EMULSIVE | Apr 18, 2018 | 11
#FP4party January 2018 winner announcement
The community-voted winner of January 2018’s #FP4party is here and we have a clear winner and two runners-up. I don’t want to prattle on as usual, so let’s get straight into it.
fro-mo – @fromotography
shadow of youth, granada 02/01/2017.
camera: #leica M3
lens: #canon LTM 50mm f/1.8
film: Ilford FP4 Plus in Ilfosol 3
#fp4party #filmphotography #photography
calor_gas_terry – @calor_gas_terry
Day1 #FP4Party, steel spiral staircase leading down to the vault at the Millennium Seed Bank at Wakehurst Place. OM2n 50f1.4, LC20 1+19
Sandy Phimester – @SandyPhimester
Emily on @ILFORDPhoto 4×5 format FP4+
@FP4Party simply one of my favourite films of all time #fp4party
Here’s a little about the image from Sandy himself:
This was shot on my Speed Graphic with Kodak Aero Ektar lens. FP4+ at box speed. The model’s name we will say is Reau and the location is a beautiful old heritage house here in the city – 100+ years old, in Edmonton, Alberta.
Black and white is preferred for me in most cases, as I find it a little less distracting, just a personal thing I have in mind. If the lighting is going to be stronger, and lends itself to deeper contrast – AND I can shoot with slower film, then I always choose FP4+. It’s one of my all time favorite films in any format, but especially large format.
The rich, deep blacks and overall look of skin tones are what I find most pleasing, I just love the classic look of the film. For me it’s perfect.
As for the lens, it’s my favorite. All time. There’s a dreamy quality to how it renders a scene, it’s sharp enough wide open and has a very special look to the blurred out portion of the photo. That, combined with its extremely narrow depth of field make for a challenging but rewarding experience.
Working slowly, and carefully with large format and such a unique lens has really made my recent experiences with photography feel more…deliberate.
Before any photo is taken I spend the majority of my time looking through the back of the camera, evaluating the scene, light and overall composition. Once it comes to working with someone in the photo, I try to take my time and make sure what I’m doing is what I had in mind, or what I’ve set out to do. It’s often that I find myself spending ten minutes on a shot and then scrap the entire thing and move on to the next scene.
As ever a massive thanks to everyone for taking part! At the time of writing the shortlist for February’s final FP4party of 2018 is in progress and for the record, we’ll be taking a break for parties in March and back in April with something a little more…colourful.
Write for EMULSIVE
The driving force behind EMULSIVE is knowledge transfer, specifically creating more of it in the film photography community. You can help by contributing your thoughts, work and ideas to inspire others reading these pages.
Take action and help drive an open, collaborative community: all you need do is read this and then drop me a line.
Lend your support
Like what you see here? You can support EMULSIVE by helping to contribute to the community voice on this website (see above), or by heading on over to the EMULSIVE Patreon page and considering financial support from as little as $2 a month.
As if that’s not enough, there’s also an EMULSIVE print and apparel store over at Society 6, currently showcasing over two dozen t-shirt designs and over a dozen unique prints of photographs made by yours truly
In short, I want to continue building this platform and I’d love your help to make that happen.