Notes on Subject, Lens and Camera

My primary medium for decades has been documentary film. That’s where I’ve told most of my stories, behind moving images, sound, and a carefully constructed edit. But recently, I’ve returned—almost instinctively—to still photography. Not digital, but analog: 35mm film, the kind I experimented with in a parallel universe during the late 1970s and early ’80s, when I was just beginning to find my way into filmmaking.

Picking up a film camera again—feeling its weight, loading the roll, waiting for light—brought with it a quiet clarity, and with it, a set of questions that extend far beyond still images. The experience forced me to reexamine the fundamental tension between subject and device, a semiotic dilemma as relevant to photography as it is to documentary film. How do we frame a subject without overwhelming it with our tools? Where does the story begin, and where does the hardware end?

What follows are reflections sparked by my return to analog stills. They’re not instructions or industry advice—networks and stock libraries will continue to require technically precise output from increasingly sophisticated gear. Instead, these notes are meant to explore the creative process, personal taste, and the instincts that guide us as image-makers. They are for the artist in the making—and for the soul that finds peace in the process of looking.

The Gutenberg printing press, for example, revolutionized how we communicate, and in doing so changed the course of history. The advent of the 35mm film camera had a similar effect. Imagine a world without today’s cameras and the last century of photography.

The Nikon I was the first camera introduced by Nippon Kogaku KK in1948.

Capturing the Essence

Notes on Subject, Lens and Camera

When we think of photography, we often get caught up in the hardware: the camera bodies, the brands, the features. But in reality, the magic of a photograph lies in something more elemental. It’s not the camera body that makes the shot—it’s the subject, the lens, the film stock, and most importantly, the photographer’s eye.

The Subject

The heart of any photo is its subject. Whether it’s a person, a landscape, or a fleeting moment, the subject is what draws the viewer in. It’s the story you want to tell, the emotion you want to evoke. No matter how sophisticated your camera is, without a compelling subject, the image falls flat.

The Lens

The lens is the photographer’s brush, shaping how the light enters and interacts with the film. Different lenses offer different perspectives, and choosing the right one is crucial. A high-quality lens captures the nuances of the subject, bringing out the textures, the depths, and the details that make a photo come alive.

Nikon 50mm f/1.2 Noct-NIKKOR AI A bargain at $3,799

The Film Stock

The film stock adds its own character. Different films offer different color profiles, grain structures, and contrasts. It’s the canvas that holds the image, influencing the final look and feel. Choosing the right film stock can be as important as choosing the right lens.

The Photographer’s Eye

Ultimately, the most critical component is the photographer’s eye. It’s the vision, creativity, and skill that transform a scene into a photograph. The ability to see the extraordinary in the ordinary, to frame a shot, and to capture the decisive moment—that’s what sets a great photograph apart.

The Camera: Just the Hardware

In the end, the camera itself is just a tool—a light-tight box that holds the film and lens together. While features and ergonomics vary, the true artistry comes from the person behind the lens.

So, next time you pick up your camera, remember: it’s not about the brand or the model. It’s about the subject, the lens, the film, and your unique vision as a photographer.

35mm vs Medium format

When we talk about how much more information is in a 6×6 cm medium format negative compared to a 35mm negative, we’re mostly referring to the surface area of the film, which translates to higher potential resolution, better tonal gradation, and less grain. Here’s a quick breakdown:

1. Surface Area Comparison

• 35mm film: image area is about 24×36mm, which equals 864 mm².

• 6×6 medium format film: image area is approximately 56×56mm, which equals 3,136 mm².

That’s about 3.6 times larger.

2. What Does This Mean in Practice?

• Resolution: You can scan or print medium format images at much higher resolution without losing detail.

• Tonal Range: More film area means smoother transitions between tones (think sky gradients, skin, shadows).

• Grain: Medium format shows finer grain for the same film stock, since the image is “spread” over a larger area.

• Depth of Field: Medium format lenses for the same field of view tend to produce shallower depth of field, contributing to that signature “look.”

Bottom Line

A 6×6 negative has roughly 3.6 times the information of a 35mm negative — which is a huge step up if you’re scanning, printing large, or working in fine art or archival photography.