35mm Work Book

Learning About 35mm Film Photography

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  • Nikkor 28mm f/3.5 Ai

    The 35mm Work Book centers on developing a solid and repeatable technique. It doesn’t delve much into my personal approach to photography; instead, the focus is on identifying potential images and composing them within the camera. I firmly believe that photographers who consistently apply a systematic process will produce high-quality images that serve as excellent photographic records of events, places, or people.

    Once the process is thoroughly mastered, it becomes an automatic extension of one’s artistic creativity. At this point, the composition can be adapted, enabling the photographer to begin developing their own unique photographic identity.

    In this short essay, I present ideas for novice photographers to explore beyond the 35mm Work Book. We’ll focus on the 28mm lens, a favorite among many photographers for its ease of use and ability to produce outstanding snapshots. The 28mm lens offers superb depth of field; by choosing an aperture of f/5.6 or f/8.0 (depending on light conditions) and setting the focus distance to about 5 meters (16 feet), you can achieve excellent results. Don’t worry too much about distant subjects, as they often appear too small with this focal length to be significant.

    I will use any camera; I have no interest in debating which is ‘best’ or ‘better.’ While auto-exposure cameras are undoubtedly excellent for snapshots and candid photography, I believe composition is the most important aspect. If the photographer focuses on composition and lets the camera handle exposure, they are likely to achieve more good images per roll of film.

    Before reviewing the images, I want to discuss the project. I had an unexpected opportunity to attend the Hunton Steam and Tractor Fair. Despite a poor weather forecast, Saturday from 11:00 to 15:00 turned out to be the best window. I now shoot only with Ilford film for black-and-white photography and had plenty of Pan F, FP4 Plus, and HP5 Plus available, ultimately choosing HP5. My challenge was that I had planned another project for the weekend and was traveling light with lenses—I only brought the 50mm Nikkor H and the 28mm Nikkor f/3.5. I really wished I’d also brought my 85mm f/1.8 on a second Nikon FE, since events like this are ideal for candid portraits, and the 85mm is my preferred lens for that. As a result, I shifted focus to the purpose of this WordPress site: documenting ideas and techniques from the 35mm Work Book.

    The Nikon FE was loaded with HP5 Plus film and fitted with a 28mm lens for this roll. The meter was set to ISO 320. The film was developed in Ilford ID11 at a 1+3 dilution and processed at 20°C for 20 minutes.

    The lens was set to f/5.6, and the focal point was adjusted to about 5 meters—approximately the hyperfocal distance. I did tweak the focus for some shots, but always returned to the hyperfocal setting after making adjustments. The image of the boy driving the mini steam engine was taken as a quick snapshot. I wish I had captured more photos of this wonderful scene, but with people being more sensitive about photographing children these days, I was pleased to get at least one good shot.

    This is a great image. I was about four metres away when I quickly framed the shot, raised the camera to my eye, and pressed the shutter. Look closely at the shadows—I’m shooting directly into the sunlight. Such detail is only possible at this time of year when the sun is very low; otherwise, the result would usually be a silhouette. The latitude of #Ilford HP5 Plus film is truly remarkable here. By developing it in ID11 at a 1+3 compensating dilution, I’ve achieved a very usable negative.

    Now let’s look at a few portrait-oriented images. I composed them to minimize distortion, so you’ll notice more unused foreground. My goal is always to fill the negative space as much as possible. Whether you value distortion or prefer rectilinear framing is a matter of personal preference. Ultimately, this choice is subjective. Remember, the primary aim here is simply to capture well-exposed, reasonably sharp images.

    Click any picture to enlarge the image and see the portrait view

    Look for image distortion—a common occurrence when using 28mm lenses at close range to the subject. While this effect isn’t inherently undesirable, some viewers may find it unappealing. If you examine each photo, you’ll notice some level of distortion. The Nikkor 28mm f/3.5 is an affordable lens—I paid £65.00 for mine. Despite shooting with fairly grainy film, the lens delivers excellent contrast and sharpness. The high acutance achieved with diluted ID11 developer further enhances sharpness and its compensating effect provides impressive exposure latitude. The photo of the Atkinson lorry, TUE 416N, was shot just as it began to rain—a raindrop is visible on the lens if you look closely. I never hesitate to use my cameras in the rain!

    Let’s consider some landscape images:

    Here are some random images. The steam-driven engines are impressive machines from a bygone era, treasured by their owners, who are becoming increasingly rare. One owner mentioned struggling to find anyone interested, since the engines are expensive to operate and maintain. During my next visit to a steam fair, I plan to focus on photography and recording interviews. The old, worn Chevrolet is a true challenge for restorers—while it’s a nice pickup, it demands real dedication. The Volvo F86 truck is personally significant to me; I once drove one for thousands of miles, and this particular model is in pristine condition. Although it didn’t bring back many fond memories, I would have enjoyed driving it again!

