My take on the Film-Look

Film Simulation: the process of obtaining the film-look from images obtained by digital means.

There are two  kinds of film-looks: the cheap-lens look and the expensive-lens look.

The cheap-lens look can be found in old family albums, pre-2000 snapshots. Typically, these photos were taken with consumer cameras with plastic lenses, using film of varying quality, film-processed in  chemical soups in different states of freshness, in thousands of developing labs where film-processing protocol weren't always followed. Finally, cameras were used with primitive focusing systems. So-called auto settings  were imprecise, let alone accurate. A decent lens inaccurately focused is a lousy lens.

Finally, to fully realize the cheap-lens aesthetic, shoot scenes with total disregard for the rules of composition, shoot into the light, shoot on Auto setting, etc. or all of the above. With or not-with a cheap lens.

The following photos were taken with a 2008 Canon G11, 1/1.7" sensor, 28-140 F2.8-4.5 lens, processesd to look like film snapshots. I tried to get away from conventional rules of composition, with little success. 

The expensive-lens look is what is found in publications and photo exhibitions. The tools used were (traditionally) not accessible to the average consumers. Professional films had a narrow exposure latitude, which necessitated accurate metering. Lenses were colour corrected and sharp (read: expensive).  Films went to Labs with  precise processing. For example, Steve McCurry used Kodachrome that could only be processed in a handful of labs in the United States.

The following photos were taken with a Sony ZV-1 with it's 1" sensor and a very sharp 24-70 F1.8-2.8, processed to look like Kodachrome 64. I used the ZV-1 because it produces detail that looks like film grain.

And two honorable mentions, taken with a Sony A7III

Paediatric Compassionate Photography (PCP), Part 2 of 4: Equipment

Part 2: Photo Equipment

In the hands of a capable shooter, any equipment will suffice. Ideally, any gear should be an extension of one’s mind, eyes, and fingers. Setting adjustments should come naturally and quickly, like a pianist not having to look down at the keys. As such, any gear that the photographer is comfortable with is suitable gear. However, there are some features that I consider to be must-haves:

1. silent shutter (a truly silent shutter, NOT just a quiet shutter),
2. Live View with a tilt or articulating electronic screen,
3. at least 2 fast primes: 24mmm, 50mm (f1.4, f2.8 minimum)
4. a mid-range zoom with a macro feature, e.g., Sony 24-105F4

A silent shutter is ideal, for obvious reasons. The moments of reflection that go along with the grieving process shouldn’t be interrupted by the click-clack of the shutter. A silent shutter, in combination with an articulating screen allows for shooting where the camera doesn't have to be brought to the photographer's eyes. People instinctively "get ready” for a photo to be taken when the photographer brings the camera to his eyes; shooting while the camera is at waist-level allows for natural “poses”. Grabbing shots when the subjects are unaware captures unguarded moments.

A 2-sec shot burst can cover a wide range of facial expressions; letting off a burst as if one is shooting a sporting event can be very upsetting.

I've been a Sony user for the last 12 years. My main body is a Sony A7III. Although the Sony menu is known as the most counterintuitive in the camera industry, I've managed to customize my settings to the point where I can change them as soon as I want to. I have gotten to the ideal situation where the camera is now a neural extension of my mind. Shooting in RAW+JPG mode means I have the best possible image available (RAW), as well as an image (JPG) I can quickly send to my phone to be quickly sent to whoever needs it right away. Face and Eye Focus is so precise that faces are always in focus if desired.

The Sony 24-105F4 is extremely sharp wide open, and the vast majority of my photos are at F4. The high dynamic range and low noise even at ISO12800 means that every lighting situation is covered. 

The fast F1.4 primes are nice to have for a really shallow depth of field. My primes are extremely sharp wide open as well, although the depth of field at F1.4 is so shallow I shoot at F2.2 just to make sure I don't miss my point of focus.

Finally, it is nice, but not essential, to have a small flash, to be used as fill-flash for outdoor shots. 

Paediatric Compassionate Photography (PCP), Part 3 of 4: Approaches and Shot Selection

 Part 3: Approaches, Shot Selection, and Editing

Paediatric Compassionate Photography presents unique challenges: cramped and limited space, less-than-ideal lighting conditions, an emotionally-charged atmosphere, at least 1 of the main subject is immobile and unresponsive to instructions, presence of children too young to be aware of the solemnity of the occasion, and a narrow window of time to capture the occasion.

The self-expectation is to capture a portfolio of images that is more than the sum of its parts, with some parts that will stand on their own artistic merits.

There are 3 ways to approach this assignment: 1) like a fly-on-the-wall, 2) with active manipulation of the scenery, and 3) a hybrid approach. The chosen approach will depend on the level of grief, cultural beliefs, medical considerations/available space, the wishes of the adults in the room, and the comfort level of the photographer. My preferred method is the hybrid approach, adjusting my active participation based on the moment(s).

