Sometimes it’s saved me. Other times, I’ve ended up with muddy, underexposed images. It wasn’t until recently that I started to figure out why.

When I Push

Most of the time, I’m pushing one stop because of low light. Maybe I’m shooting an interior handheld on my Pentax 67 and need a faster shutter speed to avoid motion blur. Or I’ve run out of Portra 800 and need to get a little more out of the Portra 400 I have loaded.

The usual approach is pretty simple:

1. Set your meter to ISO 800 (assume you’re metering for the mid tones)

2. Shoot the entire roll at that setting.

3. Ask the lab to push it one stop.

The idea is that you get the extra stop of shutter speed while still getting a usable negative. And a lot of the time, it works.

The Problem

Where I’ve run into trouble is shooting darker interiors. The images can have the contrast and mood I’m after, but still end up looking too dark, with muddy shadows and very little detail in the darker areas.

Pushing the film in the lab doesn’t bring back all the detail lost from underexposing it in camera. You can get a punchier image, but that doesn’t necessarily mean you’ve got a good exposure.

A Small Adjustment

Recently, I started metering Portra 400 at ISO 640 instead of 800, while still pushing one stop in the lab.

It’s a small difference, but it gives the film roughly two-thirds of a stop more exposure. I can still shoot a little faster than I would at box speed, without underexposing the negative as much as I would at ISO 800.

So far, I’ve found this gives me a better result in darker interiors. I still get some of the contrast that I like about pushing, but with a little more detail in the shadows.

Takeaway

Pushing Portra 400 one stop is a useful tool, especially when shooting handheld in low light. But I’ve found that rating it at ISO 800 isn’t always the best approach for darker interiors.

Metering at ISO 640 and still pushing one stop has been a good middle ground for me personally. At least when shooting in softer/darker lit interiors. I get a little more exposure on the negative while still having some flexibility with shutter speed.

It’s a small adjustment, but one I’ll be keeping in mind on future shoots.

— Kendall

Instagram: @kenwheel

www.kendallwheelerphotography.com

Looking back, some of the best investments I’ve made haven’t necessarily been the most expensive. They’ve been a mix of gear, education, relationships, personal projects, and putting myself in new environments.

I thought it’d be worthwhile to reflect on the things that have made the biggest difference in my journey so far.

Education: Workshops and Online Courses

Back in 2019, I attended a three-day photography workshop in Moab, Utah, with around 20 other photographers. There’s something great about being surrounded by like-minded people in such a beautiful place. I learned things like how to shoot long exposures at night and how to think about natural light, but I also made connections with people who are still good friends of mine today (shoutout Garrett and Andrew).

I didn’t know anyone going into the workshop, which pushed me out of my comfort zone in a way I hadn’t really experienced before.

It’s not always feasible to commit to a multi-day workshop in some remote location, but there are plenty of great courses available online. A couple of favorites include The Modern Photography Academy and Sam Dameshek Academy, both great options if you’re interested in fashion photography. They cover everything from working with models and choosing film cameras to working with clients. I also took a course from Joe Greer focused on street and landscape photography, which I found really helpful, although I’m not sure if it’s still available.

I’ve found that paying for education can also help with accountability. It’s easy to bookmark free resources and never get around to them, whereas investing in something can give you an extra push to follow through.

Gear

Gear is an obvious one and one of the easiest things to get caught up in. There’s always another camera or lens that promises to make your work better. I’ve definitely fallen into that trap over the years.

That said, a couple of purchases have genuinely shaped the way I work today. Around five years ago, I made the jump from 35mm to medium format when I purchased a Mamiya 645. I fell in love with the look and feel of 120 film, and it gradually became a bigger part of my work as I moved toward interiors, architecture, and hospitality photography. It changed how I approached a scene and thought about the final image.

More recently, purchasing a Bolex and experimenting with 16mm motion picture film has pushed me to learn an entirely new medium. Shooting motion requires a different kind of patience. You have to think about how a scene unfolds over time rather than just trying to make a single good photograph. It’s been a learning curve, but one that’s made me think differently about photography as a whole.

