I’ve been in possession of what has become my favourite 35mm SLR, the Olympus OM1 now for about eight months. Truth be told I have not shot it as often as I was expecting. The honeymoon period with it has faded a little. Because I now know that I can get acceptable exposures on my favourite film stocks (and some not so favourite) without too much trouble, the unpredictability of a new camera has now become the reliable and consistent. But I love the all manual nature of the Olympus OM1, and the Zuiko optics are in my opinion, exceptional. Recently I’ve been doing some digital editorial and interior work, and for some reason I’ve either not been inspired to shoot this (or any other film camera) or just not had the opportunity. Is this something others find?
So when we booked a holiday trip to Ilê de Ré, France earlier this year, I had to take my beloved Olympus OM1 and the borrowed Zeiss Ikon along. Loaded with Kodak Portra 400 and Fuji ProH 400 respectively to see what I could get. I’d also recently bagged a bargain 24mm f2.8 from “the bay” and was looking forward to using that for the first time.
Here are a few frames from the first roll of Portra 400 in the Olympus OM1. I like documentary style work, and if possible street portraits or people at work. As well as of course the usually holiday snaps and landscapes. Documentary type shots make me feel like I’m not just a tourist. Concentrating on the real people that live and work in these places that we just visit and enjoy on a more superficial level.
Ilê de Ré is famous for many things, sailing, holidays and camping some of the main things, but also salt production and oysters. The salt pans really caught my attention.it is hot manual work. In the days before tractors, donkeys pulled the carts wearing distinctively striped leggings to protect the, from the salt scrub in the wind. I couldn’t come home without some more interesting shots among the pans. Getting close and speaking to the people that you are about to photograph makes the experience all the more rewarding. Visceral even. I like that.
Let me know what you think.
All my colour film is developed and scanned at Truecolour Imaging in Luton
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Comments
Tom Sheppard on 5 Frames With An Olympus OM1 MD (Again) – By Julian Higgs
Comment posted: 02/10/2019
Their colour and clarity are a credit to you and the camera gear that you were using.
Maybe a fraction underexposed, but who cares.
Well done you and good job Olympus!
Comment posted: 02/10/2019
Aurelien on 5 Frames With An Olympus OM1 MD (Again) – By Julian Higgs
Comment posted: 02/10/2019
Very nice colors. Maybe not true to life, but I rather prefer your warmer color tone. Nice!
Comment posted: 02/10/2019
Mark on 5 Frames With An Olympus OM1 MD (Again) – By Julian Higgs
Comment posted: 02/10/2019
David Narbecki on 5 Frames With An Olympus OM1 MD (Again) – By Julian Higgs
Comment posted: 02/10/2019
Comment posted: 02/10/2019
James Evidon on 5 Frames With An Olympus OM1 MD (Again) – By Julian Higgs
Comment posted: 02/10/2019
Comment posted: 02/10/2019
Mark Persad on 5 Frames With An Olympus OM1 MD (Again) – By Julian Higgs
Comment posted: 02/10/2019
Comment posted: 02/10/2019
Comment posted: 02/10/2019
Mark on 5 Frames With An Olympus OM1 MD (Again) – By Julian Higgs
Comment posted: 20/10/2019
As a former lab owner I can tell you we could very easily print various brands of film whether optically or digitally to seem almost identical to each other. Yes, there were some differences but they were slight.
These negs need to be re-scanned to cool them down and brighten them up. The other possible reason for blocked highlights and low contrast is fixer failure in processing that leaves undissolved silver salts in the emulsion causing some of this look.
Comment posted: 20/10/2019