I recently read Joe McNally’s book, The Real Deal: Field Notes from the Life of a Working Photographer. While I found his anecdotes occasionally interesting, I didn’t really enjoy the book. I think this was because I don’t much care for McNally’s photographs. Here’s one of his portraits.

There’s no question that McNally is a talented photographer with a powerful work ethic and serious technical skills. His portraits, however, leave me uninspired. You know the style. Creatively lit with a handful of Speedlights, carefully arranged backgrounds or sets, wardrobe and makeup people, etc. The kinds of photos that get a shit ton of likes. This style is not for me.

I normally don’t like the high-speed films but I’m trying to use what’s in my fridge, so here’s a few from a roll of Kodak T-MAX P3200 shot at 1600 and processed in HC-100.

As usual, this roll contained a few self-portraits, a few of Alice, and a few of “stuff”. My favorites are the ones taken in my dad’s garage.

I’m feeling twitchy about owning the Leica M10-R.

The M10-R is an astonishingly good camera. World-beating build quality, timeless design, and a fantastic 40-megapixel sensor, all in a small, beautiful package.

Still available new in 2022 for an eye-watering $8,995 (I bought mine used), the M10-R is also a ridiculously expensive camera. Buying one is a big deal and a significant investment.

I am fortunate enough to also own Leica M film cameras, and being able to share lenses between those and the M10-R is very handy. And OMG those Leica lenses! The control layout and handling are the same as well. It’s like having both a digital and film platform for using 70 years of tiny, wonderful Leica lenses. I can carry a full film and digital arsenal with 2 bodies and lenses in a tiny bag.

My wife bought an awful, kitschy plastic lamp and set it on one of the floor speakers. I, of course, balked.

That was a week ago and somehow the lamp is still there. I hate the lamp, but I don’t mind the light that it throws against the wall, and my wife loves it and thinks “it’s adorable”. Who am I to judge?

I took a photo of it. It’s just another boring snapshot by a film photographer looking for excuses to finish the roll. It’s exposed the way I intended and it’s composed nicely, but it’s not a great photo. I love it anyway.

I hate making fiber-based silver gelatin prints in the darkroom. But I love having them to hold and to hang.

Fiber-based papers have this deep, magical sheen, and the surface is smooth yet has a distinct, subtle texture that is missing from resin-coated (RC) papers.

Compared to RC papers, fiber-based paper takes twice as long to process. It requires additional washing and optional toning steps. It eats up fixer and takes more trays than I have comfortable room for. It must be washed for up to an hour. And then there’s the curling, so I have to press the prints under heavy books for a few days before I can do anything with them

There are things that I dislike about shooting film, but processing isn’t one of them. I actually enjoy it.

I shoot a roll or two of film each week and process it in my bathroom darkroom. Developing black and white film is quite simple. I have gotten to a point where the process is muscle memory. I shoot mostly the same type of film (HP5 Plus) and develop it in HC-110. I know the dilutions and I know the time, temperature, and agitation schedule.

My dad called me from Florida and said that one of his neighbors had died and left a bunch of camera stuff to be given away or sold. He mentioned there was “some old Kodak” and wondered if I was interested in it. I said “Sure, why not” and he said he’d send me a box with the camera and some other stuff that came in the box.

The box arrived yesterday and I was thrilled to find a working Kodak Retina IIIC inside. I didn’t know much about the Retinas except they were around for many years and were very high quality cameras, which isn’t something Kodak is known for.

There’s a shutter speed dial with “A” as an option. There’s a numbered ISO dial (so you can see where it’s set even when the camera’s off). There are apertures on a ring around the lens. You focus the camera and the focus stays where you put it until you change it.

All you really need.

Mike Johnston

This is why I love the Leica M so much. Everything is right there, all the time. I never futz with settings or customizing dials or wondering which sub-genre of focus modes I need and how I get them.

All too often someone on a forum or blog will claim that the only reason to even have a Leica is to use Leica’s lenses. Hogwash! While certainly a fine reason, it’s nothing close to the only reason. The idea that one should never use non-Leica lenses on their Leica is nonsense.

I have a few very nice Leica M lenses. I love them and they are my favorites. But I also have some non-Leica lenses in both LTM and M mounts. They’re fun and interesting and unique. They offer a different look than the Leica lenses. Mine are old, and nowhere near as technically capable as the stuff Voigtlander has been putting out recently. I don’t want those, anyway. I already have all the sharpness and micro-contrast and “pop” I can handle. I put older lenses on my M because it gives the photos a different feel. It can be nostalgic. Sometimes an image works better when it’s a little softer and has a smidge less contrast.