A few other gear purchases that have been worthwhile:

• Contax T2: Compact and versatile, and easy to take just about anywhere.

• Pentax 67 with 105mm lens: The f/2.4 aperture gives you beautiful shallow depth of field.

• Sekonic light meter: Helps me get consistent exposure readings when shooting film.

• Continuous LED lights (300W and 500W): Versatile lights that have made shooting interiors and other work on film much easier.

I think the best gear investments are the ones that open up new ways of working or help you make the kind of work you’re interested in. You don’t necessarily need the most expensive camera or the latest lens. Sometimes it’s about finding the right tool and spending enough time with it to understand what it can do.

Assisting, Mentorship, and Community

Back in 2020, I started assisting a friend of a friend named Julian, a commercial photographer based in Los Angeles. I’ll never forget one of the first shoots I assisted him on: a campaign for Coachella.

It was my first real look at how a larger commercial production worked behind the scenes. We were shooting across multiple locations throughout the day, with five or more talent and a client on set. Watching Julian direct talent, communicate with the client, and manage everything going on around him gave me a much better understanding of what it takes to run a production at that level.

As we became better friends, he’d bring me along to other shoots, including a larger Taco Bell campaign in studio, and eventually referred me for some smaller projects of my own. That firsthand experience gave me a better sense of how bigger-budget shoots operate, even before I had the opportunity to run productions myself.

I’ve always felt that when someone takes you under their wing, it’s worth making an effort to show your appreciation. Every Christmas, I’d send Julian a card with a little gift or buy him lunch. Nothing over the top, just small gestures to let him know I appreciated his time and generosity.

Beyond assisting, finding your community is just as important, especially when you’re starting out. Instagram has been a great way for me to connect with other photographers, stylists, models, and creatives I’d like to work with. I’ve reached out to people to introduce myself or see if they’d be interested in making something together, and quite often those initial connections have turned into shoots further down the road.

Not every connection needs to lead somewhere, but putting yourself out there and building genuine relationships can go a long way. You never know where they might lead.

Personal Projects + Travel

Personal projects have been one of the most important investments in my development as a photographer, even when there’s no clear financial return.

When you’re shooting for a client, there’s usually a brief, a budget, a timeline, and someone else’s expectations to consider. There’s nothing wrong with that, but it doesn’t always leave much room to experiment.

Personal work gives you that space. You can try a new camera, explore a different subject, or spend time developing an idea without worrying about whether it’ll lead to a booking.

Travel fits into this, too. Being somewhere new exposes you to different scenery, people, and ways of life, all of which can influence how you see and approach your work. I’ve found that getting out of my usual environment helps me notice things differently and keeps me engaged with photography, even when there’s no specific project behind it.

Personal projects and travel are also opportunities to make the kind of work you want to be hired for. If you’re interested in photographing fashion, interiors, or hospitality, you don’t necessarily have to wait for a client to give you the opportunity. You can start building that body of work yourself.

I’ve also found myself moving beyond still photography and experimenting more with motion picture film. My recent project, Field Studies Flora, gave me the opportunity to explore a new medium, work with people in different ways, and approach storytelling from another perspective.

Of course, personal projects and travel aren’t free. Between film, processing, scanning, and the time involved, they can become a significant investment. But they’re also a way to develop your eye, figure out what interests you, and build a body of work that feels like your own.

Not every project needs to turn into something bigger. Sometimes the value is simply in making the work.

Moving to New Cities

Moving has probably been one of the bigger investments I’ve made in my photography, although I didn’t necessarily think of it that way at the time.

I started out in Colorado before eventually moving to Southern California and, more recently, New York City. Each move brought a change in environment that had a bigger impact on my work than I realized.

