Also, obviously the rules only apply to this project, I wouldn't insist that everyone involved ONLY shoot this way for a year for all their work.

Brb, stocking up on Tri-X.

Also, 1 filter only.

Count me in. Thank god I've got a couple of months to figure out what to go with, because right now I have no idea.

I'm kinda thinking of buying a Leica IIIc with a collapsible 5cm Elmar and just going with that. No lightmeter of course.

Great idea! I'm in.

This sounds really cool, good way for me to shoot more film.

I think varying the processing could be cool. It would show some of the less experienced shooters the capabilities of different film stocks, but I also understand your hesitation with it. Both could be cool.

Any rules on lighting? No flash, on camera only, 1 flash, or even more? I don't do much flash work, but I know one advantage of having a leaf shutter is the very high shutter sync capability (not sure if wording right), which could be cool to play with.

p.hawksThis sounds really cool, good way for me to shoot more film.

I think varying the processing could be cool. It would show some of the less experienced shooters the capabilities of different film stocks, but I also understand your hesitation with it. Both could be cool.

Any rules on lighting? No flash, on camera only, 1 flash, or even more? I don't do much flash work, but I know one advantage of having a leaf shutter is the very high shutter sync capability (not sure if wording right), which could be cool to play with.

To me, it seems like the point of using the 1 camera, 1 lens, 1 film stock rule is to standardize everything about a process besides what you point the camera at. It's about setting up a bunch of constraints and seeing how you can be creative within them.

Off camera flash and processing trickery seems like ways to open the options of what you can do back up, which to me seems to not honor the concept, however I could see the spirit of the project in the same way if you said that you were going to only shoot the same thing and have your subject be a constant so that lighting or processing was not, or decided all your photos would be at night with an on-camera flash or something. Could be really cool, and could be a part of the thing that's up to interpretation.

Personally I think I'm going to go with no flash, no processing variance and have my subjects be what varies.

I'm in.

lol I like how this is a super common thing on all film forums and something you are told to do on an almost daily basis but seems like no one here as thought to do it before, y'all should really get around more

Different processes are 100% allowed. the entire point of this exercise is to learn a set up and film type inside and out. That means it's weaknesses, strengths, quirks, and ability to be transformed into what ever you want. Different filters are also allowed, as are flashes and any other accessories or tools you want to use. The only stipulation is it HAS to be the same model camera (not the exact same one, you can have 2 both loaded and at different places in a roll, thats fine!) with the same model lens and same film stock, that's it.

Baltolol I like how this is a super common thing on all film forums and something you are told to do on an almost daily basis but seems like no one here as thought to do it before, y'all should really get around more

Different processes are 100% allowed. the entire point of this exercise is to learn a set up and film type inside and out. That means it's weaknesses, strengths, quirks, and ability to be transformed into what ever you want. Different filters are also allowed, as are flashes and any other accessories or tools you want to use. The only stipulation is it HAS to be the same model camera (not the exact same one, you can have 2 both loaded and at different places in a roll, thats fine!) with the same model lens and same film stock, that's it.

Really? This has been done before? My mind is blown...

Who are you to say what the point of this exercise is? Not only is it not your thread -- it's not up to you to say why people should be participating. I personally don't shoot as much as I'd like to, and this would be good motivation to get out there more often.

**This post was edited on Jul 30th 2014 at 6:02:08pm

MousseauReally? This has been down before? My mind is blown...

Who are you to say what the point of this exercise is? Not only is it not your thread -- it's not up to you to say why people should be participating. I personally don't shoot as much as I'd like to, and this would be good motivation to get out there more often.

Well trevor only made this thread because I posted in the analog thread saying to do this, so swithout me this wouldn't even have come up, so yes I am making the stipulations here since none of you are even familiar with the exercise.

BaltoWell trevor only made this thread because I posted in the analog thread saying to do this, so swithout me this wouldn't even have come up, so yes I am making the stipulations here since none of you are even familiar with the exercise.

Dude. Get over yourself. You inspired a good idea. Leave it as such. Nobody here is seeing this and thinking, "Wow, what an unprecedented idea this is. Damn, we on NS are such clever bastards."

Hell, anyone in here who took a photography class in high school probably did this inadvertently anyway - in some way or another.

