Entering the world of film photography was a bit painful for me as I didn’t get to see the results from the first 2 film rolls I shot. The first one was loaded incorrectly and the second one was processed erroneously by my local lab. Nonetheless, looking back at those minor inconveniences, I realise they were there to teach me what film photography is all about and how the digital revolution changed how my approach photography.
T-Max 400 has an odd place in my film workflow, as although I rate what it offers aesthetically very highly, I find myself choosing not to shoot it that often, opting instead for Ilford’s Delta range. I think this is because T-Max is almost too reliable in what it delivers; exceptional cleanliness, beautiful rendering across the tonal spectrum, and stellar sharpness.
The Leica Summilux 50mm f/1.4 remained basically unchanged in its second version from 1961 until 2004, after which the aspherical model replaced it. Only the barrel design changed over those years. The optics never did. The old pre-aspherical Summilux is a classic lens that reigned supreme as a fast 50mm lens for decades.
I’ve decided to start a photography project. I’ve had some sort of ill-founded fear of such things for quite some time now, but thanks to a few inspiring words from Rob Knight on ep.85 of the Sunny 16 Podcast I’ve realised many, if not all of the things that’ve stopped me from getting started are frankly nonsense. As such “Unremarkable Architecture” is born.
