Panos Voudouris | UK Film Lab Spotlight

It’s been a little while since we turned on our Spotlight here at UK Film Lab, so here we are with a new one and we have lots more lined up! Our latest UK Film Lab Spotlight is on Panos Voudouris a talented photographer who we’ve known for some time. Panos has been shooting a lot of b&w film lately – a range of different film stocks and a great deal of experimentation with pushing and pulling. It’s fair to say we’ve really enjoyed working on his film and seeing what he’s been out shooting and we’re particularly struck by his b&w work. Here’s a little Q&A with Panos, including a new ‘Tips’ section with some particularly useful insight into Panos’s journey with film, and then you can see a selection of his b&w work below. Check out Panos’s website to see more of his work:

1. Why do you take photographs?

I take photographs for myself, it is not a profession for me, so in a sense it is relaxing. I can pick up the camera and wait/look for a shot which means while I’m doing that I can forget about everything else. I am also fascinated by the cameras themselves, particularly as I seem to amass various old mechanical ones.

2. Why do you shoot film?

I was shooting digital till 2009 until one day I came across Jose Villa’s photos. I started looking more into other film photographers and given the tumbling prices of medium format equipment I decided to buy my first ever medium format camera: a Bronica SQB. I was hooked immediately! Within 6 months I sold all my digital stuff and have since acquired various 35mm, 6×6 and 6×7 cameras. I find the soft tonality of medium format colour negative film fascinating. It produces perfect skin tones, a radiant yet light and airy look that, for lack of a better description, just makes me feel happy. I also like that once I’m done shooting the process ends there: UK Film Lab takes care of the scans and all I need to do is pick and choose which photos I like.

3. Why do you use UK FIlm Lab?

I met Christian and Erica in 2013 during a film workshop and decided to try again getting scans from a lab. Before that I did try various labs in the UK but the scans I was getting back were mediocre at best and not worth the expense. When I got my first set of scans back from UK Film Lab I felt as if I was looking at somebody else’s much better photos! Since that day I have not wasted a single moment scanning myself, neither have I thought about sending my film elsewhere. Not only are the scans amazing but the feedback is also great, particularly when trying new films or shooting in under various conditions. Perfect scans, ready to print, every time.

4. Do you have any tips for other photographers?

I know everyone says shoot more to learn and while it is true that the more you shoot the better you get, I found that shooting more on itself is not that useful after a while. What made a real difference to me was getting the workflow right after the shooting is done, i.e. either learn how to develop and scan properly or find a good lab. For me, once I found the lab I immediately gained the confidence in my shooting as the buck now stops with me. No more doubting about “if I shoot like this then scan like that then photoshop x and y I might get a good result”. A great lab means I can concentrate on my shooting and improve on that, while having the freedom and confidence to experiment with more film stocks, cameras and shooting conditions.

01-Panos Voudouris UK Film Lab Spotlight02-Panos Voudouris UK Film Lab Spotlight03-Panos Voudouris UK Film Lab Spotlight04-Panos Voudouris UK Film Lab Spotlight05-Panos Voudouris UK Film Lab Spotlight06-Panos Voudouris UK Film Lab Spotlight07-Panos Voudouris UK Film Lab Spotlight08-Panos Voudouris UK Film Lab Spotlight09-Panos Voudouris UK Film Lab Spotlight10-Panos Voudouris UK Film Lab Spotlight


Share on Facebook//Tweet Link//Pin on Pinterest

Film is beautiful – a little Monday pick-me-up

Some days a pretty picture is enough for a Blog post! This is one of Christian’s shots from last year, captured on the Contax with Fuji 400H film, developed and scanned back at UK Film Lab. We’re looking forward to wedding season getting into full swing again, both to shoot and work on our own film, and to see the lovely images that our clients will be creating!

Christian Ward UK Film Lab_0003

Share on Facebook//Tweet Link//Pin on Pinterest

Winter Competition – Film Giveaway | And the Winner is…

We’re excited to announce that the winner of our Winter film giveaway competition is Kerstin Weidinger! We just loved the way Kerstin’s image captures the crisp beauty of winter sunshine. Our Winter competition was sponsored with thanks by the lovely people at Kodak Alaris, and Kerstin wins a whole bundle of Kodak film, which we’ll be sending out to her very soon  There were lots of great entries and we couldn’t let them go without a little runner up prize…so Sonia Jansson, Chris Seddon, Jenny Owens, Kirstin McKee, Ferdinand Janco & Connor McCullough, keep your eyes on the mail too!

For now, we hope everyone enjoys Kerstin’s image, shot on Portra 400 film on the Pentax 645n…a little reminder of winter in all its glory. We’ll be running another competition soon so don’t forget to watch our Facebook page for details!

