Why I Shoot Film
EMULSIVE interview #10: I am Craig Pindell and
this is why I shoot film
By EM
Published on August 18, 2015
We’re back again and this time we’re
sitting down with Craig Pindell, native of Cheyenne, Wyoming and
(mostly) 8×10 nut
philosopher. Despite offering us an 8×10 selfie via Twitter (a promise
he has yet to keep!), we think Craig has some pretty interesting work
and thoughts to share with the rest of the film photography community.
So, it’s with great pleasure that I invite
you all to jump in and see what he has to say.
EM:
Hi Craig, so what’s this picture, then?
1472 - Inside the Kiva
Schneider Super Angulon 65mm f/8, Linhov Tech IV camera
Fuji Acros 100 – f/32, 4 minute exposure, Xtol developer N-1
CP: This photo is Image 1472
– Inside The Kiva, April 2006. This was technically challenging to say
the least; it was hard to focus in the low light, and it was hot and
stuffy in the Kiva. In fact, the shadows made it almost too dark for me
to see my eventual composition.
What makes this image really special to me
though, is that although you could say that there is a Kiva close to
most ruins, it is incredibly
unusual to find a Kiva in
the ruins. Additionally, finding an intact and accessible Kiva is
amazing.
I had a lot of time to think about how
special the find was while I composed, focused and exposed. Even now
when I think about it, I can recall the smell, the heavy air, the heat,
the sweat and feeling anxious while waiting for the film processing to
be finished, so I could see what I actually had on film.
I used Fuji Across 100 Quickload film. (Acros
for the excellent reciprocity characteristics for long exposures and
quickload to combat the ever present dust problem when photographing
ruins)
[EMULSIVE:
for the curious amongst you, you can
read about Kivas on
Wikipedia]
EM:
Ok, so who are you?
CP:
I am a large format fine art photographer, a long distance motorcycle
rider, a maintenance and reliability consultant, and a horrible golfer.
Good or not, I am passionate about these things. Everything I do, I
think I probably do to excess; such as shooting in 8×10 when others are
satisfied with 4×5.
Spiral Staircase in the lighthouse, Cape Blanco, Oregon
Fortunately for me, my wife Katie has been
incredibly supportive of my photography since we met in 1980. There has
been a lot of sacrifice on her part, but she has never complained. She
has been my cheerleader and my toughest critic. One significant birthday
she gave me a Linhof Technika IV camera. (It is a toss-up if that was
the best birthday present ever, or if the driving lessons for Indy style
race cars was the best – the jury is still out).
EM:
When did you start shooting film?
CP: I started shooting when I was in Junior High School in the 1960s. Part of our mandatory art class was photography. I was horrible at painting, drawing and sculpture…but photography seemed right to me. My parents gave me a 126 Revere camera for my birthday after that, and I keep striving to improve.
My sister is a terrific painter, My Brother
is an incredible cartoonist, and I photograph.
Guernsey Waterfall, 1979
Mamiya RB 67, 50mm lens
CP:
In spite of the incredible improvements in digital imaging since its
inception, the final product does not have the feel nor the emotion of
film. When I create an image, my goal is to make a pleasing print for
display. For my eye, no digital print matches the depth, clarity and
feel of a silver print.
Also, holding an 8×10 negative is a much more
satisfying experience than holding a memory stick with a thousand images
of the same thing.
Ruin with Handprints in Rounded Alcove
I recently was fortunate enough to visit Kim Weston’s home in Carmel California,
and he let us hold and examine Edward Weston’s 8×10 negatives, including a
Pepper negative – one of the first black and white fine art images that really
struck a chord in me back in the 1970’s.
The Pepper images were created in the late 1920s, and
we can still hold the negatives and could make prints if required. I doubt the
digital imaging formats used today will be in use in 20 years, let alone in 90+
years. I have a horrible feeling that many, if not all of the digital images
being created now will be lost.
Film has Heart, Soul, Feel, and Longevity. Why would
anyone use anything else?
Two Door Ruin
I keep shooting film because the desire to create images is still as strong as
ever, and the film photographer’s tool box is better than ever. My desire to
photograph has never been driven to create the “One Definitive Photo” and then
call it good.
Room Ruin With Handprints
Photography has always been a journey for me.
It has always been an adventure of continuous improvement and learning.
Always striving to be a better photographer, and always better in the
darkroom. I have thousands of negatives in my files, and some of them
are worthy of better prints than I have ever made of them. When I can no
longer carry the camera, I hope I can make the prints the images
deserve.
EM:
Any favorite subject
matter?
CP: The Anasazi Ruins and Rock Art on the Colorado Plateau has long been my passion. I used to be able to make two extended trips per year to the area to photograph. My schedule for a few years now has made it very difficult to do that. Eventually, as I cut back on my consulting work, I will have more time to be back in those canyons and washes. Something about the Red Rock and Pinion Pines rejuvenates the tired soul.
