GET TO KNOW ME: ADAM FRENCH

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I've been shooting film since around 2009 with my first film camera of a Lomo Diana and then onto a beaten up Canon EOS 1000fn. Since then my cameras have been getting progressively more and more random and old. Most the time I now shoot on a range of large formats ranging from the 1890-1900s in Full Plate [6.5x8.5in - It's called John V2.0] to around the 50s with a 4x5 focal plane shuttered MPP Micropress and random barrel lenses, like the ridiculous 'Crazy Russian Lens, KO140M, a 140mm f1.8; in large format terms this is a 37mm f0.5 so it inhales light. I love experimenting with random mediums and modifying or building cameras, that's why I use a lot of the large format gear, there is a lot more modular parts of bigger cameras, means I can shoot various Polaroid mediums as well as sheet films and glass negs. My first and second 8x10 camera was built myself out of the theatre staging in college, with a homemade lens made of a Pentax 24mm and some Sigma elements from a second lens. Saying that, I also use quite a few different formats when I'm not lugging around heavy gear. Super8, especially Kodachrome K40, 35mm [Pentax K1000, Olympus XA, Leica IIIAF] 6x6, 6x7 [Pentax 6x7 TTL], sixteenth plate, 9x12 [Voigtlander Avus] as long as there's silver halides, I'll try to shoot with it somehow.

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Me and a fellow film shooter [@steve.boylin] are the administrators for @leedsfilmphoto, so as well as messing with a lot of random gear, we organise photo-walks around Leeds periodically and feature other film photographers, which is a great opportunity to meet lots of other film photographers and network in person rather than always on a computer screen.

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Recently, I've been experimenting with creating glass dry plates at home to shoot on my full plate with a massively fast speed of ISO 1, then lith printing on the wet side of printing. In my next project I'm hoping to get better at creating dry plates so they work more consistently and possibly boost their speed a stop or so.