Bringing It All Back Home

Looking to go wide, ultra wide, on both mirrorless and film? Do Zeiss manual primes live up to the hype? Tune in to this new Bring It All Back Home episode and find out! We go live with the results, explore using the lens on both the Nikon mirrorless Z5 (with FTZ adapter) and the legendary Nikon F4 (circa 1988). A nod to Lensrentals, the 135mm 3.5 Sonnar, as well good ole TMAX 100.

Season 3 Episode 2 brings it all back home with a return to the analog combo series: all about the right combination of camera, film, & developer. Join us for an episode devoted to the most classic of vintage SLR cameras: the original Nikon F, as well as the near perfect Nikkor-H 50mm f/2 pre-AI. Listen in for the laid back joy of stand developing! And celebrate Rodinal - created in 1891 - plus its amazing connection to TMAX film. 

Links:

Nikon F history

FPP Podcast about B&W developers

Grays of Westminster

Rodinal history

Season 3 is here and the Bringing It All Back Home podcast is ready to relaunch with or without a towel. What is in store for season 3? Photography, home-made autobiographical fiction (not quite finished), music, art, long-lost code, reaching out to Scandinavia — and more. Rejoin the podcast! Subscribe for the thrills, or perhaps the inexplicable shout outs to Norway. 

Finding the right tool for job sounds easy, right? This Bringing It All Back Home episode attempts to chart the fun yet bumpy Minolta labyrinth,  a quest to find the the right analog gear for (vintage Raleigh English 3 speed) boardwalk bike rides. It starts with an outrageously lucky eBay Buy-It-Now on a rare black XD-11, takes a few loops & left turns - and finally arrives at the workhorse champ that is the Minolta X-570. 

Ribs is back! Returning to the podcast with a new book - Ribs (Wayne Reid) is here for a live chat about the third volume in his series, including the epic sea journey from UK to Antigua, long distance truck driving through Eastern Europe, & the lessons from life on the sea and what it all means. Join us for a very special episode with a great pal, brilliant writer, and amazing storyteller.

It’s the episode Bringing It All Back Home has been waiting for since the podcast began - a live chat with Jerry Bennett. A renowned photographer working in Philadelphia & South Jersey since the mid 80s, Jerry has consistently put his energy & passion into a brilliant body of work that spans four decades. Eye-popping fashion shoots created in his legendary Spring Garden studio, as well as on-location portraits throughout Philly - including abandoned industrial locations & Eastern State Penitentiary - Jerry’s work has always aimed higher. Join co-host Gerry Hecht and I as we get to know more about how it all started, making the transition from film to digital, working with Audrey Kitching, Jade Vixen, & more.

Jerry's work

https://www.modelmayhem.com/portfolio/1374/viewall#/41926779

Why shoot film when you can shoot film? Real film, as in Motion Picture film. Bringing it all back home returns this week with co-host Gerry Hecht to explore using FPP's Double X black and white film, otherwise known as Kodak Eastman 5225, a still-in-use motion picture film recently used in the award winning film The Lighthouse, as well as classics such as Paper Moon. This episode also dives into pairing it with the classic vintage combo: Nikkormat FT2 and the original sonar design Nippon Kogaku Nikkor 105mm 2.5 non-ai.

Making a move and job change eleven days before the pandemic begins - succeeding at the new job financially but eventually getting let go due to widespread company layoffs - but then choosing to bring it all back home to the career of your dreams. We speak with Frelyni Fernandez about her truly amazing journey: taking the leap into doing what you love. We talk about how it began, what led to the leap, as well as inside gear talk about how she produces her YouTube channel.

https://www.youtube.com/channel/UC6sMkfIEYFh7nJsOUe-VZ3Q/featured

Bringing It All Back Home returns with an episode about heartbreak, 6 X 7 medium format cameras that stop working for no good reason, the Glory Years of collecting 6 X 7 (now gone), and a possible way to salvage a breakup with a Pentax 6 X 7 that one can no longer trust 18 months after an expensive CLA.