Colorado felt much more landscape-focused, while Southern California got me more interested in lifestyle and fashion photography. Moving to New York pulled me closer to architecture, interiors, and hospitality, while continuing to build on my interest in fashion. The people I met, the places I spent time in, and the work I was exposed to all played a role in shaping what I wanted to photograph.

Looking back, it’s interesting to see how naturally those shifts happened. I wasn’t necessarily trying to reinvent my work each time I moved. I just found myself drawn to different things and becoming curious about new subjects.

Moving doesn’t automatically lead to better work or more opportunities, and starting over in a new city takes time. But each move has helped me grow in ways I probably wouldn’t have experienced if I’d stayed in one place.

I think it’s worth staying open to those changes rather than feeling tied to a particular style or direction just because it’s what you’ve always done. Sometimes a new environment is all it takes to see things a little differently.

Final Thoughts

Looking back over the past eight years, there isn’t one thing I can point to and say made me the photographer I am today. It’s been a combination of experiences, relationships, mistakes, and a lot of time spent figuring things out along the way.

Some investments have paid off in ways I couldn’t have anticipated, while others probably weren’t worth the money. That’s part of the process, too.

I still have plenty to learn, and I’m sure the things I consider my best investments will look different over the next eight years. For now, I’m grateful for the people I’ve met, the places I’ve lived, and the opportunities I’ve had to keep learning and making work.

—Kendall

Instagram: @kenwheel

www.kendallwheelerphotography.com

The idea was to document the process behind Field Studies Flora, a NYC-based floral studio working out of a beautiful artist loft in Brooklyn. It ended up being one of the more involved personal projects I’ve taken on, pushing me in ways I hadn’t quite anticipated. I couldn’t be happier with how it turned out.

I wanted to walk through the process from pre-production to shooting on the Bolex under unpredictable conditions, and finally through editing, color grading, and delivery.

Final video here:

Concept and Pre-Production

I connected with Field Studies earlier this year after photographing a showroom in NYC that was one of their clients. I’d been wanting to shoot something more documentary-driven on the Bolex, so I reached out with the idea of collaborating. Alex, the founder, invited me to their studio to brainstorm.

After an initial meeting and a few emails, we were off. The goal was to create a short film capturing their behind-the-scenes process, incorporating a voiceover and an additional sound mix.

Alex was excited about the idea and helped put together a really thoughtful shot list. We exchanged mood boards and references, and having that collaborative approach from the start made a huge difference.

Before the shoot, we also had a pre-production call to align on the flow of the morning, what we wanted to capture, and the order in which to shoot everything. We even talked through what we’d do if it rained—which, of course, it did.

Having a plan in place made it much easier to adapt on the day rather than figure everything out in the moment.

Gear

• Bolex H16 RX3 with 25mm f.14 RX lens

• Kodak 500T(2) 100-foot rolls

• Frame rate: 24 fps

• Lighting: Natural light + 300W LED bounce

• Scan: 4K ProRes 422 HQ

• Post: Editing and sound design with Joey; color grading in DaVinci Resolve

Shoot Day

We carved out roughly three hours one morning to shoot everything at their studio in Bushwick. The space gets incredible natural light in its fifth-floor loft, especially during the summer. Unfortunately, we ended up with a pretty heavy downpour on shoot day, which meant making a few adjustments.

One of those was choosing a faster film stock. I brought along two rolls of 500T, which gave me more flexibility in the darker conditions.

We started outside, capturing the building exterior and the arrival of their flower deliveries. The rain actually added a nice, moody texture that worked with the direction we were after.

It was mostly me working between handheld and tripod shots while the team went about their usual process. I shot the exterior sequence on one full roll, and with the deliveries happening on a tight schedule, there wasn’t much room to overthink things. I had to trust my instincts, get the shot, and move on.

Since the final edit was going to be slower-paced and observational, I aimed for roughly five seconds per take, giving each moment enough time to unfold. Most of the exterior sequence was handheld, with a few shots on the tripod.

