photo? Yeah so another and draw to this is that you shoot it from your waist, you shoot it down here once I'm focused, I can take a picture while maintaining in on the conversation organization or eye contact or without this being between you and who you're shooting so that's kind of a draw for shooting like that yeah, you won't talk about range finder yeah let's do it I love range finders it's really cool um that sounds so it's really neat it's really cool because when I'm at a wedding and this shot over here where they're you know they're praying if I had to say my slr and and I'm clicking away and it's like you know how loud they are there that loud I'm kind of just distracting them like destructing there destructing is that we're just now just go with it just roughing their their prayer so with this camera it's very, very quiet I'm just I mean it's so quiet that I'm not really interacting, you know, like kind of disrupting them so jumping explain our arrangement okay, let me explain what it actually is. So with slr, you're looking through a view finder onto the mirror and out through the lens with this camera I'm not actually looking through the lens I'm looking through a big d finder where I'm looking and I can see frame lines which on this this lends a thirty five millimeters, so when I put the thirty five millimeters on the camera, the frame lines adjust to where what I'm shooting but you know, you have a couple of them. You guys come with us if you know what I'm shooting a fifty it kind of strength down and if I shoot at ninety s going down even more, but you still see outside that that that those three months so if I have a ninety on it's going to be real small, I'm going to see all this space it's not taking that photo of that space was only going take what's in those frame line, so with thirty five as a look through see frame lines and outside the frame ones, I'm still saying what's around it. So if I'm waiting for something to get into the shot, I can see it comment and then I'm like it's in the shot and it's out of the shot with slr, you don't see what's coming and then all of sudden it's in the frame with an sl over the range finder, you're seeing everything around it, and that kind of helps with with like motion or something moving like it's, not in frame it's, not the crime it's in the frame and you can hold up and look out of this eye and see the world around you so you can still use the side of kind of walk around and another thing that's very popular with street shooting. Andi, I like this too, because no one's afraid of this camera. If I have my dslr up in my face and people are like whoa he's taken picture, what are you doing? But what? This thing? It looks very like harmless, like I'm not going to hurt you, but, you know, and I just snap and it looks very like a toy camera, so they don't really take it seriously, they're actually more national in front of the camera, which I like a lot. Yeah, like a czar really popular range finders. They kind of are the big name in that game, but there's also some cheaper ones. And yet, yeah, if you want to get into it like before I spent the money and bottom like I bought a candidate it's a cannon candidate and actually is pretty neat camera it's has a forty one point seven I think lens on it and the winds that come off its fixed camera but I got it for like, thirty dollars on dh on the internet. So for thirty bucks, I like got to experience what a range finder wass before I committed to a more expensive camera so ago? Yeah, awesome. Ok, so here's the big, bad scary question with film this is what everybody is afraid of there's no screen on camera how do you know the settings you just took this picture with, but you're going to get anything back mita ring is seems to me everybody's hang up when jumping in a shooting film like well how do you do it? I mean first I just want to say it's not that it really isn't that bad and we want to talk about a couple of different ways you can be me during two where you're confident you're going to get something on your negative what we're gonna start out with isn't sunny sixteen rule I don't know if you guys have ever heard this but maybe it will even come into play and digital work you're doing the sunny state sixteen rule says this if there is direct sun in your photo hitting your subject the correct exposure is f sixteen and your shutter speed will match your eyes so if you have s o one hundred film in your camera your shutter speed I mean if it's full stop to see their sixtieth or one twenty fifth so have sixteen and then you're shutter speed matches your I s o and of course you don't have to shoot it f sixteen you know you can stop down and then do the same shutter speed compensation and I found this I frequently meter very carefully with my spot meter which we'll talk about in just a second but when I'm doing this like I always find this to be the case you know even when I need her outside and their son with my tracks film I get oh f eighteen thousand and you can see that that would be faa f eleven f sixteen f one thousand five hundred two fiftieth which is the closest stop to a four hundred which matches up that s open the shutter speed yeah, once you know that when you're in the sun, you can kind of figure it out. It's super easy, yeah, let's go into the meeting in camera metering in like most of these cameras have in camera meter