膠片攝影 一台相機，一顆鏡頭，一種膠捲，拍攝一年 | 徠卡m6 & 伊爾福hp5

Hey, thanks for joining me. This is a relaunch of my channel, Aesthetic Control. My name is Reed. I am a photographer in the Southeast United States. And for the past 10 years, I have been shooting a lot of different films and cameras and all the fun stuff. But one thing that has stuck with me throughout that time has been good old Ilford HP5 And my Leica M6 with some sort of 28mm lens. This is the Voigtlander Ultron 28mm 2, I think. Anyway, great lens. I'll talk more about this setup at another time. But this is going to be the crux of the channel. One camera, one film, one lens for one year. And we'll see where we go from there. So thanks for joining me. Let's dive in. The gear acquisition syndrome, the gas, had gotten really bad for me over the past month or two. Just being inspired by all these photographers and looking at new gear, looking at the gear that they use, trying to figure out how I could fit it into my work. As I mentioned, that Winogrand documentary, it was like, oh, he's just going out and making work. It's not doing too much. A major part of wanting to do this one lens, one film, one camera project is living within the limitations of that. A, not taking a bunch of cameras with me all the time, which over the years has gotten very old. Traveling with multiple kinds of film is super annoying, especially when you fly. So that will eliminate one component of a pain point. The other is just to focus. As photographers, as film photographers, it's fun to try new film, new cameras, new lenses, all the fun stuff. But then that leads, at least for me, to what feels like kind of jumbled schizophrenic output of like, I shot this and that and this thing and none of it, you know. When you shoot like that, you have to be very purposeful in making work that fits together. If you're shooting different films, different cameras, different styles, whatever. And I learned over the years that that's not really what I like to do. That's not how I produce my best work. So working within those limitations, I think will be a lot of fun. Why limit myself to the one camera, one lens, one film? Why set those parameters to work within? I think the biggest thing is the consistency and the familiarity with having a set tool to work with. I think having those limitations as rather than a hindrance, as a guide, to not stress out about bringing X camera to Y event, bringing whatever film. I had a learning experience earlier this year where I went on a trip with my wife and I brought color film for the first time in a long time and I shot it and I really enjoyed it. But at the end of the day, I came back and I took a digital camera, I took my M6. I wish I had just shot black and white on M6 and left color to the digital. And I think in hindsight, lesson learned. And that's okay. That's part of what I want to talk about is sort of the lessons you can take from shooting this way, thinking this way. So that'll be pretty fun. And another thing, just to briefly touch on, some of the photographers I want to talk about going forward who produced great work with a sort of a limited set of gear. One of the big ones is Joseph Koudelka, who I find a lot of inspiration from. Mary Ellen Mark, of course, Gary Winogrand, Wynton Klein. All of these people making incredible, dense, vast bodies of work on pretty limited gear, especially as a project by project basis. So I want to review some of that, maybe take some lessons to heart from the work that folks made in the past. Going forward, I want to keep shooting, keep making work, keep reviewing the work on this channel. Make prints when I can. I joined Darkroom not too long ago, and that reopens pretty soon in January. So I want to get back in there and start making some prints, do some inkjet prints. Just photograph, print, review, look at work, see how work relates to each other, that kind of thing. Speaking of that, what we're going to do now is go over to some work I shot over the past few weeks here in December, just to see what I've been making and what I like and what I think I need to look at and think about going forward. Reading the future here. To go through some photos I made from the past couple weeks leading up to the end of the year. Developed about five rolls the other day. So I'm just going to go through and share some of the work and some of the things I liked. So here we have everything in Lightroom. Just went ahead and did a little bit of work to all of the ones I wanted to keep going back to the start of December. I'll pull up the selects that I have. Ended up keeping about 29 pictures, which for five rolls isn't that bad. It's pretty good. So just looking through, it's a lot of just general documentation of doing stuff before Christmas, things around town, setting up for Christmas and having my family over on Christmas Eve, and then going to the beach with some friends. So let's look at some of these that I like. This one is of my wife at a garden center near us. This speaks to using the 28mm as a way to really set a scene, get a lot of context for environmental portraits. I really like that one. This is a guy selling cotton candy on the side of the road. It's one of those things like I always have my camera on me when we're driving, so if there's anything I need to get quick out the window, it's pretty easy to do. A couple of me in mirrors. This is the car warming up. This is me at my office. This is my dog getting ready to go for a very rainy walk a couple weeks ago. He hates the rain. Some frost on the table. The cat and the light. This one is from... We got together with some friends to do some Christmas baking. Just out their window. I love using windows as sort of a frame within a frame, and I think the 28mm is great at that because you can get pretty close to the window and get a lot of what's outside as well as the context of the window frame. So I ended up really liking this one. Some Christmas crafting that we did. This one I really like. This was on the drive back from hanging out with those friends. It was a rainy night. The rain was scattering the light really nicely on the window. So we were getting gas. Bust out a quick shot. There's nothing special, but I think it's a pretty beautiful little scene. That's great. Hanging with the cat at the vet. And this. The next few pictures are from a Krampus night parade that we literally stumbled onto. We parked the car to go get food downtown. And this was happening. So I think this is a great example of like keeping that thing on you. I want to make a whole video about that. It's like having your camera with you. So ready to go no matter what you're doing. Because most of the time you won't photograph anything, but sometimes something crazy is going to happen. As you're getting out of your car to get Indian food. So here's a few shots from this Krampus night festival. Parade. People dressed up in these like monster costumes. I know they're. Like this is a Krampus probably. This is the. I don't