Ruin With Round Turrets
I am most passionate about my “Never Forget” project. I have photographed every
September 11 at 6:45 am Mountain time since the cowardly terrorist attack. I
will continue that project as long as I am physically able to point the camera
at something interesting.
At The Ready, Bend, Oregon
EM:
You can never use film again. What’s your last roll?
CP:
Since my favorite camera is 8×10, I will assume I do not get a roll, but
only one sheet. The image would be of a special ruin I know. It has an
incredible ceiling in the alcove where the ruin is situated. This ruin
is a long hike, but as it is the last photograph I will make, it is
worth the extra work. My pack only weighs 65 pounds, so it should not be
that tough!
The red rock and varnish make the green
filter the best choice and I will probably need to use an N+1
development…like I should have done the first time I was there 15 years
ago, with my 4×5.
I will need to bleach the handprints above
the ruin in the final print to make them more visible.
Ruin In A Ruin
[EMULSIVE:
Since you were so eloquent and because the question was geared to mere
mortals shooting 35mm or 120, you get an extra few sheets]
CP: Being a really clever large format photographer, I will have an additional sheet
of film loaded on the other side of the holder (a rule breaker to the end!) and
will be able to go down canyon less than a quarter of a mile and make a second
photograph…….. another ruin.
Two Story Ruin
And if I could never use film again, that would probably be the last image I
would take…but then again, I would have more time to finish all of the dark room
work I have put aside so I could make more photos!
EM:
You have 2 minutes to prepare for an assignment. One camera, one lens,
two films and no idea of the subject matter. What do you take with you
and why?
CP:
Easy- Mamiya 7ii with the 65mm lens. Kodak TMAX 100 and Ilford HP5+. The
Mamiya 7ii is an excellent rangefinder camera that is quiet and sturdy.
The 6×7 negative size is adequate for at least 11×14 prints. The 65mm
lens is razor sharp and the wide angle fits my vision.
Although I tend to lean toward the 43 mm for
this camera, not knowing the subject matter, the compromise between
extra wide and normal is probably safest.
Ten Sleep Creek, Wyoming
Kodak TMAX 100 is a very sharp film with long
scale when developed in XTol. And the reciprocity departure is easily
managed.
Ilford HP5+ has a fantastic tonal range when
developed in D76 and has better speed than most 400 ISO films.
EM:
You have an unlimited supply of film to shoot in one location. Where do you go?
CP:
One of my wife’s greatest fears is that I will want to move to Bluff
Utah at some point! For me that is the photographic center of the
universe. There are ruins, rock art, canyons, streams, vast panoramas,
tiny flowers, and open access to almost all of the area, although local
Utah lawmakers are trying to spoil that part. It is a land of
unimaginable beauty.
EM:
What do you think is people’s greatest misconception about film photography and
how would you set it straight?
CP:
That film is dead and has been replaced by digital imaging. I see
awesome images being created on film every day on Twitter, Flickr, and
other social media sites. The fact that we see more and more images
being created on film is an indicator that film photography is still
very much a part of our life.
Photo sharing has changed. It used to be that
photographs were only seen in print or in galleries. Now there are
photos everywhere, and film is a strong part of that. Companies are
creating new films and photo papers. Other companies are working on more
environmentally responsible chemistry for photography. Film is not dead!
EM:
Finally, in your opinion, what’s the future of film photography?
CP: I believe the demise of film photography has been greatly exaggerated. A few years ago, film photography equipment was very inexpensive and easily purchased on eBay, etc. These days that market has rebounded. There are galleries that advertise (brag) that they are selling exclusively silver based prints.
Photography with iPhones and Droids is
becoming the first step for many new photographers – much like the 126
cartridge camera was for me. As these new photographers develop the love
for photography, some of them will transition into film.
I believe film photography will continue to
grow and survive. I do not know that it will ever be what it was in the
80s and early 90s, but the outlooks seems great to me.
Wait, there’s more!
EM: How do you feel your
approach and methodology towards large format photography has affected
the way you shoot medium format and 35mm? In fact do you shoot 35mm at
all
CP: Great Question! When I
transitioned from the RB67 to 4×5, I really tried to shoot the large
format the way I had used the Medium Format…it did not work at all. I
made so many mistakes it was horrible. Back in those days I would work
from 7am to 3:30 pm, then go photograph until dark, then go home and
develop film. I did this nearly every day, and almost every night I went
to bed disappointed.
Finally, a photographer that lived in the little town I worked in told me –
very bluntly – that
I needed to change how I made photographs. I think he was the one that told me
they do not make motor drives for view cameras. He was 100% correct and my
images improved instantly.