Street Photography Magazine: Edition #2 

I won't go back to film. I revisited it recently (after a 25 year break) and all it did was make me appreciate digital cameras more. HOWEVER........(read on) I recreate the feel of shooting film, on my Fuji X100V, by: using this personal challenge: (1) turning off the rear LCD (no chimping allowed, at all, all day), (2) Shooting through the glass viewfinder only, (3) setting ONE film simulation for the day (usually a modified grainy Classic Neg) (4) limiting myself to 36 shots for the day (OK, sometimes I exceed this). The point being that, when you get home, you get to see your results for the first time. You get that anticipation that we lose by chimping. Trust me, it's worth the wait. There are always pleasant surprises (and some failures of course). What I have just started doing, to add to the experience, is actually printing to 6x4 postcards. (I just print my favourites, not the whole 36). Try it. It makes you stop and think before taking a shot.

This magazine format is fantastic. Thank you for these.

You mentioned ‘intent’. So important and under valued. Thanks for taking the time to share all this.

The k1000 is a super film camera to start with. I’ve had mine for years and it still works!

Instant like right before watching.

Another very great episode of Street Photography Magazine. I've learned a lot again and it's very inspiring. Thank you Brian!

Without doubt this is one of the best channels on RU-vid

There is another significant shortcoming to monochrome which people who never photographed B&W film don't know. In many cases you need color filters to get it right. For example, Ansel Adams used several types of such filters. This is easy with a color camera and can be done in post processing. With monochrome, you get the color balance and you cannot change it. Much harder to get it right. On the other hand, 1.5 stops of light is less and less significant with AI based denoising.

I’ve fallen out of the habit of using film. I have about 15 rolls of 35 and 120 in the fridge, all of which have been there for 10+ years are about 10 years out of date. I look at them every time I open the door to get some milk. I feel guilty and have my film cameras and developing kit gathering dust but digital is so much more immediate. Your video adds to my guilt and hopefully I’ll use the film up. No promises though!

These are such great episodes. I am all for blurring the line between Street and Documentary photography. There’s so much overlap in motivation and execution there’s no point in arbitrarily separating the two. After all, there’s so much classic street photography from the past which is now viewed in terms of being documentary photography because of the way it has captured a time and place.

Banger

amazing :) great job! thank you very much !

Fantastic Video. Thanks for sharing.

Nice video and I like the longer format. totally sick of 10 min vids titled "I wish I..." or "don't do this if..." etc. Re photography degrees - always with you on the value of degrees and in particular the art/history-orientated ones. Practical skills are easily learnt and best done in an experiential setting. The only thing I'd add is that doing a full time degree will get you contacts and that more than anything can lead to a successful career.

Thanks for the inspirational video! Even though I don't shoot film, I have learn a lot when it comes to book printing my photography journey! I also just bought a Leica T including Elmarit-TL 18mm f2.8 for a really good deal in the idea of using it in Black & White JPEG + RAW and start practicing Street Photography. Thanks again!

What an incredibly compelling episode Brian! Really enjoyed this. Really excited about the assignments. I can recommend anyone to start shooting film. When you develop at home yourself you can really cut costs down by quite a bit. I completely agree that shooting film is photographically a much more fulfilling and satisfying process. Of course to each their own but adding some film in your workflow will definitely make you into an exceedingly well-rounded street photographer. You are compelled to choose the moment with film gear versus killing the moment in burst mode. I can recommend it to anyone. Wonderful episode Brian.

Great video Brian, I really enjoy your perspective!

Thanks for sharing.

A really enjoyable and informative video format.

This is a great channel, I just subscribed.

Completely agree with your book info

Just found you, I’m impressed , so much so that I have pressed the subscribe button

I started my photographic career with film and yes you had to make each frame count, especially when shooting on 5x4 sheet film. An interesting experiment some of your viewers may like to try, is to use a very small capacity memory card, just to limit you in the amount of photos you can take, hopefully it will make you think about each shot. The other exercise I do on a regular basis is just go out with one prime lens, the 28mm focal length is a good choice. Finally I have a collection of manual lenses which I love using, they make me think more, rather like driving an old car you feel like you are in full control of all aspects of the shoot.