    Conclusion

    The reader is presented with a well-documented account of a vintage steam rally. I shot 36 frames on HP5 Plus and 20 frames on Kodak Pro Image 100 color film (details of the latter will be discussed another time). As shown in the contact sheet, the Nikon FE with a 28mm f/3.5 lens produced excellent negatives that truly captured the essence of the Hunton Vintage Rally. Every negative was easily printable and yielded sharp 12 x 9 inch prints. Could the results have been better? Absolutely—if the weather had cooperated and I’d brought the 85mm Nikkor, it could easily have turned into a five- or six-roll day. As noted before, my next visit will focus on producing a full documentary.

    The Contact Sheet

    The contact sheet reveals a great range of correctely exposed and developed negatives. Although frames 9 and 10 are a little thin you can see with the scan of the Metisse motorbike (frame 9) that it provided a good scan and would be fairly easy to print in the darkroom.

    This concludes the essay on the Hunton Steam Fair. While it may not feature images that appeal to everyone, I am confident that readers of the 35mm Work Book will find plenty of valuable information to help them adopt the straightforward approach discussed in the book.

  • Bought a Camera? Use It!

    If you’re new to film camera work and you have purchased your first camera, you’ll likely want to start using it immediately. This might sound like a strange statement, but you’d be surprised how many people buy a camera and never actually use it; they purchase it as a display piece. My friend Neville, for example, has a lovely Voigtlander Vito B on his shelf, bought with every intention of returning to film work, but that dream ended there; it’s a common situation. Use the camera straight away, or the initial interest may wane. 

    I would advise anyone who buys an analogue camera to run at least one roll of film through it, if only to say, “I use a film camera, occasionally.” Do not consider cameras an investment unless you can buy them very cheaply and then sell them for a profit. However, you’ll need a good understanding of, and experience in, using the camera to make buying and selling a profitable venture. There are also many well-established people already dealing in cameras. This aspect of photography has numerous pitfalls, and one can quickly go wrong. So, buy a camera for use and no other purpose!

    In The 35mm Work Book, I discuss using a 35mm camera for the first time and explain why an emerging artistic photographer should buy an affordable initial camera and utilise a photo lab for their first experience with analogue photography. It goes without saying that I won’t reproduce the entire chapter here. I encourage those interested in film to purchase the book, as it will generate income during my retirement and provide funds for me to continue buying and reviewing cameras and film for future books.

    Using a film camera makes little sense! It is costly, has a steep learning curve, and is now hindered by thousands of well-meaning articles and essays freely available on the internet. Hindering? Yes, so many opinions can confuse. So, why do we want to use a film camera? Is it the nonsensical aspect that appeals to you? Is it being overwhelmed by a sea of nostalgia? Is it the quirky way that people see your hobby? Also, consider the certainty that failures can occur, and you are in an alchemical world where silver is transformed into pictures. If there is a need for artistic creativity in your soul, analogue photography is a genuine option.

    Master the basic techniques thoroughly and practise using the camera in the simplest ways. One camera, one lens, and one film type are essential for building a solid understanding of film work. Learn about exposure and how to focus correctly, understand depth of field, and you’re on your way to becoming a competent photographer who won’t waste many frames. This is not difficult to grasp, and solid foundations will last until you no longer wish to take photographs.

    The suggestion is to start by buying colour negative film and having it processed by mail order for the first few rolls. Later, you can switch to using monochrome film and developing and scanning your own work. At this stage, you’ll begin to develop your photographic identity and discover your artistic creativity with film.

    The message is:

    If you buy a camera, use it right away! Check the instruction manual online, load it with film, and take a few shots. You never know, you might become addicted to the thrill of film photography.

    One Camera – One Lens – Pentax S1a – 50mm Takumar f/1.4

    You do not need to spend a fortune to make great shots. This is a so called ‘Street Photography’ image, it is more like a ‘street portrait’.

  • Buy Smart!

    Buying? Buy Smart!

    Do photographers focus too much on the quality of a camera and lens? For example, millions of words are written about lens sharpness, vignetting, and all sorts of nonsense about why you should buy a particular brand. I know many will disagree, and they have their opinions; I’m not trying to change anyone’s mind. The point here is that photographers, especially those new to analogue photography, should avoid becoming indoctrinated into believing that one brand of camera is vastly superior to another.

    And then there are the comparisons! Where several lenses of the same focal length are pitted against each other. This is truly a pointless exercise. It’s like lining up your friends to determine the outright winner. Moreover, some will insist to their last breath that the German masterpiece surpasses any Japanese mass-produced model. It’s futile and pointless. I beg you, as a beginner, not to go down that path; you’ll find yourself in a wormhole full of vipers and dead-end passages.

