View allAll Photos Tagged fujiacros100
Another from the earlyish misty morning visit to the woods. Hasselblad 500C and Fuji Acros II 100 film
A short while ago, like most weekends we do have some time left for a hike.
The weather forecast for the weekend made us decide to go for the Saturday as the best option.
We woke up and we were greeted by some light rain, almost decided to stay at home, but after some tea and coffee we went to the Dalerpeel area, a raised bog area that was used in the past for peat cutting. Nowadays it's a nature reserve.
Followed the hiking trail maintained by the Drentslandschap. A nice trail only the small part that follows a local road is not that nice.
Even for a local road there is a lot of traffic
And used one of our Canon Eos 3 cameras again. The camera was loaded with our last Fujifilm Acros100
This was our last original version not the new II with an expiry date 10-2019.
Developing is as always done with our Caffenol recipe, Caffenol-C-L at 22c and stand developing for 50 minutes this time.
The original Acros does like Caffenol, the results are nice again
My ode to Fuji Acros, which is not long for this world. As with winter, the inexorable spin of the planet and the relentless pull of time and progress have their way eventually. Acros will be a memory, but what memories it will have made. This roll, for example, exposed on a frozen lake in the middle of the Canadian Rocky nowhere, with the wind howling and the temperatures brutally low.
Tangentially, I'm a winter guy. I love snow. I love ice. I love the quiet that both bring. But winter comes and goes such that despite how well we get along, we always part. But we part with promises to reunite again when we can. Eventually time will break that promise but til then...
I am disappointed to see Acros break that promise, but it is a fact of life as a film photographer. I have seen more films come and go in my years than films currently available. Weirdly enough, I am ok with this and that is largely because I have images like this. It is worth it to live through the demise of Acros because I had this chance to make this image with it. And not to sound callous, but there are other films.
Still, I will miss this stuff.
Hasselblad 500C
Fuji Acros
I've yet to meet a mountain I didn't get along with immediately or that I ever grew tired of being around. If mountains could be friends, they would be some of my best.
Hasselblad 500C / Fuji Acros 100
it was great to wake up in the mountains. Sounds of streams of melted ice were making the silence even more transparent adding the extra depth.
Pentax 67ii, 105mm f/2.4
Fuji Acros 100, d76 1:1, 10min30sec
Nikon Coolscan 8000
Probably the last building in the village not converted to a cottage yet.
Certo Six on Fuji Acros 100, developed in CaffenolCL
A while back I changed my answer to the question "Who is your favorite photographer?". Historically that answer shifted quite a bit for me, depending on the day or the mood or which books I had recently flipped through or gallery shows I had seen. It was kind of a complicated question to answer. But then I simplified it and changed the answer to "myself". It came in a moment of inspiration, really. I was fielding that question, one of the countless times I have answered it, and thought to myself, "You know what, with no disrespect to the many amazing photographers out there, my favorite really ought to be myself." Sure, maybe this answer is implied in the question, as in "Who (besides yourself) is your favorite photographer?" But if so, I think it might have become so implied that many of us don't even consider it as a possible answer. Have you ever considered yourself as your favorite photographer? And why shouldn't you be? I would argue that many of the struggles that photographers go through internally stems from them not thinking highly enough of their own work and it is a lesson I try to impart when I can. Learn to love your photography for if you do, you will do it longer, harder, and more frequently. And if you do those things, success will come naturally. But still I think many struggle with the concept of liking their work, or being their favorite photographer.
A couple of points on that.
First, being your own favorite photographer is not arrogant. Arrogance is when you think you are a better photographer than others. Or a more important photographer. Being your favorite photographer doesn't have to involve thinking you are better than another, it just has to mean you like your own work the best. Since favoriting is a matter of opinion and personal taste, shouldn't your own work match your own personal taste the best?
Being your own favorite photographer doesn't mean you necessarily think your work is good, it just means you like it the best. Maybe your work is good and you like it the best, or maybe you know it isn't terribly good but you still love it anyway. Separate the enjoyment of your work from the evaluation of how good it is or isn't. Then you can focus on enjoying your photography and worry less about how good it is or is not. Because as I said above, if you focus on enjoying it, you will tend to approach it in ways that cause it to get better.
Get over yourself. Usually we think of this phrase in relation to photographers who are too full of themselves. But you know what? I know more photographers who err on the opposite side of that spectrum, who are not full enough of themselves, than I do photographers who are too full of themselves. The opposite of arrogance I suppose is insecurity, and I know many more photographers who are unjustly insecure about the merits of their work than I know who have over-inflated opinions. Many of this former category shy away from recognizing the qualities of their photography and they do so for a variety of reasons. Some are afraid of being seen as arrogant or full of themselves. Some are blinded by the proximity to their own work that they cannot see it for what it is. Some struggle to accept recognition, even when that recognition originates from themselves. This may be easier said than done, but get over yourself. To do that you will have to make a conscious effort. It will take work. But it starts with little steps.