especially like some of the esa lars and things like that, and even some of the media format has a built in I mean, you're just like your candidate and icahn does, and if you know how to read that, apply the same thing. What you want to do, though, is make sure you hit it with a little more like, so if you're used to meet a ring with your dslr, just make sure to hit with an extra stop or stop and a half depending what film like we talked about shooting so in camera meter is a way to meet her your home without having a spot meter or a hand held meters, which we're going talk about yeah, so ah lot of people like to use what are called handheld meters, meaning a light meter you hold your hand can you believe that way there's two different kinds of hand held meters to use one is called an incident light meter and that's these kinds of the bold you might have seen people holding those on what that does is it measures the light falling onto the subject was the shoot ryan I would just it would tell me you plug in your I s o you choose your aperture because most the time you're going to want to choose your aperture because that the artistic control over the image and it just kicks you out a shutter speed now you know you could learn to finesse that a little bit you learn different lightings your nose into your results but this is averaging out the scene it's taking all the lights and all the darks and just giving you an exposure like we talked about with color negative film it's very forgiving to overexposure to too much light so what some people like to do is take this meter and if you're shooting like four hundred speed film just lie to the eye so when you put it in and say two hundred speed so that it gives you one more stop of light for every reading it gets, then with that over, you know, slightly overexposed reading it's going to give you for color negative film it's going to be totally fine and you're gonna be totally safe way don't really have too much time to get into the spot metering how I'm shooting most my work right now but what the spot meter does is it's not averaging anything at all? You know, like an in camera meter is saying, oh, here's the lights, the dark here's, your exposure that's what this is doing to a spot meter, you're pointing it it's something very, very specific and it's giving you a specific reading for exactly what you're pointing it out like a cheek it's, whether the hair and then you will read it and see the dynamic range of the scene, see how far apart the different things are exposure wise and then use a scale to choose an exposure that keeps the most detail in the whole scene that super accurate that's kind of an hour and a half discussion all on its own, but they do exist and josh's meter actually has an incident meter and a spot meter built into that you just turned into that setting and you can spot and it's pretty cool. It's free me, okay? And then if you want to start out, not pay three or four hundred dollars for meter, actually, I got this apple, my phone, and if I don't have a meter with me or my media goes out my camera, whatever, I'll use it and pop it up and if you notice it looks a little blown alan's face here on dh that's how I want to do if I'm shooting you know c forty one film I want to give it that extra little boost that you can actually touch on the screen where you want to meet her at if you want to meet her at the highlights of the shadows so it's a really cool app and it's actually super accurate yeah on dh that's the thing I hope this can just reinforce that I wish we had a little more time to talk about it but it's not that scary if you're shooting color negative film and you use anything to get exposure and then you give it a little more exposure you're going to get beautiful images back absolutely yeah yeah we got to go to this one you know we got to kind of get going okay so all that is just you know choosing a film understanding what cameras are out there to shoot at least getting exposure where you know something is on the negative like now what now you have exposed film what what do you do with that exposed film? What can you expect to get back all of that so the processing options once you expose your film is to do it yourself like we talked about with black and white film it's not that hard tio google how to do that you can develop your own color negative film and slide film, but it is not easy you have to get the like german and have, like precision and temperature control, so I leave that to my german friends you can take it to like a drugstore or a box store, but there's a huge problem with that in that when you just take it to somewhere that's completely automatic when you're shooting film, you're taking a step of control kind of out of the equation from yourself, you know? You're saying I did all this now someone else is going to develop and scan and send me the version of my image and he's worked really hard I getting that right? So so taking it to somewhere where you don't know if they're using their chemicals, right? You don't know who's operating machine, I don't like doing that. Uh, my favorite option for shooting film is to send it to a pro love, so why use a problem? Because I'm white, why own a pro level job? Oh man that's a good question you go to the next level, so besides everything he just said, the chemicals and all that we're gonna get into but personal