Hello EMULSIVE community!
My name is Tom Rayfield, by day I am a secondary school teacher from Norfolk, UK. I am a passionate film shooter, who loves to shoot medium format black and white film photography. I develop all of my film, in a darkroom that I built myself last year.
Over the coming weeks and months I plan to shoot my way through the different medium format black and white films on the market, using a range of developer combinations and techniques to find my favourite combination. I will be sharing my experiences here on EMULSIVE, but before that, let me explain a little more about myself and my journey so far.
My first experience of photography came many years ago with my grandfather. I had been amazed at the pictures on the wall of his house for years; stunning scenes from his travels to Yosemite Park in America. At the time he was shooting semi-professionally, mostly specialising in black and white portraits, with the occasional bit of colour slide film. He had a darkroom in his garage, where he developed his own film, making his prints using an enlarger.
One summer, curious about the images on the walls, I asked about the photography and if I could have a go. He agreed, and we went out and took some photos of nearby buildings, churches and the Norfolk landscape. Following the shoot we went back to the darkroom, developing the film, and he talked me through the process. The following day I went back to make prints of my photos. Needless to say, I was hooked on the whole experience. Watching a photograph I had taken come to life in front of my very eyes was incredible (even if the resulting photos were either out of focus, or very poorly composed).
Trying my hand
Over the coming years I had several cheap digital point and shoot cameras (whatever I could find and afford at the time), and found myself taking many photos whilst on holiday, or of nearby buildings and architecture. Unfortunately I no longer have many of these images, having failed to backup my files properly in my youth. However, I was young, experimenting with my craft, and enjoying the process.
Fast forward a few years and I was in a position where I had a job, a stable pay-packet, and a burning desire take my photography more seriously. So I bought a DSLR and began shooting on a weekly basis, honing my skills in the Norfolk countryside. I would show the results to my grandfather, getting feedback as much as I could about how to get better. I entered a few weekly competitions on Twitter, and began participating in the photography community more and more.
My passion for the craft was continuing to grow at a rapid pace, I was beginning to develop a style and found myself shooting monochrome more and more. I even had a few images that were shortlisted in competitions, or featured online.
Despite the small successes, I found myself enjoying the process less and less, so I decided to give film a go. I had such fond memories of it in my teenage years, so why not pick it up again, maybe this is what I am missing? I asked my grandfather if he still had any of his film cameras left. He had given photography up a few years earlier due to age. His reply still haunts me to this day: “If I had known you were going to get into film photography, I would have given you my old Hasselblad”. Damn!
Returning to film
My wife bought me a Yashica Mat-124G for my birthday (she’s great like that), and so I had a go at medium format photography for the first time. I chose medium format because I liked the idea of bigger negatives to work with, and I was beginning to experiment with square format composition with my digital work. I watched many videos on YouTube about developing your own film (Matt Day in particular was very useful – thanks Matt!), and decided to give it a go.
I was shooting Ilford FP4+ and decided to get some Ilfosol 3 to go with it. I chose FP4+ because I remember using it back in my teenage years, and Ilfosol 3 seemed a good, cheap, all-round developer to get started with. Like many people do, I developed in my kitchen, using a changing bag and a few spare measuring jugs that were lying around. Fortunately the results were a success (after much practice beforehand of trying to get the film onto the spool).
Suddenly, I found myself enjoying the process all over again. I enjoyed photography being a physical thing, something that the Internet/digital age seems to have taken away, even with cheap photo prints. I was taking things at a much slower pace, considering the composition, waiting for the right light or the right moment.
I was really enjoying the darkroom process, and even bought a scanner to scan my negatives. I was so enthused I wanted to have my own darkroom space, after all, developing in the kitchen with small children in the house didn’t seem like a great idea long-term.
Building a darkroom
Fortunately, my dad works in construction and found some old floor boards that were going to be thrown away. So he asked if I wanted to build the darkroom. Excited about the prospect I said yes and we began building. The project took us three weekends, adapting some unused garage space into a light-tight space for my darkroom work. My grandfather may have sold his Hasselblad, but he still had the chemical sink, which I was able to add to the darkroom.
With a finished darkroom I worked on my development skills, trying a number of methods (stand, constant agitation, different developing times, different concentrations) with my FP4+ / Ilfosol combination. Through Twitter I came across the FP4+ Party and entered a couple of times with the images below.
By the end of 2016 I felt like I had a handle on my development process, and here in 2017, I am feeling confident at getting the film into the tank without wrecking it. However, still, to this point I have only ever shot FP4+. Not that there is anything wrong with it but I feel like I’m missing out.
What if there was something better suited to my style, and I was unaware of it? What if Ilfosol wasn’t the developer for me?
So that is where my project for 2017 came from. My plan is to try all of the different medium format black and white films on the market. On hand I have Fomapan, FP4+, HP5+, Pan-F, Delta, Tri-X, T-MAX, Fuji Acros and Rollei Retro to name a few.
In the summer months, when the sun finally returns, I will give Rollei Infrared 400 and Ilford SFX 200 a go, as my infrared experience is minimal so far. As for developer, I will be using Rodinal and DD-X to begin with, and I will look to others once those run out.
Over the coming weeks and months I will be sharing my experiences with the different films and developers, sharing as much detail as I can about the whole experience.
The articles won’t be as long as this one has been, I promise. Obviously your mileage may vary with the results and preferences, but hopefully this will be useful to some of you out there who are thinking about giving other films a go.
Looking forward to having you along for the ride!
~ Tom Rayfield
Update: this series has grown considerably since it started and you can catch up on all of the other articles in my Finding Film series by following the links below:
- Finding Film part 15: Fomapan 400 Action
- Finding Film part fourteen: Bergger Pancro 400
- Finding Film part 13: ILFORD HP5 PLUS
- Finding Film part 12: Ilford Delta 100 and 400 Professional
- Finding film part 11: ILFORD SFX 200
- Finding Film part 10: Rollin’ Rollei Retro 80S and 400S
- Finding Film part 9: Fumbling Fuji NEOPAN Acros 100
- Finding Film part 8: Getting to know my Lady Gray 400
- Finding film part 7: Let there be light AKA a disaster with Delta
- Finding film part 6: taking it slow with ILFORD Pan F Plus
- Finding film part 5: All GAS-ed up and time for T-MAX 400
- Finding film part 4: ILFORD FP4+ strikes back
- Finding film part 3: Czeching out Fomapan
- Finding film part 2: expanding my horizons with Kodak Tri-X 400, Rodinal and Ilford DD-X
- Finding Film part 1: experiences so far
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