Start by thinking of yourself as your own favorite photographer. Just try it.
Pentax 67
Fuji Acros
I was having coffee with a good photographer friend (and a good photographer) of mine named Colton the other day. Colton lives down in Ashland, so his trips to Portland are infrequent and our chances to get together few and far between. But I enjoy my conversations with him immensely, in no small part because he puts a lot of time into thinking about photography: the technicals, the philosophy, the how and why of it all. We have some good back-and-forths each time we get together. He complimented me on the fact that every time he meets up for conversation I leave him with some point to think about, but the truth of it goes both ways and I find myself benefiting from my time with him in the same way. It is a good relationship and I value it quite a bit. We can all be so lucky as to have someone who pushes our ideas or encourages us to stretch our minds and notions to new limits, or that inspire or motivate us.
Funny enough, this was meant to be a prelude for the real topic I wanted to write about, but perhaps it is more than the prelude and is an inherent part of that topic... But at some point we got to talking about the "good" and "bad" of photos, which naturally led to a brief discussion of what made photos good and bad. And at some point in this discourse, I brought up the idea that perhaps we fixate too much on the very idea that photos are good or bad and that we must judge them on such a scale. Sometimes it isn't about whether a photo is good or bad, but the experience of that photo, or its context, or the relationship with the photographer behind the photo. I asked him if he would leave our conversation and immediately try to assess whether his time with me had been good or bad and to try to filter it on such a binary scale, or by such limited criteria. It was a rhetorical question, or maybe a pointed question because of course he wouldn't, nor would I. We don't think generally think of time spent with close friends on a good/bad scale. Rather, we value it for other reasons and my point was that perhaps we should be more conscious of looking at photography in such a way as well. I don't think of Colton's work, for example, as good or bad. I just don't think of it in such terms. Rather the value of his photography comes from my personal relationship with him. Knowing him to some degree and being able to know him better by what he shows us through his images. To even try to gauge his photos on such a crude scale would be to needlessly diminish both his photography and him. Yet, the world often encourages us to do just this. Our social media for example is very binary: you either like an image or don't and swipe past. But how often are you encourage to engage with it in a fashion that isn't judging whether it is "good" or "bad" on some level? Value is a tricky thing to measure, and it is highly subjective. So perhaps this is why we are prone to over-simplifying its measurement. But to not requires a depth of understanding and knowledge and personal relationship and who has the time for that? Or how do you achieve that when your photographic friends are flung across the planet and sitting down for the occasional cup of coffee is not an option? There are ways, true, but they require greater effort. E-mails and other correspondence take time... but I am digressing a bit and running the risk of distracting you from my original point(s).
How do you measure the value of a photograph, or its worth to you, or what it means to you? How often do you fall prone to thinking simply, "is this good photography, or bad?" And how often do you make the point to concoct a different scale of value that is not such a linear scale, but one that is more amorphous and nuanced?
As we parted ways after our last conversation, Colton admitted that this may be the last time he visits Portland. I hope it isn't and I hope it isn't our last time sitting down together. Regardless, I want to say thank you Colton. All those hours have been well spent and appreciated and while I wish we had countless more, I know that that just isn't always the reality of it. But I shall remain optimistic that we will get together again and share ideas on this wonderful hobby and pursuit of ours.
Hasselblad Flexbody
Fuji Acros 100
I like to watch people, to speak to them, and if they are interesting to take photos of them.
Ich liebe es Leute zu beobachten, sie anzusprechen und wenn interessant, sie auch zu fotografieren.
Hasselblad 500 C/M
Carl Zeiss Planar 80mm f2.8
Fuji Acros 100, Rodinal
Location: In front of the Café Santa Cruz/ Coimbra / Portugal
Please view on flickriver and choose a white background:
www.flickriver.com/photos/105795038@N03/
It looks better :-)
Rua de Santa Catarina, a commercial artery 1500 meters long, is one of Porto’s main shopping centres. You will find most international shops there, but if you venture in the small side alleys on both sides of the street, you will find many traditional shops. And you can stop at the famous Café Majestic.
Die Rua do Santa Catarina ist eine der Einkaufsstrassen von Porto. Hier wird promeniert, man trifft sich im berühmten Café Magestic oder lauscht den Strassenmusikanten. Und abseits dieser Flaniermeile trifft man links und rechts typische kleine Geschäfte und auch den Mercado do Bolhão.
