FILM PHOTOGRAPHER INTERVIEW | PAUL DEL ROSARIO

1. Hi Paul! Please let our readers know who Paul Del Rosario is.

I'm originally from SF, but Japan has been my home since 1991. The past few years been I've been doing a lot of studio portraits and some street here and there. Documentary  photography is what sparked my interest in photography as a teen, but I never really pursued it until this year with my first project that I'm currently working on.

2. How did you come to know about the Film Shooters Collective (FSC)? 

I stumbled upon the FSC from just surfing the web, and then I heard more about the group when I crossed paths with Cameron Kline in Japan.

3. How different is FSC compared to other film communities/forums?

Frankly speaking, I've never really shopped around for a film group so I can't really compare the FSC to anything else. But I think there's a commonality among film shooters regardless of group or forum; they all just embrace film for what it is. As for the FSC, the concept is very clean and pure; no hidden agenda, just straight up love for the emulsion, film type, processing recipes, GRAIN. I also like how the FSC showcases the photographers and their work and there's a strong sense of solidarity.

4. What draws you to film? What is so magical about medium format that got you to shooting them almost exclusively? 

Pretty cliched experience – I grew up with film, changed to digital, got bored, and returned. Processing film by hand, holding up the negatives to a light source, and then finally seeing your work appear on paper is an experience which is truly "magical" to use your words. I must admit, that these days, I go straight from negative to a digital scan, and I think this is
one crucial element that will keep film alive. I personally have a clean conscience knowing that I didn't apply some filter to achieve the look that I scanned. Some people are okay with that, and that's cool. People can debate this point forever, but I don't give a shit; I'm a purist in this sense. If I had space and access to a darkroom, that's where I'd be rather than in
front of this computer that I'm typing on right now. This is not to say, that I detest digital photography. I applaud digital photography where it excels in terms of a quick workflow. Film for me is very tactile, there's more expression in the natural grain, and stronger sense of nostalgia with the tones. I just love it. As for medium format, it's hard not to enjoy a big
negative, and I absolutely love the designs of medium format cameras. 

Favorites include the Pentax 67s, Makina 67, V series (square - no explanation needed), the entire Bronica fleet; just so cool and so much personality. That said, I want to stress that whenever I look at a picture of a loved one, regardless of whether it was taken with my iPhone or a Hasselblad, I still cherish the image.

5. I see that you and a few guys have a short documentary called "One Roll of Film" coming up. What is it about and what is the progress now?

You often hear questions like "If you were to bring only one book (CD, video, etc.) with you to a deserted island, what would you choose?" Similarly, the question behind the "One Roll of Film" was what would you shoot in Tokyo using only one roll of 120 film? Despite having lived in Japan for over twenty years, there is always something different and weird (in a good way) to discover about Tokyo. So, we wanted to explore what defined "Tokyo" for us.

As far as the shoot itself, the One Roll project really forced us to just focus on twelve frames, and it was a good exercise in discipline; almost spiritual in a sense. Also, one point was really to show the digital generation what it's like to shoot in film. This might sound so basic, but I've actually come across photographers that have NEVER shot on film. For me, that's like meeting
someone who has never used a pencil to write with; instead, they've used a keyboard from birth. Of course, for the One Roll of Film project any camera brand would suffice; in our case, we all had Hasselblads, and it was a tribute to this iconic machine.

We had thought about doing a follow up with other cities in Japan or even internationally, but I think this project ran it's course for the four of us. It'll be interesting to see what another group of photographers can come up with.

6. You have a lot of collaborations going on. How did you get yourself into them? Is it easier for a foreigner to get recognition in Japan?

Tokyo is very fertile with very creative and talented people both local and foreign, so it's hard not to get involved with projects. As far as getting recognition or success anywhere (not only in Tokyo), I think networking and marketing are big factors, which is horrible in a way. I know many very talented foreign photographers in Japan that aren't doing well financially because of their lack of skill to market themselves, and their Japanese language ability; such a waste.

7. I see you have a love for Hasselblad camera. What are its charms?

Without sounding too much like a Hasselblad fan boy, I think their Vsystems are great; awesome design, great output, beautiful shutter sound. The H5D is superb, but I'm not going to get into that since this interview is about film.

