Back in the 90s I used to shoot “Melbourne City Scene” articles for a wine magazine where I’d write little pieces about wine bars and illustrate them with quick shots of bottles and glasses and groovy wine-bar people showing what it took to be cool.
In those days I shot Fuji Sensia 100 (the consumer version of Provia) because it was cheaper, and I thought it handled open shade well, and gave pretty good colour for people. I used an FM2N with MD12, and pretty much exclusively a 35mm f/2.8 AI-S
A couple of weeks ago I went back to Melbourne for a short trip, and I took an F4 with an AF 50mm f/1.8 D.
I‘ve only had the F4 a short while, but it seems that I have indeed fallen in love with a brick. I never could have afforded an F4 back in the day. I think only newspapers bought them; certainly not hacks like me. I wish the 50 1.8 was not so plasticky, but it’s still a great lens and I wanted to shoot it exclusively wide open and revel in the luxury of AF and auto-exposure.
I wanted also to remind myself what it was like to shoot tranny, and I had a roll of Velvia 100 that I’d bought for landscapes but not used. I was interested in seeing what could be pulled out of shadow, and how the F4 would go with its matrix metering.
So I wandered around one afternoon and looked unsuccessfully for subjects, harbouring the idea that I might be able to put together a sequence. As I was walking back to our apartment at dusk the light started coming together, and the interior/exterior light and window reflections got me going.
So here are five frames. They are not truly consecutive, but they are five out of seven. I’m pleased with them, and they’ve made me want to play around some more with shooting E6.