I shot the Area 51 Raid 2019 on a Pentax 67 using Portra 160, and it was (almost) the perfect camera for the job. Film has a way of making moments special. Shooting 6×7 and having only 10 frames per roll turns every shot into a conscious decision. The framing, metering, and intended message must be carefully considered to maximize each roll’s utility, and this extra effort is visible in the results.

Film also carries less inherent risk in an environment like the Raid. As an Air Force veteran, I’m all too familiar with the hazards of military and civilian lasers, and their potential impact on a DSLR sensor. With all the uncertainty surrounding the event, from a largely unregulated “festival” to threats of militia action from Rachel, NV residents, the possibility of catching a stray beam seemed high. Rather than risk my Nikon D850’s sensor, I got the best of all worlds with the Pentax. A stray laser can only ruin one frame of film at the worst, and the incredible images made with the 105mm f/2.4 lens speak for themselves.

Unfortunately, the Pentax 67 is not without its faults. Loading film is incredibly fiddly and the TTL meter all but gives up after sunset, which prevented me from getting many night shots despite plentiful artificial light. I also had to be extremely careful to keep dust out of the camera, which was especially important given the huge clouds kicked up by Raiders driving on miles of dirt roads.

I’d never used Portra 160 before this project, but I eventually settled on it due to its legendary flexibility and pleasing color palette, which was especially well suited to desert landscapes and Raid portraiture. Other contenders like Provia 100F seemed too risky in situations where I had to rely on the TTL meter to get a relatively fast shot off.

While I wasn’t sure how the project would turn out, the results have given the Pentax 67 a priority spot in my camera bag”

~ Cameron

Submit your 5 Frames... today

Get your own 5 Frames featured by submitting your article using this form or by sending an email via the contact link at the top of the page.

Share your knowledge, story or project

The transfer of knowledge across the film photography community is the heart of EMULSIVE. You can add your support by contributing your thoughts, work, experiences and ideas to inspire the hundreds of thousands of people who read these pages each month. Check out the submission guide here.

If you like what you're reading you can also help this passion project by heading over to the EMULSIVE Patreon page and contributing as little as a dollar a month. There's also print and apparel over at Society 6, currently showcasing over two dozen t-shirt designs and over a dozen unique photographs available for purchase.

Cameron Zucker

Based in Northern Arizona and at-home in the entire American Southwest, I strive to create images which reveal the extraordinary hidden just behind the ordinary. If I can drive to it, hike to it, or cling...

Join the Conversation

9 Comments

 

  1. Super job. The two closer portraits really show off the unique rendering of that 105/2.4 lens, while the other images tell more of the story. I kick myself for selling off my Pentax 67 with the 105/2.4 and 55/4 lenses, some filters, and the wooden grip, but take comfort in all the wonderful film photography tools I still keep around.

    1. I wasn’t used to working with such an insensitive meter so I didn’t expect to need one. I assumed it was at least as sensitive as my Bronica ETR’s AE prism, which I have no trouble shooting at night, but now I know that camera had a particularly good TTL system for its time. The Pentax is very accurate but not particularly versatile. I always carry a secondary meter now when I shoot it.

  2. I ask myself why is there a guy in pajamas in the desert and is drinking schnapps…
    That picture seems to have another story then the other 4.