NEWSLETTER 27.10.2020

Hello and welcome to this weeks newsletter!

A lot of fun analog shooting this week, and there has also been time for some shooting for DennyΒ΄s Instagram too with the Olympus. We were really lucky and the sun showed up through the clouds just as we set up, and left the second we were done shooting! Sometimes you are just at the right time and place.

It was cold as hell but the stunning background and weather made it worth it.

Easy for me to say at least, cozy in my thick jacket operating the camera:)


As for our eternal roll of Lomochrome purple, it is finally finished and tucked in the fridge together with the finished roll of Ilford PANF Plus 50:) I have now loaded a new roll in the Flexaret at which I am at shot number 3. The film I have loaded is a Fomapan 100. (The link directs to Fomaphoto where I got mine. Super fast delivery and great customer service!)

I am also thinking to load up a Pentax with a Fomapan 400 pretty soon. Might focus on the Flexaret first as I have finally gotten a new base plate for the tripod(lost the previous one outside somewhere:(). So I am ready for steady shots and long exposures again.

The baseplate I had was a TY-50E so I got a TY-70A this time. This is actually for video cameras, but fits my needs perfectly. This has both a 1/4 and 3/4 screw. That means I then can fit both the Flexaret on 3/4 and all the Pentax cameras as well as the Olympus on 1/4. It is also a bit longer the plate which fits nicely on the Flexaret.


And finally, I have gotten notice of that my Fomapan 200 is now finished developed in the lab. Think that is 6 weeks! To their defence I was told that it would take some time since they don't focus on black and white developing. Therefore there is a big time gap in between developing films. If this is due to low demand I do not know.

The reason I use this lab and not the other faster lab, is because of the quality. The other lab is faster but there are lots of dust and roller marks from the machines. Id rather wait 6 weeks and everything looks good since you can not redo a developed negative.

This is why I am set on developing my own film.

Actually there are several reasons;

A: It goes faster, of course

B: It will be cheaper in the long run

C: I will have a certain amount of control on the end result

D: I can make the process more friendly to nature, which is the most important for me.

E: It will be so much fun!

So I have now recently ordered some developing equipment, and we will get into that when I have tested it out:)

So how am I going to get those analog shots ready for printing you may wonder?

Well, there has been a few decisions made,

and some hard biscuits to swallow on the matter.

I will bring you through them:

When you are shooting analog and want to develop and process your own work you have two main choices: You either get a darkroom and print from your negatives, or you scan the images. As mentioned in the last newsletter, I have set my eyes on the latter.

This poses a dilemma:

If I am going to scan the negatives after I have developed them, how will I be able to leave them as they are shot in the camera? You would think it is easy and just actually scan them in and don't do anything. Well its not that simple. You actually HAVE to do something to make it become a positive. This is set from the developing labs if you develop them there, but if you are scanning yourself you have to kind of invert them in to viewable pictures. I will get into this in further depth as I scan more negatives.

The whole point in me telling you this is that it leaves my promise of untouched shots(as in post production; lights, colours, contrast etc)something as flat out as a lie.


Because when you are inverting(I know its not the right term) the scans in photoshop or whatever platform you use, you have already adjusted them digitally and it is difficult to draw a line here.Therefore I have come to this conclusion as I know I will only experiment more and more with this as the post processing nerd I am;

I will keep all analog shots as they are taken and not in any way adjust what is in the frame.

That meaning I will not add or subtract to them through digital post processing.

(ie composite photographs). Lights, colours, contrast, hue, sharpness, grains, blur and everything you can adjust in the Olympus raw plugin (under arrow number 10), Photoshop and Lightroom, I will be setting to my liking as expected.

Its been a hard thing to adjust too as I want the analog work to be as in-camera as possible. Someday, when I have my own darkroom I will revenge:)

As for the scanning process of negatives I am going to be scanning them with my Olympus camera. This is a good setup if your camera is of a certain quality (the professionals debate a lot what is good enough:)) Basically you have the camera take close up pictures of the negatives. This can be done several ways in boxes and against walls, but I am going for the option of shooting with the camera on a tripod. I then put the negatives on a light source(preferably a light table) and use a holder of some sort to flatten the negatives completely. This is imperative for a good scan they say, and it makes sense, as you don't want your negative in different lengths away from the camera shot at such a close distance. You also want the holder a bit away from the source(if you are using an pad or a phone such as me)so you don't see pixels through the negative. Keeping the distance blurs them out. Here is a snapshot of my first attempt:


Another piece of equipment you need is a macro lens. I have acquired lately is a M. Zuiko macro lens which I need to get close enough to the negatives to scan them. I did try with my 14-40mm Pro lens, and it actually managed to give me a 17,9 megapixel scan with a tiny bit of framing from the negative. Since the shots are taken with a sensor shift 40 megapixel shot, that is giving me below half of what is possible with a print sizing of about 30 x 40 cm. This is way too low, and I need a lens that is capable of filling the frame at 40 megapixels. If I use the Olympus raw format it is supposedly possible to get a 64 megapixel shot! Now that's not bad for a 16 megapixel camera, and I am definitely going to try it!

I will of course go further in depth into the scanning process of equipment, how to and results with this setup when I get through it.

First I just want to test and tweak the set up.

This will be on its own post in the near future, so stay tuned:)

The cameras are screaming and the dim light is whispering long exposures, so gotta go!

Until next time, keep shooting and stay safe, Sjur


Where, when & how

We use instagram and our facebook page where there will be 1-3 picture-posts every week. You can reach our accounts through the social links in this newsletter.

Every Tuesday we will release the previous weeks artwork in the shop of our website.

The previous weeks artwork will be the pictures used in the newsletter.

You will always see the newest artwork added on the top of our website galleries.

On Tuesdays the newsletter will arrive in the blog section, and if you sign up you will be notified and get a direct link:)

We hope you will enjoy it, and please let us know if there is anything you are wondering or want to share by writing us: back@blacksnailprints.com

If there is anything you would want us to write about, wonder, or if you have criticism or good vibes to share, please don't be shy:)

Stay safe, bsp

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