Dust and rubble settle at my feet,
A chaotic collapse
Inside myself that I could never
The foundations are shaken,
The cracks began to show,
And piece by piece
It all spectacularly fell apart,
Nothing to hold on to,
Nothing to steady myself with
As it all crashed and burned,
Leaving me surrounded by the ruins
Of a place that took years to build
And seconds to destroy.
LJ Chaplin Mar 2015
Film Friday, Irish landscape photography, Sally Gap, Wicklow Mountains, The drama of 35mm slide film
From all the possible 35mm films you could use for landscape photography, I feel that slide transparency film offered the most drama and colour depth to each shot you took. Clearly you still needed to me there at the time you found the best lighting and weather conditions but to myself there was no better film available that captured dramatic colours and tones.
This image was taken on a very moody evening, sometime back as I was walking alone the road of the Sally Gap….
Sally Gap, Wicklow Mountains
On the road to Sally Gap, there are spectacular views of the surrounding blanket bog and the Wicklow Mountains. Sally Gap is one of two east-to-west passes across the Wicklow Mountains. Sally Gaps is a cross-road that leads you North to Dublin, West to Blessington, South to Glendalough or East to Roundwood.
the Sally Gap got its road after the Irish rebellion of 1798. It was built by British Army forces looking to flush rebels from the hills, and to this day is known as the Military Road.
Whatever about giving the army a better view of the rebels, the Military Road certainly provides an enviable view of some of Ireland’s most filmed scenery.
Highlights of this winding, twisting feat of engineering include the Glencree valley, the dark waters of Lough Tay, Kippure Mountain and Glenmacnass Waterfall.
Two more unusual stops are Glencree’s Visitor Centre, originally built to house soldiers guarding the pass (and now a centre for Peace and Reconciliation), and the Glencree War Cemetery, a resting place for German soldiers who died in Ireland.
Then whisper, blossom, in thy sleep
How I may upward climb
The Alpine path, so hard, so steep,
That leads to heights sublime
In yesterdays post I talked a little about how film based photograph is now back a big way! with many of the film manufacturers having over the last few years seen a big jump in their sales figures. Many films that had disappeared from the photography market have now started to be produced again, Kodak are event about to re-introduce their world famous Ektachrome film, a high resolution positive film used at a commercial level of photography in the past.
It is now possible for the first time in many years to get online and purchase any type or speed of film, from Colour to Black and white, ISO 50 to ISO 3200
. This is a big opportunity for film loves to regain long lost skills, such as black and white film processing at home, setting up a dark room studio using chemical based film processing and printing. If this is not for you however, you can still opt for just purchasing the type of film you want to try out and once you have exposed your full roll, you can send it in the post to processors such as Lomography, who process any type of film for about the same price as it cost way back in the original film days.
One film I always love using was Ilfords XP2 Super, ISO 400, black and white film, Its a C41 processed film which is the same processing methods used with colour films. This film can be exposed at camera ISO setting between 50 to 800 as described in the instructions that come in the box, ISO 400 is the optimum setting but if the film is exposed at setting that overexpose the film, the film grain visible on the final prints will be much reduced. If you do play around with your ISO setting, you have to remember that with film you have to specify to your development lab that you did so and tell them what ISO Setting you exposed the roll of film at, also unlike digital for each of the 24 or 36 exposures on your roll of film you have to stay with the same ISO setting all the way through the roll.
ILFORD XP2 Super PDF
Like all rolls of film, XP2 Super has its own grain look and texture, you can see from the image below that the grain is very visible in the more well lighted areas on the frame. Its not unpleasant and adds lots of character to the image, this is an ISO 400 film after all and as such perfect for use indoors.
Ilford XP2 Super – Sample images, scanned using a Minolta Dimage Elite film scanner
Thanks to Sharon Walters Knight a fellow WordPress blogger and Facebook friend , I have in the last three weeks started to take a look again at 35mm film photography.