Kerstin Weidinger

Share on Facebook//Tweet Link//Pin on Pinterest

Pushing the Boundaries | TRI-X at 6400 and Reala at 800

It’s been a while since we posted any personal work on here, so we thought what better way to show some of Christian’s work than to share some of our recent results with pushing film in the lab. We are planning a more in-depth guide to pushing film at some point in the near future, but one thing that’s important to the success of pushing film is some form of light source on your subject: ‘low light does not mean no light’, and pushing film is not going to help you out if there is no luminance to your subject. Pushing film increases contrast and in doing so, you lose shadow detail….pushing film generally helps your highlights more than your shadows, so that’s something to bear in mind. Of course, pushing film does not always have to be something you do only out of necessity because of low light – you might choose to push film for the artistic effect. Something to bear in mind with the latter is that when pushing colour negative, the process starts to alter the colours and it can be difficult to attain the natural look that you will be used to with normally developed C41 – pushed film is always going to look different, but perhaps that difference is what you’re wanting to achieve. With careful choice of light and exposure, however, it is possible to achieve good results.

So this weekend, Erica put down her camera and took up her modelling duties for Christian who was behind the lens. We recently shot some Fuji Reala and loved the colours, so we thought this would be a good time to try something for artistic effect – pushing Reala. As Reala is a 100 speed film we rated it at 800 and consequently pushed it 3 stops in development. In terms of black and white, we shot TRI-X at both 3200 and 6400 (and pushed 3 and 4 stops respectively). There is also a shot taken with Neopan 400 (not pushed) for comparison. And for instant film lovers, you’ll find some FP3000B in there too!

Contax, TRI-X at 6400/pushed 4 stops

01-UK Film Photographer02-UK Film Photographer

Neopan 400, Leica M6, Zeiss Sonnar 50mm at f/1.5

03-UK Film Photographer

Contax/TRI-X at 3200/pushed 3 stops

04-UK Film Photographer05-UK Film Photographer

Contax/TRI-X at 6400/pushed 4 stops

06-UK Film Photographer

Contax/TRI-X at 3200/pushed 3 stops

07-UK Film Photographer08-UK Film Photographer

Contax/TRI-X at 3200/pushed 3 stops

09-UK Film Photographer

Contax/TRI-X at 3200/pushed 3 stops

10-UK Film Photographer

Contax/TRI-X at 6400/pushed 4 stops

11-UK Film Photographer12-UK Film Photographer

Contax/TRI-X at 3200/pushed 3 stops

13-UK Film Photographer

Contax/TRI-X at 6400/pushed 4 stops

14-UK Film Photographer15-UK Film Photographer

Contax/TRI-X at 3200/pushed 3 stops

16-UK Film Photographer17-UK Film Photographer

Polaroid 600SE/Fuji FP3000B

18-UK Film Photographer

Polaroid 600SE/Fuji FP3000B

19-UK Film Photographer

Share on Facebook//Tweet Link//Pin on Pinterest

You and Your Lab

When starting out in the world of film or when returning to it after a time apart, the number of choices and factors to consider can be pretty daunting.  What format to shoot?  Which camera to buy?  Which lens?  Which film?  All of these important questions have a number of possible answers which will vary depending on your personal preferences.  Choosing a lab to develop and scan your film is also a key decision.  This handy guide will help you choose and develop a rewarding relationship with your lab, as well as outlining some factors to think about if you are considering trying a new lab.  We have tried to keep this article fairly generic so that it’s useful to everyone.  However, if you are interested to find out about what we offer and what our service includes at UK Film Lab, you can find out all about it here or for information on our complimentary scan tailoring service UKFL-Pro, click here.

Step 1 – Identify what is important to you

There are a number of reputable, professional labs around the world.  At first glance, the services and even the images that they produce, may seem reasonably similar.  And in fact, sometimes they are reasonably similar.  But there will be a number of (sometimes subtle) differences across a range of key factors.  The important thing is to work out what factors are most important to you, and from this, try to work out what lab or labs appear to be a good fit for you.

Here are a few factors you might want to consider…some will be very important to you, others less so:

- How good will my images look?  Sounds simple but this can be a tricky one, because there are so many factors at work.  You will probably be able to get a general feel for the quality and ‘look’ of the lab’s output from images shared by photographers who use the lab, and by the lab itself via websites, blogs and social media, so the initial stage is really about looking and starting to get a feel for things.  However, there are just a few things to think about…When photographers share images processed by a lab it’s not possible to tell how much extra editing the photographer may have done to the image…a degree of additional editing by the photographer is nothing unusual in itself but obviously this changes the final result and may mean that the image is more or less to your taste, due to the photographer’s personal editing choices.  One more example –  if a photographer posts an image that they’re not happy with, how much of that was an issue with what the lab did, and how much of it was down to the way the photographer took the shot?  Again, not possible to tell, and it can make matters a little confusing.  This is why personal recommendations and personal experience are vital (see Steps 2, 3 and 4).