8. Please share with us one image which is your absolute favorite and why.

This is a shot of my son. It was taken on an ancient Bronica GS-1 that I had gotten from eBay. The prism had a diopter which didn't match my eyesight, and I didn't have the waist level finder, so I took this shot with nothing but the focusing screen on. I like this particular shot because I had become less concerned about camera functions and accessories; less technology and more focused on just framing and proper exposure on the film.

9. Please share some tips for people who might want to come into film photography. 

I'm assuming this question is aimed for those who have never shot on film and would like to try film photography (as opposed to those who have experience shooting on film and prefer digital for whatever reasons). To the potential film user: ask yourself "why are there so many apps and filters that try to achieve a film look and what is it about those filters that make it look appealing?" I think if you can answer those questions for yourself, then you can decide whether or not film is for you.

Paul has recently updated his personal blog. So please feel free to drop by his blog Photo Life Japan to see what he has been up to and learn more about his photography life in Japan.

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Singapore-based film lover, Kevin Lim, interviewed Paul for this post. See more of Kevin's work on his website, on Tumblr or on the Film Shooters Collective.  

Traveling with Film | How do You Travel as a Film Photographer?

 The Guam humidity in November exceeds the rating for all of my camera equipment and probably the recommended rating for human life. As I drag my Pelican case on the long walk from the airport to my hotel I begin to wonder about my packing choices. Every drop of sweat the equatorial sun juices from my body further soaks my clothes and affirms these questions. 

As photographers we’re conditioned to be prepared for the moment; being in the right place at the right time is paramount, but having what you need to capture the moment is arguably as important. With that said, it’s also easier than ever to inundate ourselves with gear heavy choices that make photography a burden. 

Long before the cabin doors have closed for departure I start by planning how I want the project to look. For personal work I think about how my choices could affect where the work is used and if it’s for a commission I make certain that the gear I am packing will allow me to meet the expectations set by the client. I think it’s important to note that you need to have a backup plan, especially when traveling with only film. 

As a digital shooter it seems almost second nature to have a backup camera. Having been on the unfortunate side of a mid-shoot camera failure I can personally attest to the fact that shooting without a backup, for commissioned work, is a terrible idea. In fact, I’d venture to say it’s a disaster waiting to happen. 

If I were shooting digital in Guam, for example, I knew of at least one place that I could buy a 5DMKIII. If I had been working on a commission and in desperate need I could have done the unthinkable. But, how does planning affect what you travel with as a film shooter? There’s definitely nowhere in Guam selling Hasselblad 500 C/M’s, or replacement parts. 

While I don’t think traveling with a backup body is always necessary I do think having a backup plan is. Recently I had a Hasselblad 500 C/M fail while shooting in Guam and the mental toll was devastating. For weeks I’d planned about how the project would look when completed in all of it’s square format glory. The most important lesson I took away from this is that you have to adapt and you need to make sure that your project is dynamic enough that it can withstand some outside forces. 

A backup plan is simply being able to adjust to the situation if something should happen. I’m not advocating for you to plan a photography project two different ways. I am however saying that it’s important, if not essential, to have an idea of what you will do if and when something goes wrong. 

When I go out and shoot I often have an idea of what I’m looking for. That is, I have key shots in mind that I think can tie a narrative together about people, a place, or some thing. During my shoot on Guam I had envisioned a project of mostly color, heavy fill flash, square images about the battle for Guam. When the Hasselblad failed all of this changed. For starters, I had another camera, but was no longer able to use the fill flash. Furthermore, the camera was not capable of shooting square images and was also 35mm. 

It was a devastating blow and honestly it took me a full day to lament the loss of my 500 C/M. A day, much tequila, and some serious contemplation led me to some new ways of seeing the project that allowed me to leave Guam with something that I was happy with. As I packed up the carcass of my Hasselblad for the flight home I began to wonder about other film photographers and how they pack when traveling. 

Garrick Fujii is an exceptionally talented travel photographer, and the first person I go to when I have a question about travel. He has been all over the world photographing a wide range of places and naturally a go to for this interview. 

Do you have a backup plan if a camera fails? 