relationship is such a huge part because if you if you shoot digital and you handed someone, you're your role files and said make it pretty would you feel comfortable getting would you think you're going to get back what you thought was pretty probably not you're gonna want to communicate with that person that does your does your digital editing you know, unless you do it yourself but you're actually taking a part of the process and you're handing is someone so all that work that you just did you want to make sure this next half the last part is on point two and that's where pro labs come in because you have a personal personal relationship with the lab like ryan, I have, you know, ryan calls the lab like won't must have looked like this more I'm starting to change and that's that's important to have that relationship to texas or call it sir, you know, email us and have that relationship because the more we know about you, the more that we will deliver results that you don't have to even mess with. I mean, I mean, you don't probably touch your images, you know, outside of, you know, couple touch ups and everything like that and that's, the amazing thing about using allowed for me is while it can be kind of like whoa, you hand over that much control of that part, one of the whole reasons I'm shooting film is I do not like working on my images on a computer you know that our so to change all the different options to do that is not something I enjoy I enjoy traveling I enjoy meeting people I enjoy shooting I do not enjoy spending time editing images on it computer so with film I kind of have it set up like that where I choose a film that looks like how I want the images to look just through experience I meet her and I use the camera that will give me that and then I have a professional lab where I can call and say, listen here's some example images here, some of my past work here scans you sent me that I touched up a little bit toe look how I want to work make a board of my work that looks like this and when you get my negatives, you know you'll start to learn me and they know now when I get color and black and white work back from indy unlike if I spend more than a minute before I'm completely done with the image, I'm like what I'm like I'm going to get an email about ok, but that's important that's one of the best parts is that when you develop a relationship with someone you're sending your film to they start sending you shots back that are basically finished I mean, I'll always do a little bit, but you get so close absolutely. And scan size like if you take it to a drugstore box store, they're going to run in automatic mode and they're going to give you small file sizes. Now, I've seen people on the internet say my drug store does x amount bigger that's great that's. Not in every case and if that employee quits or gets fire than it might change. So file size and your scan size is for a pro lab. We give you bigger file size than that, and we give you what equivalent to what you're used to with your digital cameras. So, um, right when you drop your film love like in a drug store, you know, you can expect to get, like, fifteen hundred pixel long scans back and that it's not like that's. What I get my scans for many there for forty five or five thousand on the long side, like a very good size file and also with this medium format, these negatives air huge, like if you ever wanted to get into low it's called like drum scanning or using a very, very professional scanner. When I shot the kodak ad, I shot it on six seven film. I had the full resolution of the negative scanned, and it was seventeen thousand pixels long and not just blown up like a full quality looks made so that's another thing you can do is you can get extremely high resolution results but that's not what a lot is typically doing they're running it through on a usable size and then if you need to go back you have me and there's still printable too you know twenty five thirty this it's not like a small it's a big size and custom custom color profiles the same thing with the relationship you build a relationship, you build that custom color profile and we have a way for us to know exactly what colors that you want out of your film and your negatives so yeah, pretty much this is another thing that personally came up for me because when I got into shooting film all my friends and all the people around me that were shooting films were wedding photographers and what was very popular was taking this like fuji four hundred h on the contact six, four, five and shooting it two stops over exposed to get this very bright, specific look that was very popular and still is very popular and you know, I jumped in and I was just doing what everybody else is doing because that's what you do and I started realizing like, wait, this isn't how I want my work to look my work is darker to me my work is softer, my work is more summer like can I do that because when you're sending away your negative you're sending away iran they're sending you back a j peg you'd be amazed what you can get out of a film negative like how many different looks you know they can have this three stops bride or four stops darker it's like a raw file you could do time, reserve it so I was able to call the lab and be like look, I know most scanner operators are just brightening up all these images because so many of your