    It is tempting to think one must own a Nikon, Contax or aspire to a Leica after reading the opinions and reviews of online experts. And do not believe that I am suggesting there are not many competent and knowledgeable people writing very insightful essays about cameras and lenses, because some excellent articles are indeed worth considering.

    My point is that many people are too exacting and nitpicky. A lens doesn’t need to be razor-sharp. It doesn’t have to be sharp at the outer edges when used at a wide aperture. Lenses can suffer from barrel distortion or pin cushioning and still be useful in the camera bag. Nor does a lens or camera need to look like it just came out of the box. Often, well-used cameras are more reliable than the unused, mint-condition ones that have solidified grease and vapourised oil within their mechanisms. 

    In The 35mm Workbook, many affordable cameras are reviewed, and the results are impressive. The review of the Cosmic Symbol shows how a £9.00 camera can truly produce striking photographs.

    Let’s consider, for a moment, William Eugene Smith. He is regarded by many as the most influential documentary photographer. His work spans every subject, from war and English general elections to industrial poisoning, and a two-year project documenting Pittsburgh steelworkers, during which 13,000 negatives were exposed! Eugene Smith is perhaps the most notable 35mm camera user of all time. If you search for the cameras he used, you’ll discover he employed any make, any model. Mainly, he used 20mm, 24mm, 35mm, 50mm, and 85mm lenses. The reason for his varied camera choices was often financial hardship, leading him to pawn or sell his cameras to stay solvent. This meant that for any assignment, he used whatever gear he could find. Some say he preferred Contax, Leica, or Nikon! As you can see, even experts dispute his ultimate preference. Those who truly know understand he didn’t care about the camera; he took many photographs. Some of which became historically significant documents.

    Those who read about Eugene Smith know his work surpasses any make of camera. The key lesson here is the most important thing we can learn when starting in artistic and creative photography. The goal is to buy what you can easily afford, rather than aspiring to a specific camera or lens, and to focus on capturing and creating great photographs.

    First Camera?
    In the early stages of your photographic journey, I’d recommend not spending too much money on a camera. An Olympus Trip 35 could meet almost all initial needs. After using its auto exposure and learning about zone focus for a while, you’ll start to get the hang of analogue photography, or maybe even question its relevance. If the bug bites you, you can then explore the possibilities available. And really consider your budget, never overstretch your finances for a hobby, or it will soon become a millstone. 

    Eventually, you’ll have read thousands of words about cameras and techniques, and then a decision must be made. What camera and lens? I’m not going to write about this here! I’m writing about setting the mind into the ‘Buy Smart’ attitude.

    Some readers may be interested in my preferences, but I have none. What has happened is that the cameras I use are part of an evolution, and I am very aware of how much my 35mm equipment costs, preferring to buy and use film rather than owning tens of seriously expensive cameras and lenses. When I travel on my motorcycle, my camera is a Nikonos III. The film I choose is either Kodak Pro Image 100 or Ilford FP4 Plus; I switch between monochrome and colour. I mainly use ‘Sunny 16’ for exposure measurements or the MyLightMeter Pro app if I want a more accurate assessment of the lighting.

    Nikonos III

    When travelling in my pickup, I carry a bag containing two Nikon FEs (not FE2) and a Nikon FM. It includes three Nikkor lenses: 28mm f/3.5, 50mm f/2.0, and 85mm f/1.8. Two filters, yellow and orange. Lens caps, lens hoods, film, batteries, an old Weston EuroMaster meter and lens cloths. When I start my day’s photography, I usually take one camera body, attach the 50mm lens, and put the 28mm lens in my pocket along with the filters and a few rolls of monochrome film. If I feel colour images are needed, I load one of the spare bodies with Kodak Pro Image and take this along for the day’s work. That is it! No other choices are made or needed.

    Contents of Camera Bag

    The 28mm is attached to the Nikon FE, and normally I’ll choose the 50mm on the right for the second lens unless I expect to photograph people, then I’ll carry the 85mm.

    Buying Cameras
    Buying cameras takes patience. I check eBay daily to follow market values. I look at buy-it-now prices. Many listings allow for making offers, and if I were to buy a camera, I would suggest offering 10% less than the asking price. There is a fairly long article about buying cameras in the 35mm Work Book. 

    Note that I have three cameras of nearly the same type. The original FE and FM cameras do not possess the same features as the later versions; however, this is of little importance in real-world photography: these models are much cheaper to buy. I always planned to purchase a good camera and have it serviced over time. In other words, I now own a few cameras that will last for many years. And I have no intention of buying any more camera bodies.