...I'm in.

And, as a recommendation, in having done similar things to this in the past, go with something that you're comfortable using. I'm probably just going to use a basic SLR and some standard black and white. No frills.

sounds fun im in

Baltolol I like how this is a super common thing on all film forums and something you are told to do on an almost daily basis but seems like no one here as thought to do it before, y'all should really get around more

Different processes are 100% allowed. the entire point of this exercise is to learn a set up and film type inside and out. That means it's weaknesses, strengths, quirks, and ability to be transformed into what ever you want. Different filters are also allowed, as are flashes and any other accessories or tools you want to use. The only stipulation is it HAS to be the same model camera (not the exact same one, you can have 2 both loaded and at different places in a roll, thats fine!) with the same model lens and same film stock, that's it.

I don't read any photo forums, I find them all really boring personally, just not my bag. unless I'm looking for sample images or to learn about gear. I hardly spend the time on NS I used to, but this seems like something fun to do on the forums, so forgive me for not being aware that this is a super common thing.

When you said one body one lens it seemed like a good idea, and honestly placing restrictions upon your process to see what you come up with within the boundaries you set is not something exclusive to photo either, it's a pretty common practice across everything creative. When all I got was 1 body, 1 lens, 1 film, it made sense to me that the point was to standardize everything as much as possible and leave less variables, which generally makes this sort of exercise a lot more interesting (and the participants learn more, usually).

I made the thread just in order to get the ball rolling and discuss it, honestly this is our thing and can be made into whatever we want it to, or we can do it like all the photo forums do it. I just started spitballing ideas that made sense to me.

I'm in as long as I can still shoot video and paid shoots with my digi stuff.

I'm down. Not sure if I want to go color or black and white...

ForcilloI'm in as long as I can still shoot video and paid shoots with my digi stuff.

Yea, I think it goes without saying that this does not mean that for a year you are committing to ONLY shooting one camera, ever. haha.

Awesome idea. Some motivation to use my analog camera more often!

MousseauReally? This has been down before? My mind is blown...

Who are you to say what the point of this exercise is? Not only is it not your thread -- it's not up to you to say why people should be participating. I personally don't shoot as much as I'd like to, and this would be good motivation to get out there more often.

Word fucking up. This gives me an excuse to pass some time this summer and fall while I wait for the snow.

Can I use my point and shoot? I sold all my other cameras.

lIllICan I use my point and shoot? I sold all my other cameras.

Absolutely. I'm considering using a point and shoot as well, if anything because the size carries no constraints. Not only that, but it would actually FORCE the continuity between shots, due to the lack of control over aperture or shutter speed. You'd really need to develop your subject and composition in such a situation, and those constraints could lead to a better thought process alone.

If I had a more reliable point and shoot, or at least one that I was already very comfortable with and understood every finicky nuance, I'd have no doubts about it. I suppose I have a good amount of time to figure it out.

Anyone have an XA I could borrow? That would be king in this situation.

ZS8 never lets me down:

idk what's up with the fixation on continuity

to me (taking a more 'artistic' approach) its all about what you can do given your constraints and how you can push yourself and your equipment/medium

Im in! this will be the perfect way for me to get into film.

Definitely in! Been shooting film for the past 6 months and its been awesome! great idea for sure

lIllIZS8 never lets me down:

You can't change your ISO, can't zoom, and you have to shoot in monochrome. Then you have to scan the LCD before posting.

Actually wait. That's a question... Does the lens have to be a fixed focal length or can it be a zoom. This isn't for me, it's for those who might not have a prime lens for whatever reason.

DingoSeanAnyone have an XA I could borrow? That would be king in this situation.

I might just go with the trusty old XA as well. Such a neat little camera. Fucking love it.

Recently bought a Mju-II/Stylus Epic, but it broke down after an hour of use. Fucking ridiculous.

polaroids?

http://jibbajams.tumblr.com/post/93383907718/grampys-shed

probably won't be able to process anything at school fuck

I'm down

StangelDanglepolaroids?

http://jibbajams.tumblr.com/post/93383907718/grampys-shed

Would be insanely expensive! 8 photo slides for those cost around 24 bucks.

DingoSeanAnd, as a recommendation, in having done similar things to this in the past, go with something that you're comfortable using. I'm probably just going to use a basic SLR and some standard black and white. No frills.

