The urbanlight Whole Roll Project asks photographers to share an entire roll of film. Next in the series is Melbourne’s Barbara Fischer shooting a roll of Superia 400, in her Nikon FE.
Photographer: Barbara Fischer
Camera: Nikon FE
Film: Fuji Superia 400 (24 exposure, 35mm)
Processed: Peninsula Camera Frankston, (usual generous addition of white spots all over roll.)
Scanned: at home, Epson V500
This is a textured from a wall on Smith Street, I found it nicely ambiguous looking.
I’m quite fond of abstracts in photography.
This is also from Smith Street, I liked the red hair together with the blue sky. I probably won’t use this as an upload as everything is still fairly original with little changes or surprises. I like how there are no brand names visible in this ad.
This was taken in Ballarat and I liked this scene as soon as I saw it. There is a lonely bottle in the middle window which is a lovely little detail. I thought the bench (with a hidden naggy non-smoking sign above) was another interesting detail. I expressed my disdain for the absurd bench by slicing it in half in the picture. Take that, society.
I preferred the vertical shot to the horizontal shot I took in the next frame. It just hangs better in the frame.
This is the winner of the entire roll. Love this frame, the girl came off near perfect. I’m fond of the somewhat cluttered geometry too. This would have worked nice in black and white as well, though the bland browns suit the architecture.
The two other shots taken here without the girl are kind of for reference for myself, I may or may not use them later on, but probably won’t as I try to avoid repeating myself on flickr.
More posters. I’m interested in hidden or destroyed faces, faces that disappear as time goes on.
Having taken the winning shot already, I continue to fill up the roll with moderately unedifying scenes from around Ballarat.
I keep telling myself not to take pictures of rubbish and I keep doing it. I need help.
I have quite a few SLRs. I like the Nikon FE best for reliability and ease of use. It’s my work horse. I’m so familiar with it that I can use it without having to think about what I’m doing, it’s like my hands are doing the thinking.
If I switch to a different camera I’ll have to recall its quirks which can slow me down. I’m all for speed when taking photos in public. I like to take a shot very quickly, slide the camera back in the bag and keep walking.
I prefer if people don’t notice me taking photos as I can’t be bothered with discussions. Fumbling with gear makes me more noticeable in the street and disrupts my happy “cruising mood”.
I work from gut feeling with nearly no “verbal” or intellectual thinking when I’m looking for shots. I learned to turn the intellectual side off as it just slows me down and doesn’t help with anything. I’m much the same when viewing my or other people’s images: It’s all about feelings and emotions. The verbal, analytical part always come later for me, if at all.
I try to avoid repeating myself and always look for something fresh and unexpected. I dislike other photographers being repetitive too, I get bored easily.
Thanks Barb for that insight into how you go about shooting. Great discipline, coming across a scene like you found in frame 10 and 14 and just firing off a few shots to capture it. I guess that’s the instinctive thing you mentioned, combined with the discipline laid down on your work by shooting film.
You can see more of Barbara Fischer’s work on flickr.
A reminder to all film photographers that I am looking for participants willing to share an entire roll of film, (any camera, any format) with us as part of the urbanlight Whole Roll Project.