A lot of people ask me how I edit my film scans when I get them back from the lab… I actually do very little. I may crop very slightly, but never more than about 10% off an image. This is normally to straighten horizons or to shave off something that was unseen outside the viewfinder (most of the cameras I use only show 80-90% of the image anyway). Adjusting anything else, such as contrast and colour, would completely go against my own personal ‘Analogue Ethos’: if you’re going to start messing around and post-processing film scans then you my as well just shoot digital.
I love shooting film in artificial light, and especially a mix of artificial and daylight – as with the top image, which is a combination of tungsten, fluorescent and diffused daylight. The bottom image, made on 35mm film, was shot in Spain, lit only by that classic sickly orange street light we’re all used to. Again, adjusting the colour in these photographs would, I think, defeat the object of shooting film in the first place.
I have read that within the next decade most artificial light, including street lights, will be made-up of daylight balanced LED bulbs. I suppose it’ll look nice, if not a little boring…
Top – Pentax 67/105mm 2.4/Kodak Portra 800. Model – Lucy Knox
Bottom – Nikon FM3a/35mm 1.4/Kodak Gold 400. Model – Benedetta Orsoli
All my developing and scanning is entrusted to UK Film Lab, because they know exactly what they’re doing.