TWoodsYea, I think it goes without saying that this does not mean that for a year you are committing to ONLY shooting one camera, ever. haha.

Ughhhh

Again, wrong. In the true way of doing this yes it does. This is about DISCIPLINE and drive, an ode to the great times in photography where lifelong careers are built behind a single focal length and body type. The greats like Gibson who shot exclusively 50 for decades. Thousands of rolls of film with the same set up. Go shoot all your paid work on film. If your clients don't like that sucks for you find different clients.

Sean: No that is literally the worst advice you can give for this. Go completely out of your comfort zone, you aren't going to learn a thing taking the easy way out.

BaltoUghhhh

Again, wrong. In the true way of doing this yes it does. This is about DISCIPLINE and drive, an ode to the great times in photography where lifelong careers are built behind a single focal length and body type. The greats like Gibson who shot exclusively 50 for decades. Thousands of rolls of film with the same set up. Go shoot all your paid work on film. If your clients don't like that sucks for you find different clients.

Sean: No that is literally the worst advice you can give for this. Go completely out of your comfort zone, you aren't going to learn a thing taking the easy way out.

This is about whatever you want it to be, for one... Every learning experience yields different results to the user. This shouldn't really be about emulating what others have done, but finding your own path with photography, and figuring out your own personal style and what works for you.

--

I completely disagree that it's the worst advice. Using a camera you are entirely comfortable with, and fully understand can bypass the whole 'learning' portion that comes with figuring out a new tool. You can just jump to the point - which should be taking photos of what you know. I agree that putting yourself in unfamiliar territory with a new camera can make you think differently about a shot as well, but if you just forget about the tool and focus on the picture, that's really what's important.

You mention Ralph Gibson, who used a Leica with a 50 for so long... You think he worried about trying out new shit? No. He stuck with the thing he knew, and focused on his art. You're contradicting yourself here, man.

...If you don't agree, then what's the big deal you made of me making a 4$ thriftshop purchase? Because it wasn't a Leica?

Wouldn't trying out some weird autofocus point and shoot with a fixed lens be pretty unfamiliar territory? I know for one, I'd be pretty out of my comfort zone trying to work with that weird thing... what gives, dude?

DingoSeanYou can just jump to the point - which should be taking photos of what you know.

Meant to say something more along the lines, of working on your photography, and learning WITH what you already know.

DingoSeanThis is about whatever you want it to be, for one... Every learning experience yields different results to the user. This shouldn't really be about emulating what others have done, but finding your own path with photography, and figuring out your own personal style and what works for you.

--

I completely disagree that it's the worst advice. Using a camera you are entirely comfortable with, and fully understand can bypass the whole 'learning' portion that comes with figuring out a new tool. You can just jump to the point - which should be taking photos of what you know. I agree that putting yourself in unfamiliar territory with a new camera can make you think differently about a shot as well, but if you just forget about the tool and focus on the picture, that's really what's important.

You mention Ralph Gibson, who used a Leica with a 50 for so long... You think he worried about trying out new shit? No. He stuck with the thing he knew, and focused on his art. You're contradicting yourself here, man.

...If you don't agree, then what's the big deal you made of me making a 4$ thriftshop purchase? Because it wasn't a Leica?

Wouldn't trying out some weird autofocus point and shoot with a fixed lens be pretty unfamiliar territory? I know for one, I'd be pretty out of my comfort zone trying to work with that weird thing... what gives, dude?

Actually Gibson had never touched a 50mm lens up until 1974 when he was loaned one by a friend for his famous trip to cuba. Before that he was completely wide angle. See maybe if you would ever try to learn something about photgraphic history you would be more familiar on the subject instead of talking out your ass.

BaltoActually Gibson had never touched a 50mm lens up until 1974 when he was loaned one by a friend for his famous trip to cuba. Before that he was completely wide angle. See maybe if you would ever try to learn something about photgraphic history you would be more familiar on the subject instead of talking out your ass.

Correction: DR 50 1974, first 50 1961, LFI issue 5 2014

BaltoActually Gibson had never touched a 50mm lens up until 1974 when he was loaned one by a friend for his famous trip to cuba. Before that he was completely wide angle. See maybe if you would ever try to learn something about photgraphic history you would be more familiar on the subject instead of talking out your ass.

