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Discovering Ferrania’s P30 film

Discovering Ferrania’s P30 film

I don’t deny that I have a deep appreciation of Italy and of the Italian language and culture. I learned a lot during my two years in Bologna more than a decade ago. Today, I enjoy every trip that I make back there. Each time I return there is a chance to speak Italian with Italians in Italy and to re-immerse oneself again in that complicated, beautiful, contradictory country. I don’t hesitate to repeat to everyone, in three different languages, the perhaps apocryphal quote from James Joyce: The only difference between Ireland and Italy is the weather and the food.

Ferrania in 1918 (from Ferrania’s excellent history page)

And so to Ferrania. At one time this company was the largest manufacturer of film in Europe, and thousands worked in their vast factory in the woods in Liguria. In Italy, the Ferrania name is associated indelibly with film. So, when I learned that two friends Nicola Baldini and Marco Pagni had launched a kickstarter to buy all the old Ferrania machinery and re-start production at a scale appropriate for the digitally-dominated early 21st century I was intrigued. Their first product would be… Ferraniacolour film. I was interested, but you know, colour is not really my thing. Then, at the beginning of 2017, came the surprising announcement: In fact, Ferrania would start by producing black and white film, and not any black and white film, but P30, the stock used by many famous Italian neorealist directors, among them Michelanglo Antonioni.

A still from M. Antonioni’s L’eclisse

Antonioni is a little different from the other directors of his era. Antoniennui say the detractors. Nothing much happens his films, but then should it? Life is not always about fighting wars, saving the planet, being heroic. A few years after I arrived in Paris I discovered all his films at the Champo cinema, and I even wrote about them on this blog. Although probably my favourite now is wonderful (colour) film “The passenger” with Jack Nicholson, the trilogy of L’Avventura, La Notte, L’Eclisse are for me one of the high points of cinema. Each scene of each film is so carefully, cooly framed. And, as I discovered reading the Ferrania web-site, shot in P30! You have to understand why this is important: one of the reasons Italy is so unique is because of that aesthetic sensibility so deeply ingrained in the culture and attitude. There is different approach towards beauty, something which is at the same time casual but profound. Different again I think from France or Japan, for instance. I follow with interest the announcement of new photographic films, and Ferrania P30 immediately announced itself as something different, a film with a uniquely storied history, from a country with a long and important cinematic tradition.

The handwritten formula for P30 (Ferrania)

I ordered five rolls just as soon as I could. Yes! Like the old Ferrania publicity, my photography would be transformed (or perhaps not)! And then last week, returning from a meeting, I found my film waiting for me, just in time for the weekend. Ever better, bright sunshine was forecast, and I had a friend visiting who wanted to walk around Paris with me and take photographs. Appropriately, I broke out my second Leica M6, together with the wonderful fifty-year-old Summicron-M 50mm lens that my friend Jean-Francois has loaned to me, and loaded it up with P30. My friend an I walked around the Marais on a hot Sunday afternoon where there were a lot of people and not many of which paid attention to me and my camera. Soon enough, I had shot my first roll of P30.

But first: these days, many people scan film. It is the easiest way to get the images into a computer, and good-enough scanners can be had for a few hundred euros. But scanning does not tell you the full story about the film, how it has been exposed, what it looks like. I’m fortunate: I have access to a darkroom. So a few days after developing my first roll of P30 in Rodinal at 1+50 for 8mins in the kitchen of our small Parisian apartment (sorry for the technical details, but it’s important to mention them) I made a trip to the observatory darkroom which I maintain. Despite having already scanned the roll a week previously, I am old-fashioned, so the first thing I did was to make a set of contact prints, following the rule that one should expose enough so that the sprocket holes are as dark as anything in the frames. I like looking at contacts, although I admit they are not very practical today.

Contact prints from my test roll of P30

Looking at the print with the light on I realized that something was wrong: the images looked underdeveloped (underdeveloped and not underexposed, because in most cases the shadow details are still visible). The developing time quoted by Ferrania in their “best practices” for Rodinal seemed too short. And in fact, when I got out of the darkroom I discovered that this was the case: the data sheet has been updated a day or two ago and the new times in Rodinal are almost double the old ones. But I could already see from these underdeveloped contact sheets and from the scans I had made earlier that P30 was something special.

Rather than showing scans of the negatives, I thought I would show here scans of the prints which were made, appropriately enough, with an Italian Durst enlarger. Remember, these emulsions were formulated to be printed and not scanned, of course! In the dark-room, trying to adjust the focus and looking through the grain enlarger I discovered that I almost couldn’t see the grain. Ferrania P30 must the be finest grain film I have ever used (although I admit I never tried film slower than 100 ISO before). Peering through the grain enlarger I could well understand why such a film was so attractive to cinematographers. I made all on the prints with a grade 2 filter: the contrast is nicely reduced. Eagle-eyed folk will note the notch on the left-hand side of the images: my friend’s camera has a hole cut in the shutter, so you can easily tell which photograph was taken with which camera. Apparently, many photographs did this once…

Beaubourg
A certain Parisian elegance (but don’t smile)
Listening
On the street, with a cat.

