In Praise Of Old Things (No, not me)

It is my occasional habit to ditch eating lunch and go for a walk with a camera. I use this time to both test some new ideas, techniques, developers, etc. while at the same time trying to make real pictures. Of late, a fallen dead tree in a nearby forest preserve has captured my repeated attentions. The light at high noon on the dead branches against the darkness of the forest behind it is something I am still trying to conquer.

Anyway, today's exercise had to be quick since I had meetings all afternoon. I set up, shot 2 exposures each of 2x3 Tri-X and HP5+, and got back with plenty of time for the afternoon jawboning.

It was not until I processed the film after work that I realized I had just participated in an exercise where everything in the process except the chemistry was ... old.

I shot on a 2x3 "Baby" Speed Graphic with the aftermarket Graflok back upgrade I installed some years ago. I don't know when mine was made, but they went completely out of production by 1970.

The lens was a 180mm f/5.5 Tele-Arton - again I don't know the age of mine, which is pristine - but these were done in production in the late 1960s.

The best part was the film. The HP5+ expired in 2018 but that 2x3 Tri-X has an expiry date of Nov. 1969 (and I have multiple boxes stashed away too).

All old, all working quite nicely, thank you very much. The negs are hanging as I write this and they look just fine, though there may be just the slightest hint of fog on the Tri-X, but certainly nothing to worry about.

While the developer was fresh (D-23 1+9 + 0.5g NaOH/l), the formula is forever years ago old.

In a world in which everything seems to have a 10 minute half-life, it is somehow satisfying to realize that it is possible to do creative things using tools from a very old toolbox.

P.S. I guess it's time to start using the 1940s "Reporter" typewriter I bought for 75 cents at a garage sale 30 years ago. It is in perfect condition. They wanted $1 but I talked them down ...

There’s a photographer whose work I really admire, Eric Henderson, who uses (used? not sure if he’s still active) a Hawkeye Brownie- a great quote from him: “I use the Brownie camera exclusively, but not for any nostalgia. I mean, I dig the design and the 1950ness of it, but I'm intrigued by the idea of technology often advancing not because we've exhausted it, but rather because we simply want something new.” Kinda describes where photography is at right now, always wanting something new rather than making interesting images.

KinoGrafx said:

TKinda describes where photography is at right now, always wanting something new rather than making interesting images.

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I have a triple convertible and a double convertible Protar I wouldn't trade for pretty much any large format modern lens. Love the Protars and Dagors!

Let’s not forget ourselves, we also age. I realise that while I gain precision and dexterity every week my hands are getting weeker, faster tired. Old does not necessarily mean bad but everything that’s not in daily use is doomed to rust away. Luckily I was able to disassemble a Switar 10 with corrosion, it fought fierce resistance. Brass and Nickel in touch must not become damp.

Like many photographers today, I usually swing my digital camera up to my eye and shoot. If I want to try some weird angle or other chancy shot, I just keep pushing the shutter.

However, if I want to experience real photography, I take the time to set up my 1909 Senica 4x5. cut film camera. A gift from my late uncle in the 1970's, it matched up perfectly with a Wollensak lens form a 60's vintage Polaroid.

I may take me 15 minutes to set up the shot that is upside down and backwards on the ground glass view plate, judge the light or read a light meter, set the aperture, set the shutter speed, check, and double check the readings and set up, insert the film holder, pull the dark slide, then push the shutter release.

It sounds like a lot of work, and it is. As is the processing of whichever film I had selected. But knowing that you were responsible for end results, mostly good, but occasionally not so good. You made all the choices, not some unknown techno-programmer; gives a feeling of accomplishment to those who enjoy doing these things.

Grandpa Ron said:

Like many photographers today, I usually swing my digital camera up to my eye and shoot. If I want to try some weird angle or other chancy shot, I just keep pushing the shutter.

However, if I want to experience real photography, I take the time to set up my 1909 Senica 4x5. cut film camera. A gift from my late uncle in the 1970's, it matched up perfectly with a Wollensak lens form a 60's vintage Polaroid.

I may take me 15 minutes to set up the shot that is upside down and backwards on the ground glass view plate, judge the light or read a light meter, set the aperture, set the shutter speed, check, and double check the readings and set up, insert the film holder, pull the dark slide, then push the shutter release.

It sounds like a lot of work, and it is. As is the processing of whichever film I had selected. But knowing that you were responsible for end results, mostly good, but occasionally not so good. You made all the choices, not some unknown techno-programmer; gives a feeling of accomplishment to those who enjoy doing these things.

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Yep. I use my various digisnappers for either tourist pictures or as a replacement for serious color work I would have once done with film.

But for serious monochrome, nothing beats a piece of film whether hiding behind a red dot, a mirror, or a long bellows. After 50 years, these still excite me.

I like to exercise my older cameras with a walk occasionally.