Street Photography Part 1

 Recently I felt the need to get back to some form normality with a bit of street photography. A return to where I started making photographs all those years ago when I did not realize that the images I was making came under this heading.

Street photography has been around almost as long as the invention of photography One of the early makers of street, although at the time it was properly not known as such, was The Reverend Calvert Jones with a panorama of Santa Lucia, Naples in 1846. 

My need to do this has been fueled by the last three years, in my case with serious illness and then the covid lock downs, restrictions just as I'm well enough to go out. I had become a prisoner of circumstance that really needed to be broken. I also missed being out and about with the camera. Not that I stopped using a camera during lock down.

As camera technology has improved over the centuries and with it the cost of ownership so it has become more popular to the point where everyone has the ability to make street photos but what has not come with it is the understanding of what constitutes a street picture.

A plan was hatched, well! Not really more like an idea about exploring Lincoln's streets and see what images came along in true street photography style. I still needed to choose a camera I thought be bold, Bronica SQAi with 80 mm lens, look down viewfinder and 35mm film back done. Ah! Film?

Street Photograph is the over arching heading that encompasses the man made environment in which the image has been made such as people , portraits, candid, architecture, abstract, transport, still life, minimalist, photo journalist, paparazzo. You do not have to have people as part of the composition as long as the subject projects human involvement.

Those of you who know what a thunder clap the Bronica shutter makes will be thinking it was not a wise choice I did have the same thought. I did say be bold, as it turns out it has made no difference so far. I have made a couple of pictures of people standing very close to them and had no reaction to the shutter thundering shut. I have considered that photographers over play how loud they think the shutter is. 

The places we live, the way we get around them and what we get up to are all part of the scene. You only have to look back at some well know practitioners in recent history such as Saul Leiter, Walker Evans, Berenice Abbot, Lee Friedlander they would include street seen-s devoid of people. In Berenice Abbots case it was mainly the buildings that interested her. If you go back further to Charles Marville in the 1860s he depicted the back streets and allies without people. 

It is good to be out and about meeting people with a smile and a nod as I strolling along the streets looking here and there for images to make. But there is a change an underlying arrogance, a lack of manners of some that insist they cannot wait for you to make an image walking in front of the camera then complain you have them in a image with a snotty look I just smile back. I find this attitude laughable as all of us who walk and or drive round will have been photographed at least 150 times a day by the authorities is OK and yet someone with a camera making images that you maybe a part of get unfounded abuse. 

Maybe at this point I should share some advice on what kit and how to go about making pictures. That is not really me I do not tell people how to be creative we are all different and therefore should approach street from your point of view. There is no special kit you should use apart from what you already have. What I will say is have an open mind to what maybe possible, a good set of walking boots are a must, after a few hours of walking about you will wish you had, use the bear minimum of kit again the same applies even though the camera and meter spend most there time in my hands I find that my shoulder can ache from carrying a camera bag that has little in it apart from some extra film and lens cleaning kit.

This is the first part of a number of articles that will be posted.

If you would like to read more this link will take you there Street P2 Street P3

Images in order of appearance:

1. Bronica SQAi with 80 mm lens enjoying the view over Lincoln.
2. Panorama of Santa Lucia Naples 1846 The Reverend Calvert Richard Jones.
3. 4.5.6.7 Placeses in Lincoln  

Technical data: 

Film: 35 mm Kentmere 100 at box speed, developed in HC 110 B for 6 Minutes. 

Photographs printed on Ilford multigrade RC g developed in Multigrade and scanned from print.

 

 

This article is the copyright of Mitch Fusco 2022 all rights reserved.

 

A surprise in the post Wows in the darkroom

 

I must admit that Rollei’s 120 RPX 400 was not on my list of film to use. Until, that is, an unexpected package was handed to me by the postman. I usually tend not to use film rated at 400 ISO, as it is usually too fast for the weather I prefer to make images in - bright days with cloud and to a certain extent, warm. 

I did ask a question on the forum (FADU) and was advised that the film can be grainy. With this in mind, my thoughts turned to which developer I should use. HC 110 seems to fit the bill, producing a fine grain and sharp images. The problem with using a new make of film is that any choices you make towards processing are all down to past experience and gut feeling. The Rollei retro and R 3 (the latter no longer made) I have used in the past have always produced some wonderful negatives developed in ID11. What’s different about this one?

