In photography, the medium of film photography seems to gain much traction around the most renown subject which is 35mm format. What many newcomers to the medium are unaware of, is that there are multiple subtopics that exists in the realm of developing film photography such as, medium and large format photographs, cyanotypes, solarization, tintype, pinhole, and cross-processing. These different methods of production offer varied results for the finished product, which can help add a layer of meaning onto your work. Below I have linked artists and articles that depict the different variations in more detail.
Solarization:
For solarization, it can be a daunting initial approach, but when you read about the process it is much simpler than it seems. I found the following article to be a profound example for the use of solarization, not from the source of the article from FeltMagnet itself, but the content it provided. It had great pictorial examples to display the effect of the process, while also highlighting some tips to accompany some of the possible undesired effects that could happen during the process.
What drew me to her article was the tips she provided, stating “for gaining maximum results” try doing the following:
- “Using high contrast papers will give you a more dramatic effect.
- Slow films are easier to work with since they require longer exposure time to develop.
- Since re-exposure effects the highlights, use a print with a lot of light areas to achieve the most dramatic results.
- Dilute your developer to twice the manufacturers recommendations.”
Medium and Large Format Film Photography:
For many photographers, film photography usually begins with the 35mm camera, and then if they decide film photography is more of their preferred style, they will usually venture into medium and large format photography. What draws many people to these forms is the level of detail and also the price you get for these cameras since their digital competitors of the same format are very expensive (thousands of dollars). For this combined topic, I wanted to provide a few links to necessitate the impact of its technology.
The first example is an article written by Fstoppers, a notable community centered around professional photographers, that aim to discuss many of the different facets of photography. In the following article they depict the differences between 35mm, Medium Format, and Large Format photography.
Hans Rosemand, the avid article writer for the company states:
“Try not to focus much on resolution and more on how the feel of the image strikes you. Do you like the depth of the larger formats? If so, is it enough for you to deal with the inconveniences?”
Fstoppers: 35mm, Medium Format, Large Format: Which Should You Choose?
The second source I’d like to pay tribute to is to the New York photographer Willem Verbeeck, who shoots editorials professionally, but also has experience shooting with all types of camera formats. He usually keeps his Mamiya RZ67 for his more serious shoots, and for that reason, I’m providing his review of the camera, which also introduces the different images that it can produce. (This camera was the medium format camera reviewed in the Fstoppers article)
Willem states in the video, “With any of 6×7 medium format cameras listed here, you’re going to get a similar quality, because they all technically have the same sensor.”
I like this quote, because it doesn’t lock the viewer into thinking this one camera is the “end all, be all” for medium format photography, and there can be similar qualities found amongst an array of different products for the medium.
The Best Medium Format Film Camera – Mamiya RZ67 Review
Lastly, Ted Forbes is a popular Youtuber for his series “The Art of Photography,” which dives into all things photography. In the following video, he has an in-depth video describing the different properties of large format film photography cameras.
Forbes states, “If you have too much barrel distortion, you can alter the focal plane by the rear or front standard.”
Although it seems like a smaller detail in the overall scheme, it is not possible to fix barrel distortion digitally unless with post-processing software, or using a tilt-shift lens that can mirror the same usage of the bellows that film photography cameras have at their disposal with their bellows.
Cyanotypes:
A cyanotype is a photographic print with a blue tint over the image, which was commonly used to form “blue prints.”
Anna Atkins is a famous photographer for her cyanotype prints, and the following article gives examples of her background, and also examples of her photographic prints.
The process is pretty self-explanatory once the chemicals are explained in the process of developing the prints.
Cyanotypes of British Algae by Anna Atkins (1843)
Cross-Processing
Following the explanation of cyanotypes, I thought cross-processing would make a great addition to follow. Cross-processing is developing film in the wrong chemicals (which are used for different types of other films) in order to create uncertain effects.
The Darkroom is a company that specializes in developing darkroom film in San Clemente, CA, and they also produce articles on the different types of processes you can choose from for production results.
“The largest differences in the outcome of your cross processed photos have to do with the film you’re using.
Each film has its own unique look and characteristics and sometimes it can vary drastically. The most obvious difference in film is the color cast produced during development. ”
They have developed the following article on the production of cross-processing:
Cross Processing Film – A complete guide
The following article on MyModernMet, written by Jessica Stewart, is a more in-depth look at the history of Tintypes with a more in-depth look at the science.