(I think it’s fun scanning the prints, but you’re even more at the mercy of bits of dust and imperfections; of course it is time consuming. I think the best thing to do with prints is to give them to people, or put them on the wall).

So, what do I think of the film? Like it says in the wonderful Ferrania video, it is a beautiful film. It is beautiful not just because it is fine-grained, it is beautiful because how light looks in the photographs. The scans do not do it justice. I have tried a lot of different films in the last two years, and Tri-X is probably my favourite; but after this one roll I am thinking that P30 might just might be my preferred slower film. Of course, an 80 ISO film is not ideal for shooting street photography in Paris in winter, but in bright sunlight I can just about make it work!

I have so much admiration for Film Ferrania and what they have managed to do in re-creating this film. I know how hard it can be sometimes in Italy to achieve something like this, and perhaps not everyone appreciates this. The Film Ferrania founders write modestly on their website how they were supported by the local government but to achieve something like they have achieved requires much determination and perseverance. I wish them much success, and as soon as the shop is open again, I will be buying more P30!

And I’ll be taking my other rolls of P30 with me on my up-coming one month trip to Japan and Thialand. To paraphrase Gary Winogrand, I will take photographs of these places to see what they look like when photographed… on P30.

Budapest, winter (8-13 February 2017)

Budapest, winter (8-13 February 2017)

I made a short trip with ML to Budapest a few weeks ago. Budapest is one of those cities I visited when I first ‘discovered’ Europe in the early 90s before leaving for Canada for two years. Quite a few of those cities I have never returned to since then: Budapest, Prague, Vienna. You see, back then, I was attracted to this part of the world. For me Europe was above all Mitteleuropa, it was not the Mediterranean Europe of France, Spain and Italy. In fact, during those first few visits to Europe, I didn’t even visit Italy. Coming from the North, for me Italy seemed to be chaotic and noisy. Today, of course, I feel differently. But meanwhile, in my mind, Budapest rests frozen in the summer of 1991. What it would be like today?

After a short flight from Orly, we arrived at night:

it was bitterly cold, but I had my heavy coat for the mountains.

There is certainly a particular atmosphere in this city at night,

and at the same time there is no question that things have changed,

and the city is not as it was before. Although Budapest, as I learned, was always even in the depths of communism, a city known for its cosmopolitan lifestyle. But now some strange choices are being proposed:

Are you sure?

However, some things do not change, people still swim outside in at Széchenyi in winter when the temperature is barely above freezing:

You must swim fast

There are still a few mysterious things to see,

Many buildings have been restored, but not all of them,

there are still a few traces left from before the arrival of modern-day plate-glass windows,

Certainly food is important,

and during our stay we went to some wonderful bars and restaurants,

and outside in streets, you certainly need to wrap up warm:

And suddenly it was time to leave. Waiting at Budapest airport to board the plane in the depths of winter is a unique experience:

… and we were back in Paris once again. I enjoyed immensely our short visit, and hope to return soon…

Observatoire de Haute-Provence: January 2017

Observatoire de Haute-Provence: January 2017

The Observatoire de Haute-Provence (OHP, as we call it to save words) is remote. To get there, you take the TGV to Aix-en-Provence, and then rent a car and drive north for around an hour. The nearest town is Manosque and the observatory is in the mountains. Each year I go there with two other astronomers to teach observational astronomy to a group of Masters-level students. The course is organised by Herve Dole who meticulously sorts everything out, helped out a lot of course by people at OHP and the Universities. We usually have two or three nights on the 120cm and 80cm telescopes, and usually it is clear for around two or two of those nights. There is a lot of work involved: for each group of students, there is a full scientific project, starting from planning the observations and finishing with a report and presentation. This year was particularly interesting: we successfully managed to observe an a transiting exoplanet, a planet which passes in front of its star and causes its light to dim.

The story of OHP is a long one. Observations started here at around the same time the IAP (Institut d’Astrophysique de Paris) was created a story which you can read about here. At the start, the OHP was, more or less, the “observing station” of the IAP, a place where the latest instruments could be tested out and where the still-new field of astrophysics could get the data it needed. I won’t go into the whole history of OHP here, but a succession of larger telescopes were built there, culminating with the mighty 193cm telescope in 1958. It was with this telescope that astronomers made the discovery of the first planet outside our solar system, 51 Peg, in 1995. The funny story here is that around the time I was studying for my Masters’ degree in Victoria, astronomers there were using an almost identical telescope at the Dominion Astrophysical Observatory for the same scientific project (with different instruments). Alas, their control of systematic errors was not quite good enough; they missed out.

