{"id":143901,"date":"2020-12-10T12:00:18","date_gmt":"2020-12-10T12:00:18","guid":{"rendered":"https:\/\/other.kelsey.host\/amateurphotographer\/?p=143901"},"modified":"2021-04-23T15:46:23","modified_gmt":"2021-04-23T14:46:23","slug":"give-your-film-images-the-classic-movie-look","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/film\/give-your-film-images-the-classic-movie-look\/","title":{"rendered":"How to give your film images the classic movie look"},"content":{"rendered":"

Ian Howorth thinks his Instagram account<\/a> is a bit of a mess. There are, however, around 150,000 people who disagree with him enough to follow his every move, and a very good number of those tune in to like his images within minutes of them being posted. In fact it was on the strength of the pictures he shows on his Instagram story that AP got in touch with him for this interview. He is modest about his online success and says that as much as he really does appreciate the followers, the likes and the messages, the number of followers he now has is not what drives him.<\/p>\n

\u2018It\u2019s a nice ego stroke whenever you need one,\u2019 he tells us, \u2018but I got over it when the follower numbers reached 50,000. Beyond that it just felt like \u201cmore\u201d and doesn\u2019t do me any extra favours. I am very grateful though. One of the great things about Instagram is that it keeps people shooting outside of project work and keeps you motivated to shoot all the time. Photography, like most things, is better when it is shared.\u2019<\/p>\n\t\t

\n\t\t\t\"\"\t\t\t

Make Out City<\/p>\n\t\t<\/div>\n\t\t\n

Inspired by old movies<\/strong>
\nAnd Ian does seem to be shooting all the time, making pictures that mean something to him on an emotional and visual level, and that he hopes will mean something to us too. Heavily influenced by the movie-watching habits of his parents, Ian grew up surrounded by images of the 1960s, \u201970s and \u201980s which has clearly marked the way he sees the world, the subjects he seeks out and the style in which he records his photographs. \u2018The look is engrained in my idea of what is supposed to be attractive,\u2019 he explains.<\/p>\n

Using film is a big part of achieving that style too, as Ian says the look he aims for can\u2019t be found in digital cameras. \u2018I work with digital cameras all day for my nine-to-five, running the social media for camera retailer MPB. They are great but film gives me a look I can\u2019t yet get with a digital camera. I\u2019m not a film snob,\u2019 he emphasises, \u2018and I don\u2019t need to touch the emulsion \u2013 and when a digital camera comes out with a look that pleases me I\u2019ll be sold. At the moment though I can only get the look I\u2019m after from film.\u2019<\/p>\n

When asked about what it is that film gives him that digital photography doesn\u2019t, Ian says: \u2018It\u2019s quite hard to explain, but to me digital looks like \u201ccapture\u201d, not art how I see it. It\u2019s very factual. I don\u2019t have anything against digital photography, and there are lots of people creating wonders with it, but at the moment digital photography requires far more work than I am prepared to put in. If I did all that work I\u2019d feel like a digital artist, not a photographer. Don\u2019t get me wrong, I have pictures I\u2019ve shot digitally that I adore \u2013 but lots that I don\u2019t. But when I get a good picture with a digital camera I always know that had I shot it on film it would have been even better.\u2019 It\u2019s quite unusual for a photographer to suggest that shooting digitally is more work than when shooting with film, as most would consider digital photography very much more convenient. \u2018But photography and art has never been about convenience,\u2019 Ian says.<\/p>\n\t\t

\n\t\t\t\"\"\t\t\t

Mandy\u2019s<\/p>\n\t\t<\/div>\n\t\t\n

\u2018That\u2019s not what it is about. It isn\u2019t supposed to be convenient. It is supposed to be hard. I like things that are difficult. Not only does it separate you from the rest of the field, it teaches you something \u2013 something you can\u2019t quite put your finger on but something that lives inside you. It sounds incredibly pretentious to someone who doesn\u2019t understand what you do, but experience teaches you things that people who don\u2019t have that experience just don\u2019t understand. The hard work with digital photography comes after the shoot to make the picture look like something, but with film the picture is finished as soon as the film is processed and scanned. It really doesn\u2019t need much more work.\u2019<\/p>\n

Ian started life as a filmmaker but found the process took too long and cost too much money. He had always taken stills too with a Canon 7D and a Nikon D810, but when a friend gave him an Olympus OM-1 he ran a roll of Fomapan black & white film through it and loved it straight away. \u2018The next weekend I took it to Seaford with some friends and the weekend after that I was going to Peru for a three-week trip. I immediately decided to take the film camera and 30 rolls of film. I took a digital camera too, but I shot all the film. Most of the shots came out looking terrible, but I loved it.\u2019 Ian says he enjoys the thought process that he needs to go through when shooting with film and when the results can\u2019t be viewed immediately.’<\/p>\n\t\t

