samira
a portraiture session: twenty images of samira, captured on black & white kodak tri-x and t-max film with the pentax 67.
this portrait session took place on a very busy afternoon, in the mohxa headquarters. I used the pentax 67, with three rolls of kodak tri-x 400 (2) and kodak t-max 400 (1) films. the corridor lights were quite weak, so I pushed the films to ASA 1600/3200 during development (t-max developer at 24c for 9 1/2 mins, for both films). judging by the negatives, the t-max came out a little better than the tri-x films, though this difference was negated during scanning.
I made the legendary mistake of forgetting there was a film loaded in the camera and opening the film back. I lost one and a half frame of the first film, but I am proud to present you the other half. another legendary thing is the pentax 67 viewfinder, which shows only 90% of the total frame. this is okay, because you are expected to crop a bit (and a 56x70mm negative is large enough for a lot of cropping), but I decided to keep the frames exactly as they came out... moreover, some frames have "white streaks", that were done by me - the tri-x films proved extraordinarily curly when I was loading them in the development tank.
meet samira carvalho, courtesy of the ford models brasil agency.
[pentax 67 | takumar 105mm/f2.4 | kodak tri-x 400 & t-max 400 push-processed to 1600/3200 ASA]
ozonized: dimitris mavrokefalidis
a portraiture session: dimitris mavrokefalidis of mad tv, shot with the pentax 67 and the leica m4, for ozon magazine.
ozonized: dimitris mavrokefalidisco-host of the breaking mad show at mad tv (along with fotini korre)
black and white images shot with the pentax 67 and the 105mm/f2.4 lens, on kodak tri-x 400 film color images shot with the leica m4 and the voigtlander 28mm/f2, on rossmann 400 film
dimitris mavrokefalidis | pentax 67 | 105mm/f2,4 | kodak tri-x 400
dimitris mavrokefalidis | pentax 67 | 105mm/f2,4 | kodak tri-x 400
dimitris mavrokefalidis | leica m4 | voigtlander 28mm/f2 | rossmann 400
dimitris mavrokefalidis | leica m4 | voigtlander 28mm/f2 | rossmann 400
dimitris mavrokefalidis | leica m4 | voigtlander 28mm/f2 | rossmann 400
dimitris mavrokefalidis | leica m4 | voigtlander 28mm/f2 | rossmann 400
dimitris mavrokefalidis | leica m4 | voigtlander 28mm/f2 | rossmann 400
dimitris mavrokefalidis | pentax 67 | 105mm/f2,4 | kodak tri-x 400
dimitris mavrokefalidis | leica m4 | voigtlander 28mm/f2 | rossmann 400
dimitris mavrokefalidis | leica m4 | voigtlander 28mm/f2 | rossmann 400
dimitris mavrokefalidis | pentax 67 | 105mm/f2,4 | kodak tri-x 400
dimitris mavrokefalidis | pentax 67 | 105mm/f2,4 | kodak tri-x 400
dimitris mavrokefalidis | leica m4 | voigtlander 28mm/f2 | rossmann 400
dimitris mavrokefalidis | leica m4 | voigtlander 28mm/f2 | rossmann 400
dimitris mavrokefalidis | leica m4 | voigtlander 28mm/f2 | rossmann 400
dimitris mavrokefalidis | leica m4 | voigtlander 28mm/f2 | rossmann 400
dimitris mavrokefalidis | leica m4 | voigtlander 28mm/f2 | rossmann 400
dimitris mavrokefalidis | leica m4 | voigtlander 28mm/f2 | rossmann 400
dimitris mavrokefalidis | leica m4 | voigtlander 28mm/f2 | rossmann 400
dimitris mavrokefalidis | pentax 67 | 105mm/f2,4 | kodak tri-x 400
a week in tinos
a week in tinos, august 2013. two films, one with the leica m4, one with the olympus xa.
a week in tinos.starring nikolas, loukas, konstantinos, nancy, orestis and faidra.
lots of walking,
lots of animals,
lots of sunlight,
lots of villages,
lots of fun,
and a little bit of drinking.
the two films were developed in the same tank, using diafine... apart from the light leaks, the likes of which the olympus xa suddenly grew immensely fond of, the difference in the tonal range of the negatives is stupendous... now I understand all about the leica, and I wasn't even using a leica/zeiss lens.
[leica m4 & voigtlander ultron 28mm/f2 | olympus xa | kodak tri-x 400 | diafine | august 2013]
into the surging deep
...a little bit of saltwater never hurt anybody.
