Following on from my recent blog on the discovery of Dolly, I thought I’d share a few more frames from recent days. Joining Kirsten for a portrait shoot in Denmark, I braved the x-ray machine at Gatwick airport and left the big toys at home.
Like my earlier post, these shots haven’t been edited at all so are showing the film’s grain, colour and grubbiness. As you can see from this next frame, the tiny splits in the leather of the bellows are getting larger, letting in more light leakage. While this adds to some of the pictures, it killed five or six of the 24 frames that I shot outright.
I discussed the dirt and scratches with Kirsten last night and she didn’t seem that keen on the blobs and fibres on the image but I really like them. I’m guessing it’s a combination of random dust and frayed scraps of the decaying bellows on the lens element. She cannae take it, Cap’n. She’s gonna blow any day!
With the bizarre system of having to focus through one viewfinder before composing the shot through a second larger screen, it’s certainly not the camera to use for spontaneous action but I think I’m starting to get the hang of the framing and camera response. I’m pretty sure I’m going to have to get the bellows sorted before I put anything else through it though as it’s too expensive to risk paying to develop and print whole rolls of dead film.
Before heading out to Denmark, I took the camera on a few news jobs. Unsurprisingly, it’s not going to win many awards for Live News at the PPY but it was fun to sneak the odd bit of analogue into a very digital workflow. Here’s master of the lens and the drum kit Kieron Doherty on one of the pursuit launches during the Oxford Cambridge Boat Race.
To end, I thought I’d demonstrate just how bad my memory can be with this whole “winding on” thing; a wonderful bit of eyeline from British supermodel Lily Cole at the Empire Awards in London, slightly impaired by the wing of the plane that took me to Denmark. I’m calling it the birth of my abstract “Runways and Catwalks” phase. *cough*