\n\t\t\t\"\"\t\t\t

Composition in red and blue<\/p>\n\t\t<\/div>\n\t\t\n

I\u2019m incredibly impatient with everything and I don\u2019t have much will power to do things I don\u2019t want to do, but shooting film has taught me patience. I like that I don\u2019t rely on a viewfinder to get my exposure correct \u2013 with film I have to know what I\u2019m doing. I can\u2019t correct things in post, so I have to tighten myself up like a racing machine. I like that process.\u2019<\/p>\n

The cameras<\/strong>
\nIan shoots with a mixture of 35mm and medium format cameras. After the Olympus he bought a Canon A1 but then moved to a Nikon FM3a for the combination of aperture priority exposures, the exposure lock button and a top shutter speed of 1\/4000sec. When he needs medium format he has a choice of the Mamiya 7 ll and Makina 67 rangefinders and the Hasselblad H1 SLR. \u2018I shoot a lot of 35mm even though I have three expensive medium format cameras, but it\u2019s about what you need in the shot. 35mm is for charm and a certain aesthetic that requires a bit of grain and not perfection.<\/p>\n\"\"\n

\u2018Medium format cameras are so much more cumbersome and annoying, but as soon as you start shooting medium format everything changes. There are shots I\u2019ve taken that I have no idea how they got to look like that. Medium format gives you a depth of colour and light that so far I haven\u2019t seen from a digital camera. It has a gradation from highlight to shadow that is so smooth in its transition that digital photography can\u2019t replicate it. And there\u2019s a softness in its sharpness that I can\u2019t explain. A good medium format lens will be sharp but it doesn\u2019t scream about it \u2013 in fact it is often the last thing you notice. With some digital camera systems the sharpness is the first thing you notice. My Mamiya 7 ll can be a bit sharp sometimes so I might soften it with a Tiffen Pro Mist filter.<\/p>\n\t\t

\n\t\t\t\"\"\t\t\t

Em<\/p>\n\t\t<\/div>\n\t\t\n

\u2018The difference between 35mm and medium format is like if you drew a landscape on a big piece of paper and a small piece of paper. On a big piece of paper there\u2019s space for more detail and colour information than there would be on a smaller piece of paper. The extra size allows room for those gradated tones and colours. Medium format film cameras are a headache, especially when compared to cameras like the Hasselblad X1D and the Fujifilm GFX system, but the extra effort is worth it.<\/p>\n

\u2018I don\u2019t have a massive attachment to the cameras though. They are there just to do a job. They all have a different purpose, and when a camera doesn\u2019t have a purpose for me any more I just get rid of it.\u2019<\/p>\n

Which film?<\/strong>
\n\u2018It has taken me a long time to find the film I like, and I\u2019ve done it by trying lots of different emulsions. My favourite is Ferrania Solaris 100 from Italy. They stopped making it in 2008 and the last batch expired in 2010, so it is hard to get hold of. It creates warm reds, yellows and greens so they just pop. You can almost see a colour cast, but the whites stay white. You can pay a lot for rolls now, though I always check the conditions in which it has been stored.<\/p>\n\t\t

\n\t\t\t\"\"\t\t\t

The arrival<\/p>\n\t\t<\/div>\n\t\t\n

For medium format project work I\u2019ve become a bit more sensible after getting some terrible results from expired 35mm, so if I\u2019m shooting a model or a portrait where I need consistent results I shoot Kodak Portra 800 or 400, or off-cuts of cinema film. I also like Lomography 400 and 800 as it provides lots of colour and really nice grain. I need a look to be replicable when I\u2019m shooting a project, so it\u2019s no good getting halfway through and finding you can\u2019t get any more of that film. For personal work I like expired Kodak Portra VC and Ektacolor Gold, but I\u2019m always looking out for different things. I\u2019ve learnt which expired film to buy now, and have a rule that for ISO 100 film I\u2019ll go back as far as 2004 whereas for 400 and above I stick to 2008. Medium speed films degrade more quickly. I also ask lots of questions when I\u2019m buying about how it has been stored.<\/p>\n

\u2018I do shoot slide film too, but not as much. I was involved with the launch of Kodak Ektachrome in 120 last year, but I also use Fujifilm Provia 400X which I love. Provia 400X is all expired now, but it has held its speed really well. \u2018I don\u2019t process my own film, as I don\u2019t have the time. I\u2019d like to though. I don\u2019t think I\u2019d ever print in colour, but I\u2019d love to print my black & white negatives in a darkroom.\u2019 Ian uses the local Brighton Film Lab for his film processing, and gets the negatives back without prints or a contact sheet.<\/p>\n

