At the bottom of the Great Wall of China, in the back of a souvenir shop, there was a glass case with old boxes of film collecting dust. Naturally I bought one, an ancient roll of AGFACOLOR XRG 100. The box was faded and dusty, and I’m pretty sure the inside had at least 2 spiders living in it. Oh, and it expired in 1992. Not to mention, I’m sure that film has sat there for the last 20 years completely unrefrigerated, through the 10-degree winters and 90-degree summers of China. Expired film does funny things, not to mention film that expired 20 years ago and has been subjected to extreme temperature swings. But as I’ve said many times, this is what makes film so fun – there is still a sense of adventure and mystery every time you get a roll developed.
So not only was this film special because of it’s age and unpredictability, it ended up staying in my camera as I travelled from China, back to Hong Kong, and finally to Vietnam, before the last frame was exposed. Which brings us to another cool part about shooting with traditional film: 1 roll can contain information spanning several weeks or months, and every frame has the potential to be exposed somewhere totally different. The same can be said of digital pictures on a memory card, except a roll of film has a physical element that digital cameras cannot approach.
There’s the antiques market in Beijing, which was full of strange instruments, flasks, Chinese arts and crafts, and an infinite number of Mao posters. The next frames show a hike up to Lantau Peak in Hong Kong, where the fog rolled in so thickly we couldn’t see anything, and I almost forgot that the airport was around the corner. And the last few frames are from the first day in Hanoi during my trip to Vietnam, which I will get to in my next post. Stay Tuned.