Before anything else, the photographer must talk to the health providers as to the name and gender and medical condition of, and procedures-timeline for, the patient. Ask about known family dynamics; negative undercurrents may rise up in times of grief. To the patients' relatives, make it known that in addition to typical poses, you are open to their ideas and suggestions. In my experience, it helps immensely that the bedside health providers are familiar and comfortable with what I do, and they will have assured the patient's family beforehand, of my competence and professionalism. All this is to avoid awkward and embarrassing moments that will get in the way of taking photos. 

Depending on my availability, I let the staff know of the possibility for photos taken immediately after withdrawal-of-life procedures; photos of the patient untethered from medical technology is an option.

It will be up to the photographer to make an image interesting. This is, after all, what the photographer is paid to do. In theory and in practice, there are 7 principles of art and design. Here is one link that illustrates this. 

I will leave it to the individual photographer to come up with a unique shots-to-do list but here is my must-have-shots list: 

1) details such as personalized blankets, socks, etc, toys, gifts, and cards, bulletin board scribblings, bravery beads, hand molds, artworks, 2) patient's shots, whole body, hands, feet, eyes, potential clothing changes, 3) patient with family members in different combinations (with siblings, with parents, 3+ generations shots, 4) "comparison" shots such as large adult hand cradling tiny feet, tiny fingers grasping adult index finger. 5) close-ups of kissing, caressing, nuzzling, 5) a wide shot of the room for context. In all but for 5), aim for shots that minimize the presence of medical equipment.

Paediatric Compassionate Photography (PCP), Part 4 of 4: Reflections, and the Editing Process

Part 4: Reflections, and the Editing Process

I believe, as do more than a few neuroscientists, that the memory of a specific event is not solely a "flashbulb" moment but is rather, an aggregation of images accumulated over the years. My current memory of my wedding day 38 years ago is made up of photos taken by different people, some shown to us years after the wedding, and of stories told, retold, and reshaped by the people telling them. For the times my wife and I  stood together on that day 38 years ago, her memory will be different from mine.

Photography has the powerful ability to reconstitute what's in our heads so it is very critical that we carefully consider what gets released to the patient's family. It is entirely possible that their recollection of that day's events, as well as their stay in the hospital, will be significantly based on a collection of photos taken with cell phones and by the hospital photographer.

The photographs should document the reality of the situation with tenderness and love, with an acceptance of grim reality, in the presence of family and friends. There are posing techniques (beyond the scope of this post to pursue) that emphasize the connective bonds within the family, that these bonds will endure past the grief. These photographs will be shared with people not in the room and will be seen by children in the room too young to remember. These will be needed to reaffirm the strength of bonds that may be weakened with the passing of a child. These images will live on as long as there are devices to read digital information.

So it is essential to carefully consider what gets released to the patient's family. For example, for a group photo taken in a burst of 4 shots, 3 shots may have 1 key member looking away from the camera with what may be construed as a "smirk". Viewed a few years down the road, and taken out of context, a casual interpretation would be of an "uncaring" family member. It is essential that no matter what the good technical merits of these shots are, they should be discarded and not released to the family.

AND THEN THERE IS VIDEO. But this is for another post.

my photo in the Globe and Mail, Dec 23, 2023

 

https://www.theglobeandmail.com/canada/article-providing-a-sense-of-home-for-sick-kids-during-the-holidays/   Sony A7III, Sony 24-105F4 G

Street traffic on Bay and Elm

 

Toronto skyline, looking south from the 12th Floor of the OISE Bldg

 

Farmers' Market 2023

Sony A7III, Canon 24-70 F2.8, MC-11 adaptor

 

Using an ultra-wide Sigma DC 10-20F3.5

After much thought, checking out YouTube videos, FB Marketplace, B&H prices, and Kijiji, I've decided that for now, I'll stick with my trusted Sigma 10-20 F3.5 for Alpha mount, mounted on my Sony A7III with an LA EA4 Adaptor, and giving the images a subtle HDR treatment. I have an upcoming shoot this week of a construction site with bright sunlight coming in through the windows into rooms under construction, with dark unlit corners. HDR would come in handy here.

This Sigma DC (cropped sensor) lens gives me full-frame images at 14mm, albeit with heavy vignetting. Most of the vignetting are removed with profile corrections in Camera RAW. I can live with the left-over vignetting in the 4 corners. F11 is the sweet spot for this lens, IMO. A full-frame rectilinear 12mm is ideal for these space shoots, with the wider angle allowing for some perspective corrections. I'll need some paid gigs to pay for such a lens.

Here's a comparison between a "what the camera sees and exposes" and after my "treatment" was applied. Taken at 7:30 am in early January.

More photos taken at the same time.