Over the last three years or so Film is starting to make a big come back, mainly with the help of film suppliers and film fan supporters lomography, they sell and process films along with camera bodies and offer some great new ideas as to how to use film and get some creative results from it.
I have just finished shooting my first role of 35mm black and white film supplied from Lomography Europe, using my Nikon FM2 and when I get time this week I will post this roll of film off to them and wait for the negatives and online scans to appear!
For the moment I have been looking at some of my old negatives and scanning them, the results are good I feel for these old black and white frames, My impression of how film compares to current Digital cameras is one of surprise, I love the grainy and organic feel to black and white films!
I had not realized since I stopped looking at film as my main photography medium, just how much digital has moved forward year on year! I feel that even when scanning a film frame at 10 megapixels with a good scanner, even with ISO 100 film the detail is so much less that can be found in todays digital sensors. Film grain is loved by many, yet when you look closely a lot of the image details are lost in this grain. A simple fact however when using film is that while digital cameras have kept developing all the time, film scanner have not. Another fact often lost today is that film was not designed with scanners in mind but with wet/dark room printing on light sensitive photo-papers, often designed by the film suppliers to match the film being used. Thus it could still be true that the best results when printing from film can be achieved in the dark room and not using a scanner at all!
I still love the idea of using a film camera at times when you want to use a simple process and travel light, just packing a film camera, a few lenses and rolls of film, without the need to take battery chargers and laptops with you. Another fact is that Film cameras work better when your outside and need to keep changing lenses, you never have to worry about dust and dirt getting to your sensor!
Here are some film shots I have taken over the years, at some point this week I will post more on them, including some closer looks at just how much detail is in the full sized images and just how film grain looks at 100% print size.
Ilfords Black and white film Gallery
Out there walking round, looking out for food,
a rootstock, a birdcall, a seed that you can crack
plucking, digging, snaring, snagging,
barely getting by,
no food out there on dusty slopes of scree—
carry some—look for some,
go for a hungry dream.
Deer bone, Dall sheep,
bones hunger home.
Out there somewhere
a shrine for the old ones,
the dust of the old bones,
old songs and tales.
What we ate—who ate what—
how we all prevailed.
Spring, days lengthening and warming slowly
green shoots daffodils and gambolling lambs.
Summer, sunny and hot lazing in deckchairs
rambling roses blooming strawberries and cream.
Autumn, wind blustering with nights drawing in
dying leaves changing to red/gold before falling
Winter, cold and bringing frosts, snow, ice,
dark brown trees stark and bare animals hibernate.
Seasons whirling in a revolving cycle,
marking the endless passage of time.
I was once;
the Spring child
the Summer teenager
the Autumn adult,
now, I am approaching
the Winter of old age.
Oh, that I could go back and return
like the Seasons
to the Spring again.
The Mountain Horse
Its cold at dawn in the Great Divide
And the Dew lies thick on the mountainside,
The bite of the cold air nearly makes you choke
And breath from your nostrils like dragon smoke.
The saddles are on and the cinch is tight,
Bridles are buckled and a bit to bight,
The horsemen are ready to break the camp,
The mist still rising and the bush is all damp.
The mobs been found in a clearing up ahead,
They’re all wild horses and they’re mountain bred.
Bushes flying by lashing legs and sides,
There’s danger here now for anyone who rides.
An overhanging limb so bend down low
Around rocks and wombat holes we go
There’s a mighty log we’ll have to jump
Look out, look out avoid the stump.
The big bay stallion leads his harem through the creek
There’s no place here for faint hearted or the meek,
Their hooves are like thunder and stock whips are cracking
Horses are snorting and their courage is not lacking.
Down along the valley where he knows every stride
Down along the valley where the wings are stretching wide,
But it’s too late, he knows it now, there’s nowhere left to run,
He turns and rears up high, his fight has just begun.
Something about these mountains makes you want to stay
And a mountain horse’s spirit you cannot take away.
My mind wanders back to a day not long ago,
When the horsemen came and found my mob and I put on the show.