If you read the last two posts, you get that I fell in love with Paris for the second time (or the third maybe, one shall not count when it comes to love).
So this is my last post of the digital shots made with the M262 and the Elmar 50 or the Summicron 35.
You guess by this last sentence that there are indeed some analogue shots of Paris but that will be for another post.
Goldilocks’ car a pre WWII Citroen Rosalie I think
6 or 7 weeks after these pictured le M11 is out and the M262 really feels like an antique. But I still really like it, faithful device, my goto camera.
I did not go camera shopping in Paris. Err, ok I went to the Leica shop on the Faubourg Saint Honoré, to check on the film MP prices in France. This camera is a beauty, but do I really need it? Ah let’s wait a bit longer…
Probably translate literally to “Boss pour us a little one, we are thirsty”. Paris and its bistro’s could fill a life of photography.
I spent a week in London recently with my family and brought the usual travel kit (Leica M, M262 and the Summicrons 28mm Asp, 35 Asph v2 and 50mmv5), I brought a nice set of films but in the end I did not shoot much, only a roll of TriX and half a roll of Portra 400. And on digital as we are here I took a mere 300 shots.
Looking at the TriX shots I am quite pleased; as usually they have been dropped for processing at Ruby photo in Singapore and scanned at home ; but when I was there I was a bit puzzled about what or who to shoot.
On one hand I am so used to travel in Asia that I am a bit lost in European cities, I am not sure about people reactions to the camera (I like candid shots), but also I think the whole way the big city works need so getting used to. So a bit of frustration. Maybe also my expectations were a bit too high, who knows.
London as changed a lot since I was last there 14 years ago. The south bank area is so lively now, also packed with tourists and street performers.
Asian tourists selfy-ing themselves are everywhere, but that’s the same all over the planet. Here at the Borough Market, a place that I never saw before, this is definitely a good area to shoot.
There are many food stalls there.
Some attractions on South Bank are using old lorries that are worth a shot imo. I only realized today that the London eye was reflecting on the bonnet of the lorry, I would have framed it better if I have known.
A morning stroll in SOHO, is also a nice opportunity for people shooting.
Or just window shopping.
In the places I never visited before was Ealing Broadway, home of the Ealing Studios who produce(s/d) cinema and television shows.
Finally another happy discovery was Old Spitalfields Market that I visited the day of the vintage records market.
The city is one of the most sacred places in Sikhism, it is a big hour drive from Chandigarh.
The main Gurudwara is situated on a hill, you walk up from the parking.
It is quite beautiful and offers a great view on the surrounding area.
This place receives a lot of pilgrims as it is the place where the last two Sikh Gurus lived, so it is quite interesting to see the infrastructure. Below a hall were pilgrims can rest.
And below a young Sikh guarding the guesthouse for pilgrims (we unfortunately could not visit one).
The communal kitchen of this Gurudwara is also hudge. They have big pots.
In the kitchen he lady below started singing while making chapatis.
Finally a good shot of the chapati making machine:
Next we walked to a nearby temple with a sacred well a hundred stairs below ground.
From the outside there is a beautiful view on the Virasat-e-Khalsa, the museum of Punjab and Sikhism.
This museum is very well done, interesting and didactic, although it may sound a bit propagandist or proselyte , it gives a lot of information on the history of Punjab and Sikhism. I think it is a must do, to help memorize or clarify the things we learned through our trip.
A once in a lifetime trip, done for the second time : April – May we went on a family trip from Singapore, to Auckland, to Tahiti, to Easter Island and back. In total more than 30 thousand kilometers or travel. And on top of packing both swimsuit and polar jumpers (Auckland and Easter Island are on the cold side compare to our usual 30 degrees), the eternal question. What camera do I take.
Of course the Nikon D700 is part of the trip, with the perfect travel combo: 50mmF1.8, 17-35F2.88 amd 80-200F2.8, a few filters, several cards in my new Pelican Case CF card holder, a spare battery, charger, flashgun, and Tripod (barely used). For film I immediately settled for the waterproof Heineken Camera loaded with Tri-x for fun and beach and then I pondered what serious film camera I should bring.
