The Challenge of Overcast Days
Film photography is often about choosing the right film, preparation, intuition, and adaptability. On a recent walk along the Kennet and Avon Canal, armed with my trusted Bronica ETRSi, tripod, and cable release, I chose Ilford Pan F ISO 50 for its fine grain and sharp detail. This choice, however, proved less than ideal for the day’s conditions—a dry but very overcast sky. While I’ve had great success with Pan F in the past, this outing taught me that even a favorite film has its limitations.
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Ilford Pan F: A Film for Bright Conditions
Ilford Pan F is a remarkable film with an ISO rating of 50, offering exceptionally fine grain and incredible tonal range. It excels in bright, well-lit conditions, where it can capture every nuance of light and shadow. On sunny days or with controlled studio lighting, Pan F can produce results that are almost otherworldly in their clarity.
However, its low sensitivity means it struggles in low-light or flat-light environments. On a dark, grey day along the canal, the film’s strengths became limitations. The overcast sky flattened the scene’s contrast, and the low ISO restricted my ability to adapt to the muted light without compromising depth of field or shutter speed.
Why the Choice Felt Right—At First
When I loaded Pan F, I envisioned capturing the canal’s subtle textures, the reflective water, and the intricate details of the towpath. I’ve used this film before with great success in similar settings, so I anticipated strong results. My decision was also influenced by my desire to achieve a specific look—a combination of smooth tonal transitions and sharp detail that Pan F delivers so well.
The Reality: A Lesson in Limitations
Once the film was developed, it was clear the results didn’t meet my expectations. The overcast conditions lacked the contrast and light that Pan F thrives on. Instead of the nuanced shadows and highlights I’ve achieved with this film on brighter days, the images appeared flat, with little of the depth or drama I had hoped to convey.
This experience reminded me that while film choice can shape creative vision, it must also account for environmental realities. A film optimised for bright light isn’t just less ideal on a grey day—it can actively hinder the ability to create compelling images.
Reflecting on Previous Success
Thinking back to previous successes with Pan F, the common thread was always the light. On one occasion, I used Pan F on a crisp, sunny morning, capturing stunning, high-contrast black-and-white images with striking detail. On another, I paired it with long exposures in bright conditions, achieving ethereal landscapes.
This walk along the canal lacked that light, and Pan F didn’t have the latitude to compensate. A higher-ISO film like Ilford HP5+ or Kodak Tri-X would have been better suited, offering the flexibility to adapt to the flat light while maintaining strong tonal range.
Lessons Learned: Matching Film to Conditions
This outing underscored an important lesson in film photography: the importance of matching film to conditions. Even the best tools can fail when used inappropriately. For future overcast days, I’ll consider films with greater flexibility, such as medium-speed films like Ilford FP4+ or higher-speed options like HP5+. These films would offer the latitude to handle grey skies while still delivering pleasing grain and tonal results.
Conclusion: Growth Through Experimentation
While this outing didn’t yield the images I’d hoped for, it reinforced a vital aspect of photography—learning through experience. Not every roll will be a success, but every roll offers insight. Pan F remains a favorite of mine, but this walk reminded me to respect its limitations.
The next time I’m faced with an overcast day along the canal, I’ll approach my film choice differently, armed with a deeper understanding of how light and film interact. After all, even when film fails, the lessons learned ensure the photographer grows.