Hasselblad 500 C/M
Carl Zeiss Sonnar 150mm f4
Fuji Acros 100, Rodinal
Location: Rua do Santa Catarina / Porto / Portugal
Please view on flickriver and choose a white background:
www.flickriver.com/photos/105795038@N03/
It looks better :-)
@ shichirigahama, kanagawa, dec/2009
Pentacon Six TL
Carl Zeiss Jena DDR Sonnar 180mm F2.8
Fuji ACROS 100 (Kodak XTOL stock)
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# explored (and on the front page)
Yes, I love wispy clouds blurred by long exposures. I especially love mountains. And definitely love winter and cold temperatures. But I think what I love most about this photo is the scale. I love how tiny that forest of trees is at the base of these mountains. This range doesn't look especially large at first glance but then those teeny, tiny little trees provide a glimpse of that scale. I stood there in awe of that size, thinking how small I am compared to one of those trees and how small they are compared to these mountains.
I'll live the rest of my life remembering those moments with these mountains.
Hasselblad 500C
Fuji Acros 100
I have been stealing a few quiet moments here and there during my evenings of late to browse a photo book of the work of Vittorio Sella. If you are not familiar with this Italian mountaineer, I encourage you to remedy that. Not only are Vittorio's escapades atop mountains captivating but his photography is amazing. He portrays mountains with a degree of intimacy that is truly exceptional, and he did it a century ago hauling a 30 lb camera that used glass plates that themselves weighed 2 pounds each. Seriously, his work instills the sense of wonder and magic that one feels when they are at the feet of the mountain gods.
Hasselblad 500C
Fuji Acros 100
At the moment I'm still processing and scanning the films used during our summer holiday roadtrip through the Netherlands. Those will follow soon but for now
A few older ones (05-2020) We love to go out for a hike when we have some time left.
We decided to visit one of our favorite areas at National Park Dwingelderveld.
Followed parts of different hiking trails and enjoyed the time spend at the NP.
As we do almost every time we took some of our analog gear with us.
One of our Canon Eos 3 cameras was used, decided to use some of the original Fuji Acros 100
We still had some of the original version not the new Acros II. These rolls are from the last batch they produced before canceling it with an expiry date 10-2019.
Developing is as always done with our Caffenol recipe, Caffenol-C-L at 22c and stand developing for 50 minutes
Back to a warm weekend in the winter. One weekend you're hiking with temperatures below zero (about -10c) and snow and the next weekend you're hiking with almost spring like temperatures. It turned out to be around the 15c above zero during that weekend.
The temperature reached a record high actually in the Netherlands.
We left our winter gear at home and visited the Torenveen area near Gieten and Gieterveen.
Followed a hiking trail that followed a small river called the "Hunze"
We did enjoy the time outside and the weather. Even all the birds and the few hares we saw were very active.
We will visit this area again some time in the summer.
Used one of our Canon Eos 3 cameras again. Loaded the camera with our last Fujifilm Acros 100
This was our last original version not the new Acros II with an expiry date 10-2019.
Developing is as always done with our Caffenol recipe, Caffenol-C-L at 22c and stand developing for 50 minutes this time.
The original Acros does like Caffenol, the results are nice again
Test of my new / old Carl Zeiss Tele Tessar T 350mm.
Please view in large to see the quality of the lense.
Around the city of Salzburg there are lot of mountains. In winter, when we have much snow, the chamois climb down to find something to eat. If you are on the way early in the morning and you have some luck, you can watch them.
Hasselblad 500 C/M
Carl Zeiss Tessar T350mm f1:5.6
f5.6, 1/500
film: Fuji Acros 100 pushed to 400
Rodinal 1:50, 15min.
Location: Nockstein / Salzburg / Austria
Please view on flickriver:
www.flickriver.com/photos/105795038@N03/
It looks better :-)
Standing up on this hillside we were fortunate enough to be within the retreating boundaries of the fading day. Looking down into the valley one could already see where evening was seeping and pooling among the shadowed trees. These brilliant, snow-covered bushes, in their bright glory stood as a stark contrast at the edge of where a was ending.
Hasselblad 500C
Fuji Acros 100
I love the winter months more than any other months of the year combined. It is my time of year. So I'm not going to apologize if 98% of what you see from me is going to be snowy forests for the foreseeable future - it is where I spend as much time as I can right now. I have to soak it up so I can get through the sunny summer months. It's like recharging in a way. And so far, so good. I think I have gotten in several good winter hikes in the past month. That's almost every weekend so far with numb ears, wet gloves, a snow-covered camera bag and the sound of fresh snow crunching under boots.
This winter I have been making use of a fresh stock of Fuji Acros we got in at work. These things go well together.
Anyway, there will be more of this heading your way.
Pentax 67
Fuji Acros 100