from the archives: expired fuji superia 200.

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Back in 2008, when I started to become more serious about film photography, I hoarded as much reasonably-priced, expired 35mm film as I could find on eBay.  I loved the unexpected tonal shifts, the not-knowingness of dropping off a roll of film at the lab and wondering –between the sheer fact of the film-ness and the fact of its expiredness — just how that roll would turn out, or if it would turn out at all.  It was a greatly experimental time in those days.

Then my inclination towards unpredictability shifted a bit.  It hasn’t left entirely, obviously, since I still shoot with film cameras, but as film and developing costs have both risen, I’ve become less willing to spend a lot of money on expired film stock that might just end up being plain terrible (I’ve had a few disasters).   I’ve also sensed my aesthetic narrowing a bit, and I’m far less likely these days to shoot things just sort of willy-nilly; my eye has become more practiced, more patient, more precise.  And so accordingly,  I’ve stuck primarily with fresh rolls of Kodak Ektar 100 and Portra 400, because I know better now how I’d like to document the things and people that I see.

That said, looking back on some photos in my archives taken with various rolls of expired Fuji Superia 200, I can’t help but marvel at how the imprecision and unpredictability of a flawed bit of film stock can still work wonders.

Above:
1. Front Garden | Prospect Heights, Brooklyn, 2011.
2. Basketball Court | Princeton, NJ, 2012.
3. Afternoon Tipple | Boerum Hill, Brooklyn, 2011.
4. Eli | Los Angeles, 2008.

Below:
5. The Marquess Tavern | London, 2011.
6. Nearly Sunset | Riddarholmen, Stockholm, 2011.
7. Oldskool | London, 2011.
8. Languor | Walton, NY, 2011.

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