The rebirth of film

Zenit macroZenith-3

It’s been more than seven months since I took delivery of my 1968 Zenit-3 camera, a beautiful, mechanical beast from the Soviet Union promising the retro joy of film photography and a new way of looking through the lens.

I soon became used to its weight and vintage clunkiness, the lack of battery and digital function. A flurry of enthusiasm was dampened by my lack of experience, leading to the pain of ruining an entire film of shots.

The heady smell of my Zenit’s leather case was left untouched for months before I dived in for another attempt. This time I minimised the risk of destroying another roll of film by winding it back prematurely. That was after fast-shooting in an afternoon to avoid further long delays.

Well the first results were returned, and it evoked the boyhood memory of checking a sheet of negatives against the light. Yes, I had shots, although some had failed due to overexposure on a very bright day.

This selection of monochrome images are simple, safe and taken around my west London neighbourhood of Hammersmith and Ravenscourt Park.

Click first image to launch the gallery

Was it worth the wait? I love the grain to these shots. They feel entirely different to the crisp images produced by my Fuji X-E1. The focus and depth on the garden wall image is very good, while the floral images have a compelling quality in black and white.

But the initial results of this return to film expose how digital has dulled my instincts for the technicalities of photography. I had to made blunt guesses about aperture and exposures – although analogue aficionado Stephen Dowling says a pocket light meter is a must. These photos, taken on a sunny day, seem a little bleached and lack the strength of contrast monochrome offers.

However, the Zenit makes me think differently about taking pictures and often goes against my usual thinking. It obviously has practical drawbacks and requires the effort we used to exert without a moment’s worry.

Right now the camera is sitting idly and may not be picked up again for a while. But after 45 years in existence, this patient creature is always ready for the next assignment with its latest – still wet behind the ears – owner.

Made in USSRRead the first post about my new Soviet friend here

My new Soviet friend

A new chapter in photography is opening up for me – but it is one which is distinctly retro and vaguely familiar.

I have invested a relatively small amount of money in a Zenit-3 camera, made in the Soviet Union in 1968. It is very solid, its weight protected by a fragrant leather case – and entirely mechanical. There’s no sniff of a battery here, and of course it takes rolls of film. That’s what we all used to do before the advent of digital cameras and memory cards.

The familiarity comes from being old enough to remember film photography, while around 1980 my late father bought me a Zenit camera which I remember very well.

My hands were too small to handle this metal chassis, while the finer points of aperture and shutter times were a little beyond me. But it was used to produce slides from family holidays and star trail captures from an interest in astronomy.

This memory was revived by Stephen Dowling, a  friend with a passion for vintage photography. His Flickr stream shows just what can be achieved with Soviet cameras and spurred me into my recent purchase.

In the first few tentative weeks I’ve mechanically loaded the first film, which is a feat in itself. The first shots without a digital guide to light levels have been a challenge. So has remembering to stop the aperture myself.

But the love affair is taking root – the clunk of the shutter is beautiful and focusing by hand delicious. It’s a world away from my trusty, nimble and lightweight Lumix which will remain the main tool of my photographic endeavours.

What the first black and white film from my Zenit yields will remain a mystery until it’s been developed, but I look forward to sharing the results here.