Calling 1985

The situation at OHP has evolved. The number of astronomers using the site has greatly decreased in the last few decades with the arrival of other astronomical observatories situated in locations like Hawaii and Chile. Investments in the site have declined, reflecting a policy of concentrating resources in larger telescopes further away. But there is a lot to be said for smaller telescopes with modern instrumentation nearby, as I saw when I visited the JPASS observatory in Spain in 2015. There they have constructed a new small modern telescope on a site like OHP but with modern state-of-the-art detectors. Despite spending a lot of my time working on larger projects, I think there is a lot to be said for keeping sites like OHP open providing a compelling niche can be found.

Today, there are only a few people around after the sun sets. Although there are many telescopes, only one or two are regularly used. Some have been converted to remote, robotic operation. In the past, a chef cooked legendary evening meals each night, but today we re-heat meals made earlier in the day in the microwave (which never get things quite hot enough.) Still, the observatory has decided that educating students in the techniques of observational astronomy is a priority, and each year many nights of telescope time are dedicated to student projects. There is accommodation on-site which is very comfortable. The course that I teach in is part of the Master 2 program for astronomy in the Paris region, and we have tried very hard to keep an empirical, practical approach to our course. You wouldn’t expect it, but fewer and fewer astronomers actually travel to telescopes these days, and I personally appreciate seeing in person the telescope and dectectors even if they are not at the forefront of technology.

This year is my second trip to OHP with film cameras. I wanted to capture something of the feeling of being there in the middle of winter. Each morning one could see wonderful things like this:

Here are a a few photographs I took around the observatory during the day.

And as night falls, time to observe, or eat, depending if your observations are finished or not.

As each year, we stayed a week, arriving on Saturday afternoon and leaving early on the following Saturday. It was kind of nice to be slightly abstracted of the concerns of everyday life. When I wasn’t working, I worked on my article for Emulsive. I learned things. I learned that there is such a thing as the “Qatari Exoplanet survey” and our students successfully confirmed one of their transiting exoplanets (and I actually did a fair amount of work aligning their hundreds of images for them). We ate galette, which is a long tradition in France and in Provence it’s even better. And I took a lot of photographs of trees and domes. And group photographs. The best ones are always the unplanned ones. Like this one, taken at sunset. Almost everyone is there, except Herve, but here it is anyway:

At sunset. Michel, Karim plus students. Herve is missing.

I am already looking forward to returning in 2018!

Paris, 25th of February 2017 (in Bergger Pancro400)

Paris, 25th of February 2017 (in Bergger Pancro400)

Yesterday, the weak winter sun came out for a few hours and I went for a walk around town. Always the same places, but always something different to see. I was curious also to try a new film that I had just received, Bergger’s “Pancro400”. Like a lot of people I have been following closely the slow re-awakening of analogue photography and the film industry. In the last few months, several new films have been announced, and I am anxious to support any such initiative to bring new emulsions to the market.

Before Bergger, there was “Guilleminot” a French photographic company which was founded in… 1858. When they closed operations in 1995, the technical director of operations, Guy Gérard, decided to start Bergger. I guess this is like the Ferrania story, but twenty years before! Bergger have created a solid reputation for themselves as producers of high quality photographic papers and chemistry. Recently, the photographer-owner of a photographic supply firm and development laboratory, Aurélien le Duc, bought a controlling stock in Bergger. Realising that fewer and fewer people were printing in the darkroom, and more and more people were scanning, he decided that it would be interesting to provide some new emulsions (I am taking this information from a few articles in French I found and this nice interview with A. Le Duc).

Bergger don’t have their own production facilities, they are renting time on a German coating factory, which obviously makes sense given the small volumes involved. I think it is the famous Orwo Filmotech company (isn’t it Orwo film that Josef Koudelka shot on all those years ago?). However, Pancro400 is a new formula, unlike Bellamy Hunt’s “Street Pan” and Ferrania’s “P30”.

Well, I have only shot one roll. Nevertheless, I am posting my thoughts here as I think a few people might be interested. Physically, the film is reassuringly solid and thick, and I had no trouble loading it. I developed in good old HC110 using the times on the Bergger website. As is claimed, it does have nice tones and nice shadows. Yes, there is a certain ambience in the photographs for sure, probably accentuated by the fact that I am using one of my older Leica lenses which has less contrast. I would have to develop my other four rolls to really decide how this film is compared to Tri-X or HP5+, but this first roll seems very promising indeed. It does seem less contrasty that Tri-X in HC110. Here are a few photographs:

In parc Montsouris (where else)

Now on the quais and near Notre-Dame. Since the berges rive droite have been closed to traffic a few months ago, it always feels either post-apocalyptic or eternal summer, depending on your point of view.

That’s all! As a rule, there is only one or zero good photographs per roll, and I have put three here, so that is asking for trouble. Thanks to Bergger and friends for providing us with another choice for film…