Whatever dude. I don't really worry about what fucking lens a guy used when he was 32 compared to what he decided was better for his work when he was 55...

This project isn't about photographic history. This is about refining your own work and going through a process, or fuck... to just have fun and take some cool photos. If using a tool you're familiar with is going to help you focus your work in a direction that tells a story, then so be it. It was a recommendation. Stop making a big deal over everything you disagree with like you're the almighty sage here. It's fucking art. Nobody's right or wrong in art. That's the whole point of expression.

DingoSeanNobody's right or wrong in art.

Not that I necessarily side with either one of you...

True, however one person's art and ideas can absolutely carry more weight than another person's.

It's not that one person's need for expression is outweighs another - is that some people have a more deliberate or self-aware way of expressing themselves. Sure there are no rules in art, but there are also no rules against fishing for sympathy in social settings. You'd have to be a classless twat to do that, despite having every "right" to.

Thomas is making a judgement call. If you can't see that then you are missing the point. He isn't saying there's an objectively correct way of making art, and that anyone who disobeys isn't making art. He's telling you to grow a sense of finesse, whatever those terms may be.

And now for my opinion:

As for the idea that there is no wrong way to make art: fuck that. The vast majority of art is vapid garbage and you know it.

brb finally buying a film camera

hopefully i can find enough time during school to pull this off

Jesus Thomas, stop being a dick. Seriously.

Have you ever heard the word tact? Because you sure as fuck don't have it. Opinions differ, tastes differ and it's ok that you dis(agree) with people, but you always act like everything you say is the absolute truth, which is fucking bullshit. If you're disagreeing on something someone says, that's fine. But instead of saying that person is a retarded asshole for saying that, try being a little nicer.

And besides: what's the point of stepping out of your comfort zone, only to create a new one. You use Gibson as an example, telling him how he's mastered whatever setup he's used. If Sean's happy with the setup he's using and that's what he's want to learn through-and-through, just let him be instead of saying he's doing it wrong.

I dig the idea, would be nice to put my XA back into use. And Tri-X, mm.

Easy there boys!

I am so in, I just need to pick up some film. Now... which camera to choose... Konica with Hexanon 57? I'm thinking yes. I've been wanting to play with that one for a while... we'll see if I end up getting out enough to take photos. Going back to film in general takes me out of my comfort zone, yippee!

I'm actually interested in an uber-portable 35mm compact. I don't know a gosh darn thing about 35mm...can someone recommend a good/cheap one? I've heard good things about the Olympus XA2.

lIllII'm actually interested in an uber-portable 35mm compact. I don't know a gosh darn thing about 35mm...can someone recommend a good/cheap one? I've heard good things about the Olympus XA2.

I prefer the OG XA, > XA2 = XA4 > XA3 > XA1, XA is the rangefinder, XA4/3/2 are the same without rangefinderness, 3 adds DX Reading over the A2, 4 has a 28mm instead off 35mm lens. A1 is essentially a disposable in terms of settings, foolproof though.

or you can get that little Rollei box.

I prefer the XA for a pocket cam though, the sliding cover protects everything nicely.

Definitely doing this. Mamiya 6 for sure. But 50mm or 75mm? Tri-X or Portra 400? Hmm...

lIllII'm actually interested in an uber-portable 35mm compact. I don't know a gosh darn thing about 35mm...can someone recommend a good/cheap one? I've heard good things about the Olympus XA2.

The XA is a rangefinder, with a slightly faster, slightly softer and distorted lens than the XA2, which is a zone focus camera, with four focus zones, and a half stop slower, yet sharper lens.

I personally like the XA more due to it being technically a little bit better, but my first film camera was the XA2, so it has a special place for me in that regard.

Either way, they are friggin awesome for being stealthy. Just put a piece of electric tape over the Olympus logo and you might as well be James Bond.

The biggest advantage of the XA over any of the other ones is that you can set the aperture. I think it's the best one in the series. The XA-4 is pretty cool too, but also much more expensive.

ForeverYungI'm down. Not sure if I want to go color or black and white...

I'm in.

B/W for sure. For me, I want to pay more attention to contrasts and compositions then colors.