With the developer chosen, all I had to do was load the film into my Bronica SQAi with 250 mm lens, set 400 ISO and wait, wait and wait for a break in the weather. It finally did, with some wicked, bright days.

Fortunately I had access to an ancient wood in need of some TLC. The piercing sun presented some great interlaced shadows to play with and a look of dereliction. The four of us spent an hour or so going this way and that looking for interesting shapes, angles, plays of light and dark. A good test of the film’s capability. I tend to take my time lining up an image and, once done, I move on, making each frame count. I know that some people make a back up shot in case the original is damaged in some way. Others bracket above and below the light meter reading they settle on. My counter argument to this is that when using the Bronica SQAi, you only have twelve frames. I accept that I do not always get the light reading spot on with it, which just makes things interesting when printing in the darkroom. Oh! If you are scanning the negs, it won’t matter anyway.

Some days later, the film is loaded in the developing tank and it’s time to process it in HC 110 diluted 1 to 39 for a suggested six minutes. There is always a little apprehension when developing a new film for the first time, wondering if the time will be long enough. As it turned out, there was a nice set of well toned negatives hanging up to dry. Now a bit of impatience sets in while I wait for them to dry - the burning question being how big the grain will be?

24 hours later, the negatives have been cut and sleeved, but not all is well. I have noticed on a number of the negatives that there is a darkened area - something I glimpsed while making one of the pictures. My Bronica 250 mm lens had sustained some damage along the front edge that I should have dealt with by blacking it out. This led to a number of the negatives having a flare of light across them. How bad would be revealed when I print them in the darkroom.

The following is the official line on Rollei RPX 400s capabilities - Panchromatic black and white negative film, 400 ISO with standard development, fine grain and sharpness, broad tonality and contrast range. It is forgiving in that it has a broad latitude of exposure, making it a good choice for push pull development. It’s Panchromatic sensitivity is from 360-660 nm at 2850 k. You will need to bear in mind that this information was sourced after I started the developing process. I tend to do this so I can form my own opinion on what I’m presented with. 

Having removed the cobwebs from the darkroom, it is time to fill the print processor with fresh chemicals and a holding tray with water. The first exposure will be to make a contact print of all the negatives - this will show how many and to what extent the light flare has interfered.

It is disappointing to see that the light damage has touched nearly all the negatives in some way, but never mind - my cropping skills will need to be at their best here. One of the things I have noticed over the years is never to dismiss a set of negatives just because they have not turned out perfectly. It can mean that you produce something more creative than you had in mind in the first place. Serendipity can be a good friend.

 Looking at the contact print, it suggested that the negatives could be printed at grade 2 or 3. With further consideration, I opted for grade three because I thought I would get better separation of the tones. To check my decision I would do a second print at grade 2.

I chose to use Ilford multigrade paper and developer - the latter, when fresh, produces some really crisp, rich blacks at the right grade. I set the paper easel to 8 x 10, the enlarging lens to F8 and the filtration to grade 3. With the negative in place, I turned on the test light and used the focus finder to make sure the focus was sharp. Trying to get sharp focus took a bit of time as the grain was very small, much to my amazement.

I always time paper development. It is a way of keeping an eye on how exhausted the developer is becoming. It is obvious, looking at the segmented test print, that the negative is on the thin side and my choice of F8 was a good first step.

As I look at the test print, it is suggesting that 10 to 15 seconds should produce a really good photograph. So I opt for 12 seconds. As I pull the print from the developer ready for the stop, it looks as though I have over exposed. Disappointing maybe, but you should not make quick judgements under red light conditions. 

As I pull the picture from the fix, I turn the room light on. I’m presented with a crisp, high contrast print with some very defined smooth tones. Wow! WOW! It stopped me in my tracks for a bit as I took in the view. Shame about the light pollution, but I can crop that out.

The next print was exposed at grade two for 18 seconds and has a completely different feel to it - again I was impressed. Next, I enlarged the negative to 10 x 20, printing part of it on 8 x 10 paper to see what grain it would produce. None that I could see. 

I have printed a number of the negatives and have been impressed with each of them. I’m not sure why I do not use Rollei film more often. It has a look and feel that I really like - I think some more rolls will be on the cards. Please try this film. You will not be disappointed. 

 

 This article is the copyright of Mitch Fusco all rights reserved