Maranda is actually a pretty well-known model in our local area. I was referred to her by another model, but had actually come across her work several times on Instagram and ModelMayhem. Maranda was professional, and easy to work with. She brought a considerable amount of wardrobe with her.


As with my shoot with Olly (same day, same location), the goal here was to shoot with primarily film, using natural light. The film stocks I used with Maranda were Kodak Tri-X 400 (in 120), Fuji Astia 100 (in 120), and Fuji Natura 1600 (in 35mm). My Bronica SQ-a and the Nikon F100 were the cameras of choice.

Let’s talk film. I had some leftover film from my shoot with Annie, and had learned a bit on how to work with these stocks.

Accessories for our shoot included my Sekonic L-308S, and Vanguard tripod.

As for shooting, we just improvised within our location, and used window light. I kept the curtains open for a bright an airy look during this session.


This time, I did a bit of film developing myself. Black and white film was developed in Rodinal using stand development (1:100 Rodinal and 1 hour developing times, with 1 or 2 agitations midway though). Negatives were personally scanned using an Epson V500, and processed in Adobe Lightroom. I decided to send my color film to the FIND Lab, in lieu of previous labs I had used (Indie Film Lab proved a bit slow on their turnaround, and for the price that’s not OK).

The results from the FIND lab were good, and they turned around the film promptly. I decided to scan the negatives myself, instead of having the lab scan. Frankly, this is a cost-control choice. Lab scans are expensive, and multiple rolls adds up to an expensive shoot.

I am actually undecided on whether my decision to process the Fuji Astia in traditional E-6 chemistry (rather than cross-processing) was for the best or not. I simply love the colors that cross processing gives to this film; however, the physical slides have a hyper-real depth to them when they are held up to a light. They look truly alive and stunning. Truthfully, this beauty and clarity doesn’t carry through to the scans as much as I would like. I do prefer the E-6 Astia scans to both Kodak Ektar and Kodak Portra Negative scans.


First, the Nikon F100 shots:

And here are the Bronica SQ-A shots on cross-processed Fuji Astia:

And finally, here are some black and white with the Bronica SQ-a:

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