clients or wedding claims and they're going for that I don't want that like this is how I want my work to look and then they were able to deliver those scans to me from a film that could have been brightened up a lot so again having allowed that understands color is very important with like and that's our next slide here is the yeah um in the lab is your yeah okay, okay. And they can find you or they can find that in the labs dot com in the film about film lab dot com josh is my guy for doing all that we not specific like josh company his crew is that people do all of my work I want to make sure that was yeah yeah I wantto thin the amount of information you can get from a photo between developing and you're gonna go the fire after we're developing a scanning it un processing it like stops where you develop it, it it's over there or this kind of you can still get some stuff like, you know, if I'm getting through how much you can take out of a formerly along if if you develop it like it's settled there, can you get information afterwards? Because I know you can pull and push before developing, but then can you also do that on the negative? Elaine, this can file? Yeah, I mean, I think that's what you're saying? Like, if you if I process it one way and that's final, but the scan, I can pull out a lot of information or turn tune down a lot of the information. So if it's really bright coming in, we can adjust it. Or if it's too dark, we can adjust it if it's kodak film but so the range and that is that what you're saying? Like, pretty much if it's once has developed its develop, but we can do a lot in the scanner. We can do a lot in the scanner to change the look of it. Absolutely, yeah, development artistic and you can still go oh, yeah, you can get a lot of different looks out of the developed negative yeah, absolutely I've actually under exposed a shot from a wedding like three stuff from mayor was wrong and I pulled it out. It was kind of film, I pulled it out and it looked amazing and there was not a lot of grain, so you could alter it in skin or a lot. Yeah, absolutely. And professional scanner operators, there is a huge part of having a pro lab. I have people that are trained on a specific scanner and they know it and they're photographers too, and they know that you guys have, you know, pick the film and in the journey, and they know how important this because they shoot film, too, so they know exactly what you're going through. And so when they pulled a scan of they know how important it is that you got you guys you know, spent the money, get the camera, got the film and you're in this journey, so they take their time, and so there they're awesome skinner operators, and they know what you're going through, because there they shoot to think that's super important, you want to talk about these guys? Sure, highest quality scanners, the two popular scanners right now, which are always the fuji frontier, which is an older scanner. They quit making them so the newest ones around, I think two thousand one two thousand two or something like that but the color and the scanners really pretty a lot of professionals use it, but we also have a new ritsu hs eighteen hundred which is a lot faster scanner so you could get your scans back a lot faster also beautiful palette and orion use of the frontier for his love is work but it does not matter it's not a professional, not professional. They're both professional. That is just what you want on. Do you have to do your own test to kind of figure that journey out? Because they're so this two different looks although these look very similar when you start getting into different shots that are not like this, they have different tones of different different look. So the writer is a reason we bring this up is if you decide to use a pro love and you were sending some of the stuff, a lot of the order forms will say like frontier, order it soon because there's two different machines that can scan your film like josh said the bottom line is it is total personal preference, like if someone tells you that there's a right answer there is not there, they just produced different looking images. You get your film back faster on the nurit sue the frontier does has a different look I use all frontier from my work because I like the way it looks, but I have friends that he was all nurit sue and their work is equally is beautiful, so the kind of what I would recommend is most labs were happy to show you the difference if you have several films say, hey, we scan this on both scanners you know, they don't want to always do that that's twice the work, but you know, if you're just starting out saying, can I see a roll on both scanners? Get in there one hundred percent c which color looks right to you? See which grain structure looks better to you? Just go with that one absolutely awesome and dip adult processors that is in the developing processes. Probably not something super exciting, but I will say that if you're taking it to a box or drugstore or non pro lab, they have machines that there's more things touching your film like rollers that are going through this little machine and we depend up processors. Nothing touches the film except the chemistry so it's in this huge machine that dips and dunks the film and to the chemistry and nothing touches the film except for chemistry and that's that's really a lot of like