Ilford Harman factory visit in Manchester, the street photography and more film and digital photos.
Автор: zand.photography - experimenting with gear & light
Загружено: 2025-06-01
Просмотров: 101
Описание:
0:05 Extra 200iso +20 years expired film / SL2 TT Artisan 35mm f5.6
2:06 Leica Summarit 50mm f1.5 / SL2 / Manchester
5:11 Chroma Double Glass 24mm f11 / Street
8:37 Chroma Double Glass vs Leica Elmarit 90mm f2.8 / sun
9:48 Elmarit 90mm f2.8
10:11 Summarit 50mm f1.5 / street / Ilford Factory
12:37 Harman Phoenix 200iso pushed to 400iso / Alfie Tych
Welcome to Serial for May 2025. We begin with two standout images. On the left, a photo taken with a Leica C2 Zoom on expired Extra 200 ISO film—over 20 years old. No date on the roll, and I exposed it as-is. It probably should’ve been rated around 50 ISO, but I enjoy the underexposed look. My friend was photographing a tree that seemed to loom toward her. Despite the quirks of the C2’s auto-zoom, I like this strange camera and its lens.
On the right is a shot of musician Tom Manuri during a performance at Space Odyssey, a small experimental music venue and record store in Reykjavik. Taken with a TTArtisan 35mm f/5.6 on the SL2, it captured the intimacy of the evening. Most of this month’s images, though, come from Manchester, where I joined a Leica Switzerland group visiting the Ilford Harman factory.
We also explored the city with Kieran Bird, who led a street photography workshop. In an alternative mall full of secondhand shops, cafes, and artists, I shot with the SL2 and a Summarit 50mm f/1.5. The shop owner—originally from Chicago—stood surrounded by vintage items. On the right, Kieran chats with him. He’s a gifted photographer, and street photography here was a great way to meet people.
At night, I returned to the Summarit. Its softness and glow work well under city lights. In daylight, high-contrast scenes take on a dreamy haze. I then switched to the Chroma Double Glass 24mm f/11, a UK-made fixed-focus lens. I reviewed it years ago. It’s soft at the edges, sharp in the center, and ideal for candid street work.
In one photo, a passerby tried to avoid the frame, resulting in a spontaneous composition I liked more than the original. Shooting street photography with this lens means getting close. That creates connection—especially in one kebab shop where the staff welcomed us to photograph.
Two more shots show an influencer we met. On the left, a crop from the 24mm; on the right, the same moment with an Elmarit 90mm f/2.8. Switching focal lengths can dramatically change perspective. The Elmarit continued to shine in soft portraits, offering contrast and old-school rendering. I also used the Summarit again in daylight—its glowing highlights added a surreal touch.
The factory visit was the main reason for the trip. I shot both digital and film (the latter coming next month). A scale model of the site sits beside a recycling bin for silver recovery. The machines are precise, robust, and beautiful in their retro way. Watching Pan F 100 rolls come off the line was deeply satisfying—I still need to try that stock.
Back in Reykjavik, I shot more with the Alfie Tych, a true half-frame UK-made camera, using Harman Phoenix color film. It lacks an anti-halation layer, which creates light leaks if exposed to bright light while loading. Some effects are accidental, others experimental—I’m trying to understand and control them.
Two photos revisit a hotel window scene, comparing Phoenix to its digital version. Even failed long exposures yielded gorgeous color. I pushed the Phoenix to 400 ISO for stronger blue-green shifts. It’s a wild film, but one with real potential. The last images feature two cats—one lit by a leak, one clean. Phoenix, properly exposed, gives soft, neutral tones perfect for portraits.
More analog results from this trip will appear in next month’s Serial. As always, feel free to share your thoughts. See you soon.
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