Although I have a kind of return of love for the Leica, I think it is too fragile for this trip. The Hassie is too big for the hiking part in Easter island, the Nikons are a bit too unpredictable (although it would have been fun to bring the F3 back there after 20 years). Finally I decided for the Agfa Isolette, it is small enough not to be a pain to carry so I can eventually forgive bad results if any.
The Agfa still has a problem with the rangefinder, so I have to guestimate the distance and report it on the lens but all in all with Tri-X and bright sun most of the pictures are taken around F11 so focus is not an issue.
I only shot two rolls, all in Easter Island also called Rapa Nui in local dialect.
One day on the Anakena beach I met a nice Chilean lady with a Rolleiflex taking shots of the beach and the statues who are sitting on its background. I was as so happy to meet a charming fellow film photographer that I offered us a roll of Rollei RPX 400 to try.
We stayed at the wonderful Explora Hotel, unforgettable experience there; we made a couple of hikes with the new manager Francisco as above on top of the highest peak of the island.
Did I mention that this is our second time there? We went in 1995, 20 years ago for our honeymoon; I was carrying the Nikon F3 then, so this is why I considered bringing it back. I had a couple of old shots on my phone and inquired about people on them. Unfortunately on the three identifiable person, 2 have passed away; but the young boy visible on one, is now thirty and a father of two have I been told. I did not manage to meet him though.
During last summer holidays my wife looked into an old card-box in the garage and found the Canonet 28 her dad offered her for her 10’s birthday. The camera was still boxed, with the never ready case, strap, manual, guarantee card and a film still engaged.
All looked in perfect condition at the time, but I did not have time to take it for a try and the wife did not want to bring it back to Singapore.
So last month we were back to France for Christmas holidays and I planned carefully to arrived with a roll of Tri-X and an Alkaline battery to make my test. Opening the box a second time was a different experience: the never ready case is very deteriorated, and some joint on the camera door are desaggregating as well. The battery contact shows some corrosion but my father in law was clever enough to remove the old battery before packing the camera. All in all the camera is in good shape, but bought in 1975 and packed probably since the middle of the 80’s (30 years ago), it is not in pristine condition.
After cleaning the contacts, I loaded the battery and the roll of film and the meter start moving when the aperture ring is set to auto mode. I went though the documentation but could not get the meter to give me a speed indication when I select the aperture manually; so all the shots are done in full auto mode.
Results are quite good I think. Quite good contrast if not sharp. There is a few limitations ISO is limited to 25 to 400 range and speed from 1/30th to 1/600th. When it is getting dark, the camera will take pictures at 1/30th F2.8 which cause some motion blur or under exposure. Focusing is easy and seems quite accurate.
I saw the fence and just thought about Geoff Dyer’s book “The ongoing moment” that I am finishing at the moment. He makes a relationship between a 1916 shot of a fence by Paul Strand and a far later picture by Michael Ormerod echoing to it. And here I am in the next century, 100 years later indeed, in front of the fence… really I have no shame
And now for those who read carefully the start of the post. What of the film that was engaged in the camera? This was Konika SR-V 100 color print film; manufacture in the late 80’s; so this is probably expired for 20 odd years. I rolled it back carefully, loaded it in the Nikon F3 and shot it at 50ISO and brought it to the lab… absolutely nothing was shown on the negs when I collected them. Too bad….
This is a lucky year for the Digna, not only did he get to shoot a roll of slides at Christmas but as I was recently on holidays back home I did 2 more rolls with it. 3 rolls in a year this is unseen for this little camera that I use on for holidays.
What I like the best is what I call the “Lomo effect”, the little distortion of the picture that make it a bit more interesting. So these are just holidays snaps, with this little extra.
Pictures are done with KodakPortra 160 and Kodak Ektar 100 all shot at 100ISO.