- What exactly will the lab do to my images?  There are varying degrees of ‘work’ that can be done in the scanning and editing process.  Your lab should provide information about what exactly is included for the price you are paying (take a look at their Frequently Asked Questions and if anything isn’t clear, drop them a line to clarify).

- Feedback. By the time a photographer’s images have been ‘corrected’ in terms of exposure and colour balance by the lab, some problems with the way the shots were taken (for example, the way the image was exposed) may have been masked to a certain extent.  Some but not all labs will provide feedback about exposures and possibly other factors that have directly influenced the way the final scanned images look.  Why might this be helpful to you?  A really well exposed shot will give a better final result than a poorly exposed one.  If your lab gives you feedback it gives you the opportunity to improve your exposures the next time you shoot.

- Customisation.  Is it important to you that the lab will tailor their scanning and editing process to help you work towards the look you want to get from your film images?  Is this service included or does it cost extra?

- Customer service. It’s difficult to get a feel for this unless you have used the lab yourself or had personal recommendations, but the quality of the customer service experience can be a key factor for many photographers…do the lab staff seem friendly, professional, helpful and interested in what is important to you?

- Turnaround time.  Bear in mind that the turnaround times of a lab such as UK Film Lab will almost certainly be longer than a high street lab.  The difference is that most high street labs will use automatic settings to scan your images so there won’t be any corrections made for exposure or colour balance.

- Price or perhaps more helpfully, value i.e. what are you getting for your money in terms of service and quality.

Step 2 – Personal recommendations

Getting personal recommendations from trusted friends and colleagues can really help you to narrow down your search for a lab, once you have determined what factors are most important to you personally.  It’s probably a good idea to ask how much experience of using the lab they have.  For example, if you are looking to shoot quite a lot of film and build a long-term relationship with a lab, it could be particularly valuable to get feedback from someone else with similar priorities as opposed to a less regular user.

Step 3 – Send in your first orders

Yep, that’s orders plural:-)One order is often not enough to know for sure whether or not you’ve found your lab (see Step 4).

Sometimes, in their understandable eagerness to try out a lab, a photographer will shoot something pretty hastily, which is unrepresentative of their usual work.  When you receive your images back, this won’t really tell you what you need to know, which is – for the type of work that I’ll be sending to my chosen lab, what might I expect my images to look like?  So for your first orders, try to send in work that is representative of the type of shots you’ll typically be sending to your lab, and take just as much time choosing your subject matter, lighting and exposure as you will do when you usually shoot.  Also, if there are any particular things to note about your images, make sure you tell your lab when you place your order (there will often be a notes space on the order form).  In the absence of any particular specifications from you, most professional labs will tend to aim for an overall neutral look in terms of colour balance and contrast.

So, assuming you have sent in your first order with one or more rolls of your typical shots, and you have your scans back…

Step 4- Evaluate the experience 

Look at your scans, and – very importantly – if your lab provides feedback, look at this too.  Some of our clients at UK Film Lab look at their feedback before anything else, as it gives them immediate information about any issues to expect when they look at their scans.  As a simple example, significant underexposure by the photographer is likely to have a detrimental impact on the final result.  Ruling out any such issues, are you happy with the images?  (As a general rule you will need to carry out a final edit of your images, although this varies – the important point is that any additional work you do should be in line with the service your lab describes itself as offering).

Now the most important part – feed back!  If you are very happy with your images, your lab will probably love to hear this positive feedback.  If you are broadly happy with your images but would prefer a few tweaks on your next order, feed this back to your lab too.  You may be able to do this as part of a custom profiling service if your lab offers this.  The key thing you should look for here is a willingness on the part of the lab to have a conversation with you about your preferences, whilst being prepared to explain to you any factors within your control, which limit their ability to produce the results you’re looking for.  When your next order comes back, has the lab tried to take on board your feedback, bearing in mind any constraints that factors outside their control may have played?

Step 5- Develop and maintaining the relationship

A good quality professional film lab is staffed by highly skilled staff – sometimes photographers or creatives themselves – with an excellent eye for colour and a wealth of experience.  In terms of getting consistent results that give your brand a uniform, high quality identity, a successful, positive, long-term relationship with your lab – based on mutual feedback and respect – is very desirable.  Keep talking to one another.  Over time, if you have chosen a good quality lab and one that’s right for you, they should build up a great feel for your work and become a key, valued and trustworthy ‘partner’ in your business.  As with every relationship, months or years down the line, additional tweaks might need to be made, particularly if you change your shooting style.  However, throughout all of this your lab should make you feel that they are interested in you as a client, that they have a genuine desire to help you get the best results from your images, and of course they should offer consistently good results and professional service.



Share on Facebook//Tweet Link//Pin on Pinterest