    I follow a similar approach with lenses:
    Lenses can be purchased in the same manner. I do not worry about the speed of the lens. F/3.5 is more than adequate for most wide-angle photography, especially if you use faster film. And f/2.0 has been more than sufficient for all of my work over the past fifty years. The smaller aperture lenses offer great value for money and, once cleaned, lubricated, and adjusted, will last for many years. I own serviced fast lenses but prefer the lighter weight of the ‘lesser’ versions. I continue to search for well-priced lenses of the make I now use, recently acquiring another 28mm f/3.5 Nikkor with UV filter and specific lens hood for only £65, including postage. In time, this will be cleaned, lubricated, and adjusted. Not a colossal investment for a lens in mint condition. And my only purchase for many months. Lenses are rarer than bodies!

    The cameras cost:
    FM – £78.00
    FE –  £76.00
    FE –  £85.00

    Typical Prices Paid for Lenses:
    28mm f/3.5 – £75.00
    50mm H f2.0 – £45 approx 
    85mm f/1.8- £85

    So, the total cost was approximately (the 50mm H Nikkors are usually purchased with a Nikkormat!)  £464.00, and these cameras and lenses will not be replaced; they are my ‘go-to’ choices. If we simplify the setup and remove the two lower-priced cameras from the equation, the total of one camera body and three lenses would be £310. Some people would spend this amount on a camera body. Any photographer could easily use this small setup to produce fantastic images and cover at least 95% of all photographic situations. It is the photography and techniques that make a great artistic or creative photographer, not the equipment. Eugen Smith knew this, and if the premise is good enough for him, I’m happy to follow!

    So, the message is to aim for great pictures, not expensive equipment! If you are wealthy or your credit card can handle the expense, go ahead and make the dealers rich; they will only be too happy to sell you your heart’s desire. Be warned, though, collecting cameras can soon become an addiction, and for many people, the addiction becomes greater than the need to take pictures.

    Overview
    • The text questions the emphasis on camera and lens quality in photography, especially for beginners.

    Emphasis on Quality
    • Many photographers obsess over sharpness and brand reputation.
    • Beginners should not feel pressured to choose high-end brands like Nikon or Leica. There are plenty of camera and lens bargains made by Pentax, Canon, Yashica, Minolta, or Praktica.

    Comparisons Are Futile
    • Comparing lenses is compared to pointless competitions 
    • Such comparisons can cause beginners to become confused and develop misguided preferences.

    Practical Advice
    • A lens doesn’t need to be perfectly sharp; imperfections are acceptable.
    • Well-used cameras often perform better than those in mint condition.

    Case Study: William Eugene Smith
    • Smith, a renowned documentary photographer, used various cameras regardless of the brand.
    • His priority was on capturing excellent images rather than the quality of his equipment.

    Personal Equipment Choices
    • The author prefers affordable gear and values practicality over brand prestige.
    • Example setup includes:
    • Nikon FE
    • Three Nikkor lenses (28mm, 50mm, 85mm)
    • Total cost is around £300

    Conclusion
    • Strive to create great photographs instead of investing in many items of expensive gear that remain unused.
    • Collecting cameras might become an addiction, diverting attention from the true goal of photography.

  • What To Photograph?

    It is a strange question, but one that many people think about when they venture out with their camera. It goes like this: the photographer has taken 36 pictures, and maybe five or six warrant further work. In time, the photographer begins to wonder about the purpose of their work, and if the effort is worth the reward, and this can be the beginning of disillusionment with the artistic genre.

    I remember talking to two photographers when I was selling cameras at my stall in Nottingham’s Victoria Market (the market is now closed). One asked me if I still took photographs, and of course, the answer was ‘Yes!’ I was surprised when I asked them about their work and discovered they didn’t have many pictures to show. I inquired if they transferred images to their phones for sharing with those who asked for examples of their work. To my astonishment, they replied that using the camera was just as important as seeing the images. I suspect this sentiment resonates with many photographers. After all, renowned photographers often have hundreds of undeveloped rolls of film. For instance, Garry Winogrand left behind an archive of approximately 6,500 unprocessed films!

    Over the years of buying and selling cameras, I often asked the same question. It was usually the case that people had spent hundreds of pounds on cameras and lenses but didn’t use them very much. You’d be surprised how many people bought cameras and, a year or so later, sold them back to me. I always offered a 65% buy-back deal on any cameras purchased, which was far better than what any other dealer offered at the time. If you think otherwise, I encourage you to send your cameras to a few dealers and see what offers you receive.

    So the question is, what do you photograph? And it is of great importance because it provides the drive and encouragement for any photographer to continue along the expensive path of analogue photography. In my view, the answer is simple: photograph anything and focus on technique. Any photographer who consistently considers the importance of exposure, focus, and composition will eventually become a fantastic artistic creator; their camera will become an extension of their inner creative being.