You may have already discussed this book in an earlier video but just in case not, one of the best documentary photo books I've come across is by the South African photographer Ernest Cole. Called House of Bondage, I believe it is published by Aperture. Not a "pretty" book but the photos are wonderful and the captions really add to the overall experience of what it was like to live under the apartheid regime.

Excellent episode Brian, saw you on recent Camversations, very much enjoyed your attitude to street and general photography issues. I've had a look online to see if I can pick up a relatively cheap film camera, using this to slow me down. Will it also help with slowing down my golf backswing? 😃 Ok, probably not, but you never know! Look forward to next episode, thanks again.

thanks

I have never understood why anybody would want a monchrome camera. The pictures I make are almost always black and white, but I love the control I have in post of the final image by adjusting the colour balance. Why on earth would you chuck that ability for the manufacturer's arbitrary algorithm?!

Thanks Brian - another great video. Made me smile when you said What am I reading.? And then showed us a book full of pictures 😊One question - are monochrome cameras better than using a B&W creative style or profile on my normal Sony a7 . At least I can change back to colour if I need to. I just got myself an om1 so will try out film. Gary

I agree with the benifits of film however as soon as you scan a film image its a digital image...

I've been using Fomapan 200 regularly for b&w and I am quite pleased with it. It's contrast is pretty good, definitely higher than hp5, maybe not as high as tri-x. But I think it is also a fairer price, so for now it is my go to b&w film.

Foma is very muddy seems to need more light or contrast in the scene. I usually only shoot in my older manual bodies ones that don't read DX. Really like tri X but with film being so expensive I normally shoot either hp5, rpx 400/100 of fp4 nowadays.

Really enjoying this

The hashtag for the assignment doesn’t work?!

Not that I'd mind answering a few questions, but _facebook_? Have you ever read the terms of use?

Talking about Lisbon, Rui Palha is Mr. Lisbon.

I think that ALL arguments related to justify leading to better approche in making photos by choosing analog over digital - are ..wrong. : Especially when they are implied/supposed to be understood as being not available through the choice of digital path. It is sooo obvious that the huge, multiple disciplines required to do analog (good); are efforts, and/or attitudes (psychological, mental, philosophical, financial, artistic, social, ecological, ...) that one can put just aswell positivally into digital photography. Just as well - and evolutivally as well. The tool for your better approach to photographic expression/art/love/ practice/life, etc, , then, is not to embrace film camera, but instead, entering personalized(!) APPROACH of Yours in making photos, and that can certainly be mastered within the digital possibilities (perhaps perceived as to overwhelmingly many possibilities in "digital" photography). Whatever the supposed(!) argument of what you dont like in digital possibilities is : just find your own (!) way (amongst sooo many !) to (trust yourself! and to) not go that pass within digital, by applying trying your own tricks, for example: Tape black the monitor, take very small memory cards, get your files processed by an expensivey(!) photographer You admire, try mental/spiritual ceremonies or habits befor/wile practicing photography, etc. These are just examples to get the point. Have the courage to not judge yourself or blame "modernity". (I'm an ex (true) expert of film photography and now digital since 15 years. I can appreciate very welll all the beauties of and related to it. But also the business behind praising it.) Pushing the idea that restiction (through film photography) is good or nevessary for art (and self realisation), and put as a given that we cannot restrict ourself within de digital possibilities -is infantilizing (!). In film photography it is (all) about constantly trying to obercome restraints (100x more than in digital) to not 'enjoying' or getting rewarded by 'it'. And since this is (extremely) hard, 'film people" will always have beginner's blank, wideranging admitation, and I dont think that this whole business is empowering those (majority) who fall for it - even though those very same fine people should and could, without this often braking pass of betting onto film.

Have to disagree with the “only use your best photos for a book”. A book is not a portfolio, and less great images can help with the pacing of books. This is important when making a book with a narrative structure. Go back and look at some of your favorite books, and then compare them to a “best of “ book by the same artist. I think you’ll notice the inclusion of #2 photos more often than not. Also, listen to photographers who have made great books (Mark Power, Alex Webb for example), they tend to agree.