Recently, I brought my medium format Bronica S2a camera and a 135mm f/3.5 Nikkor-Q lens with me to a lake to take some landscape photos. The waist-level viewfinder that I use with this camera requires as much light as possible to make focusing easier. So it doesn’t matter which aperture is set on the lens, the camera always keeps it wide open and only closes the blades when taking the photo or while the depth of field preview button is pressed.
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Once, I wanted to buy a lens hood for a 55-year-old Yashica Mat-124G. To my surprise, an original hood cost half as much as I paid for the camera body. Maintaining analog camera gear can be tricky, as parts are no longer produced and often have to be salvaged from donor cameras. This is where 3D printing becomes especially useful. It also allows you to design entirely new tools that were never available in the first place.
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On July 16, Harman released their new film stock, Phoenix 2. I was lucky to get a voucher for a photo walk organized by Fotoimpex in Berlin, where I had the chance to try out the new film. They even invited an employee from Harman to give a short presentation about the film’s characteristics. He told us that, despite the name, Phoenix 2 is not based on the same emulsion as the original.
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While I was happy with my hybrid approach to film photography, scanning negatives, editing them in Negative Lab Pro, and printing on an inkjet printer, the idea of wet printing in a darkroom was always tempting. The problem is, I live in an apartment and don’t have a spare room to dedicate to a darkroom. At one point, I searched for English-speaking community darkrooms in Berlin and even found a hackerspace that had recently built one. But either my unwillingness to commute or the social anxiety of joining a group of strangers kept me from going.
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Trying tungsten-balanced film had been on my list of experiments for a while, and staying in Osaka felt like the perfect opportunity to shoot it. The city is incredibly bright at night, with neon lights everywhere, making it an ideal setting for a film that thrives in artificial lighting. The tungsten-balanced film is designed for artificial lighting, and if you use it during the day, your photos will have a strong blue cast. This happens because the film is balanced for 3200K tungsten light, which is much warmer than daylight. Without a corrective filter, daylight will shift photos toward blue tones.
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