[...] αὐτὴ δ᾿ ἂψ ἐς πόντον ἐδύσετο κυμαίνοντααἰθυίῃ ἐικυῖα: μέλαν δέ ἑ κῦμα κάλυψεν. [...] στην κυματούσα μέσα θάλασσα βουτάει ξανά, παρόμοια νεροχελίδονο, και χώθηκε στο μαύρο κύμα μέσα. [...] and [she] herself plunged again into the surging deep, like a sea-mew; and the dark wave hid her. ...the camera was leaking water from the first moment it went into the sea. after frame 24, the take-up spool jammed. it wouldn't go to the next frame, nor it would rewind. I had to unload the film in the darkroom. a little bit of saltwater never hurt anybody. [lomo aqua pix underwater camera | kodak tri-x 400 | diafine | august 2013 | tinos & kefalonia | text by homer's odyssey]
vinyl love
fashion meets vinylio club meets the pentax 67.
fashion meets vinylio club meets the pentax 67.
makeup: Emmanouil Apostolakis for Makeup Forever hair: Roula Marinopoulou models: Nelly B, Elena, Apostolis, Isidoros (Fashion Cult) fashion director: Konstantinos Koutsomichos designer: RATT (Rita Attala)
a couple of weeks ago I was asked by the wonderful miss tina sardelas to photograph her fashion video shoot at vinylio club. I told her I would only be shooting with my analog cameras, and she liked the idea. I wanted to use my latest baby, the pentax 67, but I also brought the faithful bronica sq-a along.
I loaded up the pentax with the new kodak portra 400 and fitted it with the takumar 105mm/f2.4, a truly great portrait lens. the club was quite dark (well, it's supposed to be this way) and I had to put the pentax on a tripod, shoot at really slow speeds (1/15-1/60) and wide open apertures, and rely on the film's wide latitude. I shot a total of 24 frames (two and a half rolls) with the pentax, before switching to the bronica.
pentax 67 | 105mm/2.4 | kodak portra 400 6x7
pentax 67 | 105mm/2.4 | kodak portra 400 6x7
pentax 67 | 105mm/2.4 | kodak portra 400 6x7
pentax 67 | 105mm/2.4 | kodak portra 400 6x7
pentax 67 | 105mm/2.4 | kodak portra 400 6x7
pentax 67 | 105mm/2.4 | kodak portra 400 6x7
pentax 67 | 55mm/4 | kodak portra 400 6x7
using the pentax 67 was a joy, as I have grown accustomed to the 6x7 format for portraiture (very close to the 4x5 of large format cameras), but the slow speeds and the need to use the camera on a tripod (it really is not a camera you want to handhold at speeds below 1/125) were tiresome, so after Ι did a number of pre-imagined shots, I switched to the bronica and kodak tri-x 400. black and white meant that I could stop worrying about color rendition and combination, and kodak tri-x meant that I could push it a bit and achieve 1/60-1/125, which are handholdable speeds with the bronica sq-a. with the tripod gone, I was able to move freely, get tighter framing and different angles. two rolls of film went through the bronica although, to be honest, I had grown weary and repetitive by the first roll.
bronica sq-a | 80mm/f2.8 | kodak tri-x 400
bronica sq-a | 80mm/f2.8 | kodak tri-x 400
bronica sq-a | 80mm/f2.8 | kodak tri-x 400
bronica sq-a | 80mm/f2.8 | kodak tri-x 400
bronica sq-a | 80mm/f2.8 | kodak tri-x 400
bronica sq-a | 80mm/f2.8 | kodak tri-x 400
some of the presented images (both from the pentax and the bronica) are quite alike but I didn't want to throw any of them away. in total I shot 48 frames in a space of a couple of hours. the bronica sq-a I have grown to love and knew what it would deliver, but the pentax 67 is a new acquaintance to me, and I was quite pleased with its handling and the resulting images. the takumar 105mm/f2.4 lived up to its reputation: it is a magnificent portrait lens, small, normal-to-kinda-wide focal length, fast, not too sharp but not too soft either. instant love.
mariane
...a sunday morning photoshoot at zappeio.
it had been a really long time since I last did a "proper" portrait session, so when x-ray model agency asked me to do a test with mariane, I immediately agreed. sunday was coming up and I had nothing arranged, so we decided for a morning shoot. dear liz was happy to provide make-up and hair styling, and we set out on sunday morning for zappeio. I was expecting the place to be empty on such an early time and I was planning to set up mariane in front of zappeio hall and let the speed graphic work its magic... but, surprise surprise, the leader of a political party had arranged a gathering there and the place was teeming with politicians, voters and police officers. so, plan b, we headed straight into the trees.
the time frame was quite tight, we had less than two hours before mariane had to go, and I settled with getting simple, natural portraits. straight on, I loaded up the bronica sq-a with a roll of kodak tri-x 400 and tried to catch the light that was filtering through the trees.
...then on to some against-the-light portraits...
...and as the tri-x roll came to an end (I was out of b/w film, too, just two rolls with me) I set up the speed graphic, paired it with the leitz hektor 150/f2.5 and looked around for some background that begged to get creamcheesed... I had some film holders loaded up with fomapan 400 and a couple loaded with expired kodak epn 6122 color duplicating film...
...it took me some days before I decided to develop the color films (always bored of heating up the chemicals), but the result was well worth it - expired cross-processed slide film, cheap as hell, kinda unpredictable but not without its merits...
...we'd already spent one and a half hour, what with the extra time needed for each large format shot, so I figured out it was time to pack up the speed graphic and go back to the bronica. the second b/w roll I had with me was kodak t-max 100 - two stops slower than tri-x but sporting a lot more of detail in the midtones....
...and that was it, we packed up and left just as that bloody politician was starting his speech. in total, 24 frames of medium format and 8 frames of large format were shot in the course of two hours. next time it's gonna be longer, with more large format shots, which are a pain in the ass to set up but quite wonderful if they come out as planned.
