Crumbling blindfold fence on the window of an old private house

Crumbling blindfold fence on the window of an old private house in Nihonbashi,Tokyo,Japan | Tokyo Japan Film Photography

Crumbling blindfold fence on the window of an old private house in Nihonbashi,Tokyo,Japan | Tokyo Japan Film Photography

Contents

35mm Film Camera Black and White Photo Example

Project Title of Photography

Photography of the Other Side of Tokyo Japan

Series Title of Photography

Wall Series

*This category contains black and white 35mm film photographs of the “Wall” series in the “Series Title of Photography”.

Title of Photography

Crumbling blindfold fence on the window of an old private house in Nihonbashi,Tokyo,Japan

Landscape and Architecture Photographing Location

NIHONBASHI TOKYO JAPAN

*In this category, black and white 35mm film photographs taken in “NIHONBASHI” in “TOKYO” in “JAPAN” in “Landscape and Architecture Photographing Location” are posted.

Shooting Data

Shooting Date:1/21/2021
Camera & LensPENTAX LX 35mm Film Camera SMC PENTAX-M 28mm F2.8 Lens
FilmRollei Retro 80S 35mm Film Roll
DeveloperPMK Pyro Developer(solution B sodium carbonate)
Dilution︰1+2+100
Time︰24°C 5min30sec
Agitation︰30/15/1
DigitizeSIGMA SD15 Digital Camera with Nikon Slide Copying Adapter ES-1

Thinking About This Photograph

 There are some very narrow alleys in Nihonbashi-Ningyocho.

 There are restaurants such as “Monjayaki” that have been open for a long time in the alley, and you can feel the good old Japanese atmosphere.

 Old private houses are lined up in such an alley, and it is an interesting area to take a walk.

 It’s unclear if the private house in this photo is populated or abandoned, but the crumbling wooden blindfold fence immediately caught my eye.

 The whole thing was dark, so I set the exposure to underexposure so that only the crumbling wooden fences would stand out.

 Black-and-white film photography is said to have a wide latitude, and it is generally recognized that even if the exposure is slightly wrong, it can be adjusted by printing.

 But in my opinion, there is only one true print exposure second for developed negative film.

 In other words, you have to imagine what kind of “picture” you want to make when shooting, determine the exposure, and develop it.

 Even if I try to shoot a film with normal exposure and think “I want to make the whole thing darker” when printing, I don’t think I can get the desired tone.

 This photograph was finished as I imagined.