He uses a lightbox and a loupe to inspect the results and uses an app on his phone to view negatives as positives. He then uses a scanner to digitise his photographs so he can post on social media and create prints and books. As he shoots both 35mm and 120 roll film he chose a Nikon Coolscan 9000. \u2018This gives me 4000dpi,\u2019 he says \u2018so I very rarely need to do a drum scan. The quality of your scanner is really important \u2013 sell a camera if you need to so you can get a good one, especially for medium format. There are lots of good scanners for 35mm, but not for medium format.<\/p>\n\t\t

\n\t\t\t\"\"\t\t\t

D.W.T\u2019s<\/p>\n\t\t<\/div>\n\t\t\n

\u2018I don\u2019t do much editing with my scanned images. With digital I have to do a lot of editing, but digital is meant to be a blank canvas and is made not to have a vibe in the way that film is and does. \u2018Shooting film is very expensive, but I have a simple life and I don\u2019t spend money on a lot of other things and fortunately my girlfriend likes the things and places that I do, and she doesn\u2019t need fancy holidays. Other people spend loads of money on clothes and booze, but I spend that money on film. I do get a return though, as print sales and books make about 25% of my income. Shooting digitally would be a lot cheaper, but I don\u2019t shoot excessively. I might shoot ten rolls over a long weekend trip and 20-30 over a week away abroad. So I\u2019m quite moderate. I know what I\u2019m looking for and don\u2019t just shoot anything.\u2019<\/p>\n

Locations, themes and atmosphere<\/strong>
\n\u2018Photography for me has become very simple, I know what I like \u2013 it\u2019s all about colour and emotion. I don\u2019t like going where everyone else is going, I want to find special things and places. The places that attract me, that have atmosphere and that 1970s vibe tend to be a bit more downtrodden. When you see something old in Brighton where I live it\u2019s usually a reproduction, so I like to find places that haven\u2019t modernised.<\/p>\n\"\"\n

Things were better made in the \u201970s and built to last. I like the design and textures of that era. My pictures are stories about people, even when there are no people in them. I want the pictures to tell all the story about the place so I don\u2019t want to rely on acres of text. My pictures aren\u2019t always about that specific place either, I just look for things and scenes that sum up a certain vibe. \u2018My work is all about emotion \u2013 that\u2019s all I\u2019m trying to convey. It could be a can of Coke on a bin \u2013 I don\u2019t care how I get it. If I like it then I shoot it. There are emotional and technical ways of thinking about photography. Sometimes they are intertwined and sometimes they are very separate.<\/p>\n\"\"\n

\u2018I doesn\u2019t really matter to me what other people think about me shooting on film. I thought it would be a way to differentiate myself, but actually all the art photographers I like also shoot on film, so it doesn\u2019t. I get some funny remarks at work, and people joke that my cameras are expired as well as the film I use, but most quite like the idea that I use film. Actually it\u2019s older people who don\u2019t understand why I want to. They\u2019ve all switched to small and light digital cameras and don\u2019t get why I like to shoot on film. You\u2019d think they would appreciate the qualities I\u2019m after, especially those who have been taking pictures all their life. They aren\u2019t saying, \u201cI\u2019d like to but I can\u2019t\u201d \u2013 they really don\u2019t get what I\u2019m doing.\u2019<\/p>\n\"\"\n

Three tips for new photographers
\n<\/strong>1) Don\u2019t be too scared of picking up a film camera. Film is forgiving and even in the automatic modes you will get a decent result.<\/p>\n

2) Don\u2019t be afraid to add that vibe to your workflow. It will add a certain something to your pictures. If you don\u2019t like the look, then you can always just sell the camera.<\/p>\n

3If you like the idea of shooting on film, speak to other photographers who are doing it already and look at the work of film photographers. You don\u2019t need to speak to digital photographers for advice \u2013 that would be like asking Roger Federer for advice on making a vegetarian lasagne instead of asking him about tennis. Listen to the people whose work you admire and who shoot the way you want to shoot.
\n<\/strong><\/p>\n

Follow Ian on www.instagram.com\/ihoworth or see his website<\/a>. Prints are available here<\/a>.<\/p>\n

\u2019<\/p>\n","protected":false},"excerpt":{"rendered":"

Film photographer Ian Howarth explains how to get the look of movies from the 60s, 70s and 80s in your images, sharing camera and film tips, too<\/p>\n","protected":false},"author":7,"featured_media":143907,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1617,374,39],"tags":[],"product-category":[],"class_list":["post-143901","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","category-interviews","category-photo-news"],"yoast_head":"\nHow to give your film images the classic movie look - Amateur Photographer<\/title>\n<meta name=\"description\" content=\"Film photographer Ian Howarth explains how to get the look of movies from the 60s, 70s and 80s in your images, sharing camera and film tips, too\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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