drugstores or some other labs, they use roller machines and more things are touching it they don't have the rollers it could get damaged and I no problems who use those types of machines and we started like that and it's it's fun if you clean it and all that but just know that there is a difference between what you're developing yeah that's it everything else so you have to do it any house options for his is a leg if people cannot said the film here to your love or every like how can the people do this in their houses like for instance I live abroad it just kind of three so if you if you want to do it you do get a lot of international shipments for film absolutely yeah all over yeah so I mean you can send the film internationally I know people that do that but if you wanted to do it yourself I think what I would recommend is probably starting with black and white because developing in color film on your own and then scanning color film with like a flatbed scanner and getting really good color out of it is very very difficult yeah it's kind of a history of that exact temperature for each chemical black and white is just need cold water and you still need to you know see where you at with the temperature but it's a little little little less well less intimidating but we uh your friend doesn't right yeah my fellow your friend yang yeah german c e o yeah, so depend duck guess we're onto what's the next thing I hear, yeah, accurate chemistry is there saying that we test the chemicals and we know where it's at before we run your film through. If we run a test in the morning and the chemicals off, we will fix that before you run chemistry and that's just a part of a pro lab process and drugstores. I mean, I've never worked in drugstore, I'm not sure, but I know I've gotten some stuff back home like this week's way off, like, and I'm taking it to drugstores if I'm shooting and I want to test the camera before, like, if I just five camera and I want to run it down, just do it real quick, it's like late at night, and I don't want to call the like, can we started the machines? You know, I just run down there and get a test and it's fun, but we just we have accurate chemistry and that's pretty much all really good. Yeah, kind of big thing with the lab is you are handing over control of some of your creative process. You know, some of what you're going to be able to deliver both yourself to a client, so you want to work with a lab, you trust there's it's really cool, because more and more larger, like kind of coming back, it got down to just a handful that now a few more opening back up is some more people are shooting film, but there's no right answer. You know, it's, not like one lab delivers this work, and this lad delivers this work. You just gotta find one where the personalities fit. Like, I mean me in india. Just we really clicked, and we got on the same page about how we wanted tio produce together. And now, for me, having that much control out of my hands isn't like a burden. It's, like a huge gift to be able to have someone else that understands my work that is working on it with me that then can save me all that time of computer work, where I could just get back nearly finished images and go out and shoot again. Yeah, absolutely. Just that relationship, like we talked about a super important, how much we appreciate being here in a teacher. I really love teaching about it because it really it's a long running photography to me. I mean, it turned into a way to express myself that really completely transformed my life on, so I love being able to share that, and I love educational events, but I would just say that you hear a lot of information about this is how you need to do it. This is how you do it and it's, so great to save time with making those mistakes, but, you know, just remember that eventually you're gonna have to do it your way. If you do everything the way you're told to do it, then you end up competing with that group of people who are doing everything the way they were told to do it on a lot of my journey into film has been using stuff in ways that, like, I didn't think I was going to be able to pull off, like touring with the band and shooting all film, we're shooting a concert and shooting at all on polaroids, you know, you know, look up, can I do this and it's, like, no bands need this, they need this many files, they need him to look like this, they need in the next day, but through following what it is, you know, I really wanted to do and finding people that work with me on creating that, as opposed to just succeeding in ways that you're supposed to do it. It's led to very, very personal, meaningful experiences in photography, not just good accomplishments, but situations and projects, and ways of shooting and documenting that led to some of the most profound experiences of my life and some of my best friends that I let met along the way. So if I had a thought for sharing it an educational thing, it would be it's so awesome to learn how to avoid the mistakes, but eventually you're going to have to do it your way. Then I hope you will. And for me, film was a big part of that. And if it is for you awesome and if it's something else and awesome, just get out there and be yourself absolutely cold. All right, very cool, guys. Ready for some q and a I absolutely let's do it. All right, so people in the chat rooms are really