    I am sure that people give up on their analogue photography because they do not achieve the results they expected. They believe that film unlocks some automatic, hidden creativity. This is why there are dozens of courses offering insights and tutorials on using editing software. The promise of creating wonderful and expressive images serves as the lure for these courses. My view is that, as a purist analogue photographer, you should stick to the original methods: camera technique, film selection, exposure, developing, and printing. However, the scanner remains an essential tool for anyone who does not have a darkroom or wishes to share the results of their efforts.

    So, the answer to the question is to photograph anything. When taking the picture, focus on technique and become fully centred in every aspect of camera work. Look into the viewfinder, scan your eye around it, move the camera around the subject, and seek good compositions. Get in close and work carefully to frame the image squarely to reduce the need for adjustments during printing or cropping. We do not want to waste a single square millimetre of the precious 35mm negative area.

    The following series of pictures is based on this premise. I’m not interested in creating an artistic composition. In this series of images, I record aspects of the smallholding, inviting the viewer to reflect on the people who live and work there. The weekend was bright, and I wanted to work with a yellow filter. The film is Ilford PanF Plus developed in ID11 3 + 1 for 16 minutes.

    The camera used is a Nikon FM, and the lens is an early Nikkor 50mm H with a Nikon yellow filter. While I used the camera’s built-in meter, I did not take the meter reading from the scene. In this instance, I made the meter reading of the surrounding grass. This is an excellent way to achieve sound shutter and aperture selections without the excessive influence of bright and shadow areas. Click on any picture to enter the gallery and see the photographs in a larger format.

    Three aspects of the buildings on the smallholding:

    Three portrait images showcasing aspects of the smallholding. I am very pleased with the interior shot of the Union Jack. This was taken handheld at 1/4 second at F/2.0! Note the yellow filter has rendered the large gravel stones a very light shade of grey. Look carefully at the way the yellow filter enhances the sky. On a bright day such as this, the sky would be rendered almost white without the filter.

    Images in landscape

    Readers of the 35mm Work Book will recognise some of the buildings and other aspects of the smallholding. However, they will not have seen these specific photographs using the yellow filter. Although a yellow filter darkens blues, it reproduces green, yellow, orange and red in lighter shades. This gives more differentiation between the different colours of foliage, while flesh tones have a more natural look.

    Overview
    • The text explores the question of what to photograph, focusing on the importance of technique in analogue photography.

    Photographer Experiences
    • Many photographers take numerous photos but only a few are worth further work.
    • Conversations reveal some photographers prioritise the act of taking photos over reviewing them.
    • Many well-known photographers have undeveloped film archives.

    Camera Usage
    • Many camera buyers don’t use their expensive equipment often.
    • A significant number of people sell their cameras back after a year.
    • Offering a better buy-back deal can attract customers.

    What to Photograph
    • Photographers are encouraged to photograph anything.
    • Focus on technique: exposure, focus, and composition are crucial for artistic development.

    Challenges in Photography
    • Some abandon analogue photography due to unmet expectations.
    • Many are tempted by editing courses that promise improved results.
    • Purists could focus on traditional methods: camera technique, film selection, and developing.

    Practical Advice
    • When photographing, concentrate on technique and composition.
    • Frame images carefully to avoid unnecessary adjustments during printing.

    Series of Images
    • The text describes a series of photographs taken on a smallholding.
    • Utilised a Nikon FM camera and Nikkor 50mm lens with a yellow filter.
    • Highlights how the yellow filter affects the appearance of colours in photographs.

    Image Characteristics
    • Showcases various aspects of the smallholding.
    • The yellow filter enhances certain colours while darkening others, producing natural flesh tones.

    I hope you will recognise the benefit of concentrating on technique. The suggestion here is to keep each photo task simple. Use one camera and one lens. Experiment with a method, such as how a specific coloured filter affects an entire composition. Finally, the photographer can appreciate how vital it is to take both portrait and landscape images of each subject. Every photo assignment should be seen as a goal in learning. When the day comes that you are on a mission, I am sure these experiments in the photographic art will ensure you return with incredible imagery.

  • The 35mm Work Book

    The 35mm Work Book is now available on Kindle. It has taken around fourteen months to complete and is a genuine labour of love. Although firmly focused on those new to analogue photography, there is much to discover about 35mm photography within the pages.

    I was involved in professional photography and processing for several years, and the book reveals the methods and techniques used by photographers of that period. Many will be surprised at how straightforward professional photographers kept their work and techniques. They were not concerned with pushing boundaries or using anything other than established methods.