even know how you say it. The Merry Lude. It's a Welsh sort of like Christmas. Wassailing creature. So yeah. Pretty striking to wonder into this. And our little town. That's pretty cool. Some set up for Christmas. This is my wife helping get our little goofy tree off the top of the car. And another. This is one of those things. You know I had the camera on me as we got out of the car. I got a couple shots and then put it away to help. More setting up Christmas lights. I think this is a good. A really great shot. And kind of a story telling shot. You know. You have the context of the porch. I'm up on a ladder. You see the lights hanging. See my wife pointing to like. You know. Where things need to be. Adjusted and fixed. And then a shot of her through those lights. Just in our yard. Before we did any raking. Pretty cool. Setting up the tree. A photo of the tree. With some signs that my friend did. You know. Just documenting daily life around the house. You know. Things like that. This is Christmas morning. This is me. My little Santa hat. Before we got ready for my parents to come over. This is a great mirror to. You know. Hit a quick selfie in. Just to document how things are looking. From day to day. This is my dad. At our sliding glass window. Just looking at the porch. You know. Just kind of a moment of stillness. Before we got into presence. And another example of. You know. Like how the 28mm can really fill a frame. With. You know. Context and setting. And this. The Ultron 28 F2. Really. Really nice. Out of focus. Area on that lens. Even. You know. This is probably. F4. Maybe. 2.8. Something like that. It's still nice and sharp. Doing the presence in the living room. My dad and aunt. Getting their presence. And I'll make a video. Down the road. About like. Documenting daily life. And how that looks. Over the course of time. Because I have. You know. Ten years worth of photos. Of my parents. And family opening presence. On Christmas morning. Not always shot with the Leica. But. Usually shot. On black and white film. So I think. There's a good. Sort of through line. To go back and look through. It's a lot of fun to do that. And just see how. People have changed. How the spaces have changed. Things like that. And then. Sort of wrapping up the day. And then leaving. My mom and aunt. You know. And this again. 28mm. You can really fill the frame. With. Figures. Form. Content. And you can get close. I like to get close. I think that's. A good way to. Sort of. Arrange a composition. You know. Sort of leading. Through the frame. And over. And then. We had a quick beach trip. After Christmas. With some friends. And again. The 28mm. Really great. To set. You know. A scene. And give context. And use. Lines and composition. To really. Bring your eye in. Or. If there are no lines. In the composition. To really like. Center. And isolate a figure. Against a huge. Sort of. You know. Vast background. And do it from not. A super. Far distance away. You know. I'm. You know. Wasn't super close. To them. That's my wife. And my dog. But. You know. Sometimes. Smack. Somebody dead center. In the frame. Horizon right. Through the middle. It can work. And look pretty good. And then us. You know. My friends. Walking down the beach. With their dog. And I think. With this one. I think the figure. In the background. Really. Adds. To the photo. I think. Just them alone. You know. Be all our friends. Trolling down the beach. With their dog. That's nice. But having that. Sort of like. Distance in the figure. To draw your eye in. And really push you down the beach. I think. Works really well. So yeah. That's. Those are the hits. From the last. Few rolls I've shot. At the end of the year. Looking forward. To shooting. And sharing some more. So one big thing. That has inspired me to. Sort of document the. One camera. One film. One lens. Project. Or whatever I'm doing. Is. Just the. The relationship. Between. Being a photographer. And social media. And YouTube. And the internet. Has become. This like. Entanglement of. A bombardment. Of. Gear reviews. New cameras. New film. Old film. You know. All this. Is a non-stop like. Barrage of content. That. I find. I feel like. Makes it easy to. Not go out. And photograph. It's a lot more. Immediately engaging. To. Sit and watch. A camera review. Of a cool camera. And start to. You know. Dream of what you could do. But you don't. Actually go. Do it. Because. Maybe you can't afford it. Or maybe it's just like. It doesn't make sense right now. Or you have other stuff. On your plate. Like your. Your job. Your life. Just gets in the way of. Going out. And photographing. And I think. That. Taking the time. To. Focus. You know. One camera. One lens. One film. For me. And maybe for other people. Is to. The daily documentation. Of. Like your life. Your travels. Your. Your day to day. Might not feel. Interesting. In the immediate. But. Over time. Creates. Body of work. Or a narrative. Or thematically connected. Group of photos. That you can pull from. And go back. And start to. Find things. In. That maybe weren't thinking about. At the time. Or that have. Revealed themselves. As you've gotten. Distance from. What you've shot. One of the big things. That inspired me. To. Do this. Project. There's. The Alex Soth. Magnum course. That came out a few years ago. And. I signed up for that and took it. And it's. Great. Highly recommend it. But one. Thing that stuck with me. And has stuck with me for several years now. He said. The narrative will reveal itself. Which I think. Is. A great way to think about. Photographing. The diaristic photographing. You don't always need to have a. Project or a goal. Or a. Or. Something that you're looking for. To go out and shoot. You just. You build up. A body of work. That. Then. As you look back on it. And as you get. Space from it. Distance from it. You find the things that you. Maybe were thinking about at the time. But didn't realize it. You weren't thinking about. At the time. But were in your subconscious. Or. That just having that space. You know. Emotional and. Mental distance. Reveal that. You know. You were making great work. Even if it didn't jump out. Immediately. So that's one thing I want to. Document in this process. Is just like. Make work. Take a look at it. Give it some time. Take a look at it again. You know. See how things change over time. How things connect over time. With. Just. You know. Making. Work. So that'll be. That's something I'm really excited about. To have this limitation. This framework to work within. But no. Other real. Like. Constraints. I'm not looking for. X. Y. Or Z. I'm just gonna. You know. Live my life. Try to find cool things. To photograph. Try to go to cool places. And just see what. I make. So. Thanks for joining me. On this first video. Of the relaunch. Of Aesthetic Control. I'm looking forward. To. This process. And. Taking a lot of pictures. And reviewing them. And sharing them. And I hope. You will stick around. And join me. In this process. Thanks.