enjoying with segment. I'm gonna really enjoy really enjoying them. You're you could feel their positive energy just bringing film back with it. And I love that used to be shoot digital. And then you went to film. Yeah. That's. Very cool. Okay, let's, ask him questions. Let's see a sarah this's for both of you there says, do you have your developer use any push pull method? Or do you do all of your fixing cameras such is over and no that's a fantastic question and unfortunately kind of for time we had to skip some things that turn into bigger discussions with the so of the film you know you have a native I so like try axes four hundred through changing the development you can shoot tracks at eight hundred you can shoot at sixteen hundred you can shoot it a thirty two hundred it gets grainy and has more contrast but yes I definitely push and pull my phone's depending on the situation and look I'm going for that's just a huge kind of answer to say when I would do you keep it on our block to because we're going to do and in the university siri's which will be our first thing this kind of our first video is about pushing a point ok speak but great question break was something we had to skip ok ryan would like to know do you use me think it's another do you do any work for clients or commercial on film and if so how do they get around the stigma of not having a fancy d also are with their clients what do you think you feel you just educate your clients actually you're a wedding shooter or portrait shooter and you know you have that connection whether we can call him and say I'm going to be shooting on film or they know your work and when they call you and they want to booking for something you explain to them you just educate them on you know, turnaround times and what to expect and I think once you clear that up because most shooters that if they go on to another shoe that shoots digital it'll be a faster turnaround time or or whatever so just educating your clients on your process is part of it and with me I kind of just built it into who and you know I talked about it a lot I teach about it a lot of all over my social media and my images they say well I would like you to shoot and say this this is what this is how do they know what they're getting questions from you that if you have one do you have one more going yes can you color balance in the development wait they didn't develop it you're just developing it correctly the color gets balanced in the scanning they once it pulls up on the screen that they're scanning into a digital image that's where they change the balance it is not just color correcting from ajay pig what we're doing is when we when we do the first pass of the scan it's actually scanning a role file so it's scanning like every color and every yeah so it's really cool so why not do the second pass after we made the color correction the second passes the final image so it's not taking a j peg in correcting it and damaging the file you're actually scanning overall file doing the color correction, and then it does another path where finally sets those settings into the file. So it's yeah, it's, pretty it's, pretty awesome. I get a little yeah, good question to you, man. We have a lot of questions, but we are running out of time, okay? Just write me. Just text me all along. All right? Well, tell him where they can write you if they have more questions. If you're serious about that, just careful, right on my instagram it's out right near hood. I answer a lot of questions on the street. All right, well, that's awesome. If you guys have further questions, or if we didn't get time to ask them or call the lab way and answer all kind of take questions or even anything about that. So I love to hear from you.

Class Description

Experience the look and feel of film photography with this beginner’s guide to film for DSLR photographers.

Photographers who came of age in the era of digital photography are often intimidated by the prospect of shooting to film. In this class, Josh Moates and Ryan Muirhead will cover everything you need to know expand into this photographic style; from choosing the right camera and films, to understanding the important differences between film and digital, to working with a lab to get the results you want. You’ll learn everything you need to start creating beautiful images in a new medium.

Reviews

Micah Hewett Images
 

I LOVE, LOVE, LOVE this course. THIS is what I needed. I needed a good foundation to gain my self worth to shoot film. It is nerve racking to think that you can't see what is in the back of the camera, but I am finding that seeing the image in the viewfinder and not the screen is helping SO MUCH. Thank you both for such a wonderful course. BRING THEM BACK. A full three day session please!!!!

a Creativelive Student
 

This course was just what I have been looking for! It had great basic questions for getting started with film. I'm super excited to start and this course helped me not feel so scared. I love how they both have such passion about film, you really can feel it! Thanks guys!

a Creativelive Student
 

The slide show was excellent, and would be helpful to review here as well. Great list of cameras that they didn't go into. But format size, pros/cons of film types, what to look for in labs, etc are all helpful. Or at least make it available to those that paid for the course. Thx.