    Professionals relied on simple and basic methods. They showed little interest in the latest equipment and rarely abandoned their time-tested techniques. This is the central theme of the book.

    For Example:

    Many professionals preferred buying second-hand equipment and keeping their cameras and lenses for many years. I remember a photographer who carried his camera and lenses in an old pilot’s flight case; the lenses were wrapped in yellow dusters and dropped into the case without much care. His RB 67 Mamiya was battered almost beyond repair. The lenses did not fare much better. He used a Nikon FM as his light meter, and his work was superb.

    The main point is that the technique and understanding of the photographic process are how great images are captured. There is no mystery to creating superb pictures. One must have the confidence to use a simple technique and repeat the process until it becomes automatic.

    Stop wasting film! For anyone tired of wasting film and not capturing good pictures with their photography, the contents of this book will put an end to the waste. 

    The book is distinctive in that the camera reviews also serve as tutorials. It includes chapters on exposure, composition, purchasing cameras, and camera maintenance, to name just a few.

    I have been asked about the title. I would have liked to use the title 35mm Camera Work; however, this was too similar to Alfred Stieglitz’s book Camera Work.

    You can download the Kindle edition free of charge for three days after the 20th of August. Please leave a review.

    Amazon.com link here – https://a.co/d/gTgcfjW

    Overview
    The 35mm Workbook, now available on Kindle, is a comprehensive guide designed for newcomers to analogue photography, highlighting the simplicity of 35mm techniques.

    Book Focus
    • Designed for beginners in analogue photography.
    • Offers insights into professional methods from past decades.
    • Highlights traditional techniques over modern complexities.

    Professional Techniques
    • Professionals used straightforward methods without relying on the latest gear.
    • Many preferred second-hand equipment and maintained it for years.
    • Confidence in technique is key to capturing great images.

    Key Themes
    • Emphasis on understanding the photographic process.
    • Encouragement to avoid wasting film by mastering techniques.
    • Camera reviews also act as tutorials, covering:
    • Exposure
    • Composition
    • Purchasing cameras
    • Camera maintenance

    Title Note
    • The author initially considered the title “35mm Camera Work” but chose not to due to similarities with Alfred Stieglitz’s book.

  • Film Loyalty?

    There has been considerable speculation over the past week about the potential impact of Kodak’s bankruptcy and the unfortunate outcome of a long-standing, highly regarded business.

    News agencies and many self-proclaimed experts jump on the bandwagon and revel in Kodak’s demise without examining the facts. The reality is that Kodak’s downfall is not imminent. And how would I know this? A humble writer from nowhere in England?

    I looked up the situation on Kodak’s website, here is the statement posed on 13th August 2025:

    Media reports claiming that Kodak is ceasing operations, going out of business, or filing for bankruptcy are incorrect and stem from a fundamental misunderstanding of a recent technical disclosure the Company made to the SEC in its latest second quarter earnings report. These articles are misleading and lack essential context, and we wish to clarify the facts.

    The most important things to know are:

    • Kodak has no plans to cease operations, go out of business, or file for bankruptcy protection.
    • To the contrary, Kodak is confident it will repay, extend, or refinance its debt and preferred stock on or before its due date.
    • When the transactions we have planned are completed, which is expected to be early next year, Kodak will have a stronger balance sheet than we have had in years and will be virtually net debt-free.
    • The “going concern disclosure” is a technical report that is required by accounting rules.
    • We will continue to meet our obligations to all pension fund participants.

    Now, before any reader assumes that this statement by Kodak is simply a cover-up to hide the slight devaluation of their shares, it would be wise to think again. There are strict laws that prevent a share-based business from making false statements about solvency. Indeed, any company that takes this route is, of course, entering the realms of fraud and deception. In its statement on August 13th, Kodak clarified that, far from being insolvent, the company will make significant progress in the coming year, placing it in its best financial position in many years. So we can look forward to Kodak providing us with film for the foreseeable future. Why can I make this statement? Because Kodak is still producing miles of movie film stock, and this aspect of their production is very profitable indeed. And while the film production line is making movie film stock, it can also make other types of films.

    Why is this so important to film photographers?

    Well, apart from the obvious fact that without Kodak, we are left with Fujifilm for dependable and high-quality colour film. Fuji produces excellent films; however, their production runs have been very limited or non-existent over the past year or so. This is set to change as their Chinese production facilities are now operational, and supplies are beginning to increase. 

    With only two film producers creating top-quality colour films, it is vital to carefully consider how and why we purchase film. We need to ask if other companies are indeed producing colour films. I doubt there are many capable of producing superb quality colour films in the same way as Kodak and Fuji. Those that do tend to sell such films as ‘experimental’ products with ‘artistic’ qualities. It is also possible that these films are byproducts of mainstream manufacturers; they might be films that did not meet strict quality control standards. I am certain that if this is the case, the sales would help offset the production costs for Kodak or Fuji. I have no interest in these films, and plenty of reviews and opinions about this genre are available.