-- I never really carry two of the same camera as a backup. I actually don’t even own two of the same camera, but I do usually carry at least two cameras with me on any trip, but lately I’ve been carrying three -- one medium format camera and two 35mm cameras. I usually load one 35mm camera with color and one with black and white, and then the medium format is a toss up. It’s typically been a Contax t3 and a Ricoh GR21 plus one medium format camera; either the Hasselblad 503cxi, Makina 67, or Contax 645

What do you carry your film in?

I have a few different methods of carrying my film when traveling or just shooting in general. I alternate between a discontinued Fuji film case that holds ten rolls of 35mm (the same case that Japan Camera Hunter has rebranded) and some cheap two dollar cases from (the now closed shop) Porters Online that will hold six rolls of 35mm or four rolls of 120/220. I put stickers on my porters cases so that I can tell them apart and will already know what size/type of film is inside before opening them. I also use the five pack paper box that 120 film comes in to hold my medium format rolls when traveling with a large batch of film. Lastly, if I need just one or two rolls for 35mm I’ll use the regular film containers, and for 120/220, I emptied out some mini M&M’s containers (which I surprisingly found in a random gas station on the way to Death Valley) that will fit one to two rolls each.

Do you care about the dreaded X-Ray machine?

I’ve gone through a lot of X-ray machines with my film and haven’t really seen any negative (heh) effects for anything below ASA 800. I do have a medium sized Domke film guard bag that I use when traveling by air and have faster film with me. I can say that this bag definitely gets me pulled aside for a “bomb check” sweep more often than not, but I have learned through trial and error that if I place the pouch strategically in my carry-on bag as to not block the view of the x-ray machine, then I’ll get by without getting stopped (as often).

What’s your typical load out when you travel by air, and is it checked or carried on? 

I never ever check my luggage unless I am forced to and I try to stay within the carry-on size limits. I have been forced to check luggage once or twice while traveling on budget airlines in other countries, but for US travel, I can’t even remember the last time I checked anything. When I was forced to check my luggage, I separated my bags so that all of my gear and film came with me as a carry-on and I just ended up checking in my clothes and toiletries. I’d much rather be wearing dirty clothes than not have a camera or have someone lose my film. Those things can be replaced very easily, but the cameras and film cannot.

Domke F6. Image © Tiffen

I typically carry a Domke F6 black canvas bag with a two pocket insert instead of the four pocket insert that it comes with, and a Domke postal shoulder pad. Fully loaded for air travel (not for shooting), I have fit a Contax 645 with 80mm f/2.0, Contax 645 35mm f/3.5 lens (huge lens with a 95mm filter size), Ricoh GR21, Contax T3, several filters, one set of extra batteries for each camera, and probably 30+ rolls of film. This entire setup will fit inside of pretty much any backpack or carry-on sized piece of luggage that I own. Day-to-day use, I keep the 35mm cameras on my belt in their respective belt loop cases so they are easily accessible (and to look extra cool for the ladies), and keep the medium format camera in the bag if it is a sketchy area or possibly out if it is a very touristy, safe area. The cameras I carry will always vary, but the bag holds pretty much anything that I’ve wanted to bring anywhere.

How much film do you carry and how do you decide that?

It really depends on how long I will be traveling for, how many different things I am expecting to see, and whether or not I have a backup place to purchase film during the trip. Every trip is a little different, but for longer trips with many attractions, I’d say around 20-30 rolls of mixed 35mm and 120. Usually the majority of the rolls will be made up of a lot of Portra 160/400 in 35mm and 120, a handful of neopan 400 in 35mm, one roll of neopan 1600 in 35mm, one or two other high speed films like tmax 3200 for 35mm or tri-x 400 (and push to 1600) for medium format, and then one or two rolls of velvia 50 in both formats. 

For some further insight I asked the UK photographer Hans ter Horst about his travels. If you have ever seen his monochrome work you know that he’s the kind of photographer who takes his work very seriously and has traveled the globe in search of images. 

When you pack for a trip do you bring a backup camera?

I now only carry my film camera but my wife brings a DSLR so it does happen that I use that for some 'fun' shots. Before I used to bring both a DSLR and a film camera but I do get better results when my brain is in 'film shooting mode' constantly. Plus that was when I shot 35mm film, but now I am using a formidable medium format camera and it would be just too heavy in my camera bag.

What do you carry your film in?