    Ilford is now selling Ilfochrome 100, which is excellent; however, their website states that it is actually Eastman 5294 colour reversal film. This is, of course, a Kodak product. But wait a moment, it is slightly cheaper to buy than Kodak’s E100 Ektachrome; therefore, it is definitely worth trying.

    Being Brand Faithful

    Many photographers enjoy experimenting with all kinds of film. Good luck to them; they are discovering and searching for their photographic identity. I genuinely relate to this aspect of analogue photography; it keeps the art vibrant and aids retailers in a challenging business environment. However, I wonder how often photographers review the images made with these experimental films. I also ponder the randomness of the final results. Imagine the frustration of not being able to reproduce a style that truly resonates. 

    In my opinion, film and processing are costly. I now develop all my films, including monochrome, E6, and C41. My recently acquired AGO film processor has transformed the latter two processes. Home processing saves money if you use a lot of film, and for monochrome work, it is vital if you want to develop your artistic style. 

    I now only use a single brand of monochrome film: Ilford. No other company matches the depth and breadth of their inventory, nor provides access to an extensive catalogue of data sheets. Every film and chemical sold by Ilford has a downloadable data sheet, which is a valuable resource for all analogue photographers.

    I choose to support Ilford because it’s clear that film needs manufacturers to survive. Although some excellent companies produce films, as prices continue to rise, demand is likely to decrease, which could affect the future of film production. Excessive manufacturing combined with falling demand due to the costs of a product ultimately leads to businesses closing.

    My loyalty lies with Kodak for colour film. The well-established company deserves support and allegiance. They have affirmed their commitment to film, and Kodak’s current strategy is to become debt-free within 18 months. I admire Fuji film, but they haven’t shown loyalty to their customers in recent years. Their failure to source the necessary chemicals for manufacturing film was cited as the reason for slow or halted production. Despite this, Kodak continued to produce colour emulsions. I’m not suggesting that Fuji will stop making film; in fact, they have heavily invested in Chinese production of colour negative film.

    This does not mean I would not buy Fujichrome products if they were available. However, I need a strong reason to switch from using Kodak film. That reason would be a guarantee of reliable and continuous supplies. With Fuji’s history in this area, I remain sceptical. Fuji now faces a dilemma: if they want to build long-term loyalty, they need a strategy for dependable supplies. Remember, every roll or cassette of colour film bought from Fuji is one less for Kodak, and I firmly believe Kodak deserves our loyalty. Never forget that Kodak continued producing film despite strong objections from shareholders and insiders who believed film is dead.

    Monochrome

    I feel the same way about monochrome film. I have used hundreds of rolls of Fomapan and Adox film. However, I now only use Ilford film products. Their online presence is second to none. Their datasheets are worth their weight in gold to anyone new to monochrome work, as they have at their disposal a database far superior to any internet expert. And there are no apologies here. A photographer new to the craft who desires to truly make headway with their work and become a brilliant artistic photographer must grasp the fundamentals of monochrome work, exposure, composition, processing, and the latitude of film. 

    Ilford deserves loyalty. They provide this vital database to all photographers. And make no mistake, their datasheets contain decades of information. I’d bet a pound that many people working for Ilford today do not know who Jack Coote is, yet his book ‘Ilford Monochrome Darkroom Practice’ is the finest ever written on darkroom work, and it is an Ilford publication! I met him once or twice, and he was a mind full of instant information. “Ian, you should overdevelop a few rolls of film by three or four minutes and aim to straight print on grade 2-21/2 on multigrade, take it from there!” Those were his words that transformed my work. The man was a genius!

    Of course, Kodak produces the famous Tri-X, and I admit I don’t like it! I know many would criticise me for saying so. But what matters is in the mind’s eye. And Tri-X does nothing for me; I could never see the outstanding rendition of the subject. However, it is a brilliant film for several reasons; it has remarkable exposure latitude. It is highly tolerant of poor processing practices and carries the kudos and reputation that provide a psychological advantage. 

    Psychological advantage? Or disadvantage?

    I’ll conclude this essay with one final thought. Many believe that using the best of everything in any hobby, pursuit, or profession is necessary to achieve the best results. However, sadly, this is not how it works. A boy buys a Ducati sports bike and ends up dead in a ditch. A man rides his 40-year-old BMW touring motorcycle and travels a million miles. The boy thought his Ducati would make him the best; the man knew everything there was to know about his old machine. Being loyal to his brand and never being impressed by apparent innovations is key to success.

    See You Soon

    Overview

    • Recent speculation surrounds Kodak’s supposed bankruptcy.
    • Many reports misinterpret Kodak’s financial disclosures.

    Kodak’s Financial Situation

    • Kodak has stated it is not going out of business.
    • Company confident in repaying or refinancing debts.
    • Expected to have a stronger balance sheet soon.
    • Clarification on technical disclosures required by accounting rules.

    Importance to Photographers

    • Kodak’s continued production is vital for film photographers.
    • Limited competition in high-quality colour film production.
    • Fujifilm’s production runs have been inconsistent.
    • Alternative films often lack quality or consistency.

    Brand Loyalty

    • Many photographers experiment with various films.
    • Cost of film and processing is significant.
    • The author exclusively uses Ilford for monochrome films.
    • Ilford’s datasheets are invaluable resources for photographers.

    Loyalty to Kodak

    • The author supports Kodak for colour films due to their commitment.
    • Criticism of Fujifilm for lack of reliability in production.
    • Kodak has remained dedicated to film despite challenges.

    Monochrome Film Use

    • The author prefers Ilford for monochrome work.
    • Emphasises the importance of understanding film fundamentals.
    • Recognises the historical significance of Ilford’s contributions to photography.

  • Leicaflex SL

    Leicaflex SL

    This is a simple post centred on the Leicaflex SL. There are a couple of 28mm f/2.8 Elmarit images of the car and old pickup truck. The Summicron 50mm f/2.0 is also considered.

    Elmarit 28mm f/2.8
    Elmarit 28mm f/2.8

    The camera was a very expensive camera in its day, it was made between 1974 and 1976. It is a basic, heavy and solid camera. Not too expensive to buy these days with a 50mm Summicron. But the increasing cost of Leicaflex lenses makes the system expensive if you desire a wide angle and semi-telephoto. And all of a sudden photographers are beginning to realise the SLR lenses are equal to the M and LTM siblings.

    Some purists will argue the point, however, there are articles available on the internet where Leitz employees clearly state the Leicaflex lenses are equal to or surpass the M counterparts of the day. Of course the newer lenses will probably be slightly better, however, these lenses are simple brilliant. Sharpness will cut your fingers. Distortion is next to nowhere. Contrast is superlative.

    Summicron 50mm f/2.0

    This short article compliments the book 35mm Work Book. You will find an extensive essay about the Leicaflex SL and the Summicron. The essays are also insights into camera use, and composition. Anyone without prior knowledge of 35mm camera work will find the book a great introduction into the world of 35mm photography. Camera and lens reviews abound. And there are extensive lessons in metering, technique, and film processing and hybrid photography.

    Summicron 50mm f/2.0

    Anyone who reads the book should be able to produce sparkling images and make a balanced choice of what camera and lenses to buy within their budget and needs.

    Summicron 50mm f/2.0

    Film Used – Ilford PanF Plus – 50 ISO
    Developer – Rodinal – 50 + 1 – 11 minutes at 20 degrees C
    Scanned with Plustek 8100

  • 35mm Work Book

    This website is dedicated to the 35mm Work Book. It is an indepth review of the basic techniques used by professional photographers during the era of analogue photography.

    Many people over complicate the process of film camera work. In accuracy, the process is very simple, if the photographer stays within well defined rules. Once one learns the basics techniques of 35mm camera work they can be manipulated to a photographers artistic style. It is important to create a personal photographic identity and the work book will help you do so.

    The book took over a year to write. And the review essays not only consider fourteen cameras and twenty five lenses they teach the reader how to use the cameras and therefore learn 35mm camera techniques.

    The example pictures below are found in the work book. And the reader will discover that there is plenty of repitition with the same subjects being photographed using different cameras and lenses. This method is used so as the reader can assess the resolution of the various lenses used.

    I consider cameras and lenses with wide ranging values. From a humble £9.00 Cosmic Symbol to fully reconditioned Leica iif camera and 50mm f/3.5 Elmar lens.

    The book will be released on Amazon Kindle on 13th of August. It will be priced at £12.00.

    35mm Work Book Contents:

    14 camera reviews. 22 lens reviews. Exposure technique. Composition. Film choice. Developing and scanning. Maintenance and care. Buying cameras. Over 100 comparison photographs.

    Every chapter is written as a learning guide. The 35mm Work Book is a unique introduction to the world of 35mm photography.

    This Weblog

    This weblog is dedicated to the book and it will be complemented with short Vimeo videos and a podcast with private access for verified book buyers. Everything is focused on 35mm photography.

    Darkroom

    Later in 2025 we will see the final aspect of 35mm Work come to fruition. A dedicated darkroom will be used as the set for videos centred on film and print processing.

    I look forward to posting short essays about cameras and Lenses and film processing

    Ian