I put my film in my camera bag and I usually carry lots of film as I don't want to end up without film or the wrong film when I find an awesome spot or when the weather changes. I usually put exposed or unused film in the fridge/freezer at the hotel or apartment where I'm staying if it isn't in my camera bag.  

Do you care about the dreaded X-Ray machine?

I always carry my film in my hand luggage and have had it scanned many times at many different airports and never had an issue. Note that I never use film more sensitive than 400 ISO. And even if I exposed the 400 ISO film at 1600 ISO, I never had an issue. However, never ever check film into the hold as the scanners there are certain to ruin undeveloped film.

Do you always bring your own film or do you risk it by landing and trying to find a shop?

I usually stock up on film at home before the trip as it is rare I walk past a shop carrying film and carry plenty of film on me and shopping online while on vacation sounds like a risk to me. I just don't want the stress to hunt for more film. My last trip to Japan was a bit different as I know that film is still being sold in the Bic Camera shops in Ikebukuro (Tokyo) so I filled up with two boxes of T-MAX 400 when I was over there. 

How much film do you carry and how do you decide that?

My last trip (4 weeks in Japan) I used 50% colour (Velvia 50 and 100) and 50% B&W (Fuji Acros for the slower films and T-MAX 400 and HP5+ for when it is a bit darker outside). I usually use film that I have used many times so I don't need to experiment with important shots. For this trip I brought 15 rolls of 120 format of colour, and 15 rolls of B&W. I bought 10 more rolls of B&W when in Japan. Most of the film I bring is at 100 ISO film for normal use and about 30% of the film I bring is at 400 ISO which I then can push to 800 or 1600 ISO.

This time I had the colour and slide film developed in Japan as I know that they would use the Fuji labs and it would cost me about the same to do that from home. 

Join the discussion and tell us how you travel with film.

Tokyo photographer, Cameron Kline, prepared this article for the Film Shooters Collective. When he's not busy writing about what others do well he's trying to get through airport security with a giant bag of film. Help for this post was received from Garrick Fujii and Hans ter Horst. Check out their work and help support film photography.

Film Photographer Interview | Cameron Kline | Founder of Film Shooters Collective

1. Please tell us more about yourself, such as occupation, location and training. More information will allow us to know you better!

Currently I'm an underemployed wedding photographer living in a city South of Tokyo, Japan. Prior to coming here I was working as a full-time wedding photographer based out of Jacksonville, FL. As for training I'm largely self trained. In college I majored in Digital Technology and Culture at Washington State University, and while some of the curriculum was in photography I've had to supplement that with years of self-study on my own. I've been lucky enough to have been able to take some workshops at places like the Newspace Center for Photography in Portland, OR and at Project Basho in Philadelphia, PA. Places like that can really help to further your skills and vision, and like I said, I'm lucky to have been able to attend.

2. What is it with film that captivates you?

There's an element of chance I think that keeps me coming back. Some of the most unexpected pictures can often be the best and I think film lends itself to that. I love seeing a really grainy roll of Kodak Tri-x and that's something that I don't get shooting digital. With digital I have to think about the processing or look of the image after the fact, and at times that troubles me. Film definitely isn't perfect as a process and still requires some additional work after it's scanned, but I find that it's 80-90% of what I want as soon as it's scanned.

At the risk of sounding like a hippy I think film also has this organic nature to it that's special. It comes from somewhere and is of something tactile whereas a digital photo remains 0's and 1's for it's entire existence. Some people of course print digital photos so they're not always 0's and 1's, but for the most part. . .

3. What is your favorite film and why?

It's Kodak Tri-x hands down. It's got a really classic look to it and it's exceptionally versatile.

4. As many people say, film is dying. What is your take on the lifespan of film and its direction in the future?

People also said that 80's glam rock died out a long time ago, but I guarantee you that somewhere out there, someone is rocking out secretly in their basement to some RATT. In all seriousness I don't think film is dead at all. I think innovations in film are for the most part dead, but I don't think that means the industry has to die, or that the craftsmanship that comes with the process has to die along with it.

Film is strong, regardless of how scary these times seem. The bottom line is there will always be one color and one black and white manufacturer for films. Think of all the Leicas ever made, or all of the Contax cameras out there. People want to shoot these; they're legends and there's so many of them floating around the second hand market. I think it'll be a long, long, time before we see film disappear completely. In fact, I'd wager we won't see it in our lifetimes unless materials become incredibly scarce or there's some serious innovations in imaging technology that render it useless.

What that doesn't mean however is that stocks and formats won't continue to change. Over the course of our lives we're going to see the disappearance of different film stocks in different sizes. The market dynamics of the film industry are only going to let those in the best shape survive so it'll be essential for these companies to focus on what they do well, what's popular, and forget the rest. No one makes money when 4x10 panorama sheets go stale on a shelf and ultimately we forget that this is a business.

If people are really worried about film disappearing then they need to find a brand and emulsion they like, and shoot it like there's no tomorrow. I'm guilty of letting rolls of film expire just like the next guy, and that's ultimately what kills film. There has to be a continuous demand for the product or there's no reason for the product to exist.

5. How did you come up with the idea to start Film Shooters Collective (FSC)?

I think it was a text message or an email to Brett. I said something like "hey man, if I do this would you be a part of it?" and he said something like "hell yeah" and the rest is history. The first people were all folks that I knew from Instagram and it grew from there.

I was on Instagram when they had their "we own your shit" terms of service change and while I enjoyed the community aspect of Instagram, and the ability to meet awesome people, I was also really burnt out on it. I wanted to create a place where like minded working photographers could meet up and share work and ideas. I wanted a place that really served to pump people up and to push each other.

6. What do you hope to achieve with FSC?

I'd really love to turn some new people on to photography and have this be their first stop for information in an encouraging environment that they ultimately become a part of. Hopefully when people get curious and search for "film photography" they find us and start asking questions on the blog and ultimately become members. Photography seems to be this unique medium where you have a large number of people who think everything is proprietary and I want to move away from that. The Film Shooters Collective should function as an open place to talk about film and the process behind it. We should be pushing each other and helping one another find opportunities and ways to strive instead of acting like this is something secret and that shouldn't be shared except for with an elite few.

Anything is possible really, but I'd like to see us looking out for one another and pushing each other to make better photographs and do so with film.

7. We know a book is coming up from FSC. How soon can we start to see this book coming into the physical world?

I think we're pretty well set for a release before the end of the year. We've had some really talented people step up to help out on this project and I can't be thankful enough that there's a community of people out there that believe in film enough that they would volunteer countless hours of their time putting up with me and making this thing a reality. We've had some hurdles to jump through, but in the end I think it's going to be a pretty impressive final product and it wouldn't have been possible without the talent of these folks.

8. Can you show the viewers your usual camera gear set up? Feel free to spread the poison!

What I'm carrying changes quite a bit based on the day, but the gear below is pretty common. Sometimes I switch out the M4 for an M6 if I'm shooting somewhere dark or think I'll need a meter.

Leica M4 w/28mm Elmarit ASPH, Nikon 35Ti, Ricoh GR, Metz 20 C-2, and of course Tri-x

9. What advise do you have to give to people who want to try film?

Take the plunge. Buy the camera of your dreams and go confidently in the direction of good light. . . Isn't that a quote from somewhere? Anyway, I think people should seriously take the plunge. You can buy an amazing and beautiful camera that used to cost a fortune, for pennies on the dollar. The Nikon 35ti for example is a beautiful camera that used to cost a grand. It's about $250 today. The Contax T2, also a $1,000 camera, about $350 today. Buy a cheap EOS body if you're a Canon shooter and get out there and try it.

To be frank I don't know anyone who has tried shooting film and been turned off by it. The process and the results hook everyone, and there's really no mystery to it anymore. The internet is available to most people and the answers are out there if you have questions about it. Think about how many years your parents shot film for. . . Now, only a select few of us could actually say their parents are rocket scientists, but most people always had something on their film.

The quality of film today is really exceptional and film, by nature, is very forgiving. So, go get a camera, put in a roll of Kodak Portra 400 and dominate. Now's the time.

10. Give us a quote of yours!

"You're the only person holding yourself back from making the kind of photos you want to make."

I was told that once and it's resonated in my head almost daily since.

Singapore based photographer, Kevin Lim, interviewed Cameron Kline for this post. See more of Kevin's work on Tumblr or here, on the Film Shooters Collective.