After finishing the first roll, we moved inside. This was where the weather became more challenging. Working primarily with natural light on an overcast day meant I needed to be a little more intentional about exposure.

Luckily, my friend Tanner was assisting that day and helped bring in some fill using a 300W LED light I’d brought along. I kept the setup simple, using the natural light as the key and bouncing the LED into the ceiling to lift the shadows.

Having an extra set of hands was invaluable, especially with the time constraints. And again, being able to refer back to the shot list helped keep us on track. With such a limited amount of film, every shot needed to count.

At 24 fps, a 100-foot roll gives you just under three minutes of footage. With roughly five-second takes, that works out to around 30–35 shots per roll. Across the two rolls, I had a little over five minutes of total footage to work with.

One thing I was reminded of was how challenging it can be to shoot the Bolex’s 25mm f/1.4 lens wide open. It’s a beautiful lens, but focusing accurately at f/1.4 can be tricky, and the results can feel a little soft if you miss focus.

I was generally around f/5.6 for the exterior shots and f/2.8 indoors, shooting 500T at 24 fps. It was a good reminder that shooting film isn’t just about the look of the stock or the camera. You’re constantly balancing exposure, focus, available light, and how much time you have to get the shot.

Post-Production: Editing and Color Grade

Once the film was shot, I dropped it off Negativeland for scanning, who always does a great job. I opted for a 4K scan in ProRes 422 HQ. It costs a little more than some of the lighter file options, but I wanted a high-quality file that would give us plenty of flexibility in the edit while preserving the texture of the film.

For the edit, I brought in my friend Joey, whose expertise ended up being a huge part of the final result. He handled the edit and sound design, including an original score created by his friend John.

Our workflow was pretty straightforward: Joey put together a first cut, we jumped on a call to discuss the direction, and he worked through a second version before sharing it with Alex for feedback. From there, we refined the edit and incorporated the music.

We also used a voiceover from Alex, which she recorded on her phone. She gave us a lot of material to work with, and it became a matter of piecing everything together in a way that felt natural to the visuals.

There’s a lot more nuance to the editing process from Joey’s perspective, but having someone else take the lead on that part made a huge difference. I could focus on the footage itself and let someone with a different skill set shape the story.

If you have the budget and the right person to collaborate with, outsourcing the edit is something I’d highly recommend. It can take a project somewhere you might not have reached on your own.

Once we locked the picture, I handled the color grade in DaVinci Resolve. I found it much easier to grade the final edit rather than trying to color-correct every usable shot before knowing which ones would make the cut.

I’m by no means an expert in Resolve, but I’ve found a few workflows that work for me. I often refer back to this YouTube tutorial by Nkosi Roma.

My approach is generally to get the white balance and overall color where I want them first, then build contrast by adjusting the lift, gamma, and gain. With film, I try not to overdo it. I want to preserve the natural color and texture while giving the footage a little more depth and consistency.

Lessons and Takeaways

If there’s one takeaway, it’s the proper preparation and production allows freedom to experiment on shoot day. Since we had a buttoned up list of shots, locations, and schedule, we could work through the key shots first and then improvise. One shot as an exmaple was the elevator sequence, which ended up being some of my favorites that were unplanned.

Another thing in embracing the conditions are dealt on the shoot day. We had planned for sun, but got rain. And in turn, it helped support the moodier look we wanted. Plus it made for great texture with the outdoor shots. Or how the red tail lights of the delivery van bloomed with the darker/wet conditions.

A few things I took away from this project:

• Pre-production matters. A thoughtful shot list, a pre-production call, and knowing the location helped us stay organized and adapt when the weather changed.

• Bring an extra set of hands. Having Tanner there to help with lighting and logistics made a real difference, especially when working against the clock.

• Work with people who complement your skill set. Joey brought a lot to the edit that I wouldn’t have been able to achieve on my own. Collaboration made the final piece stronger.

• Be intentional with your film. With roughly 30–35 five-second takes per roll, there isn’t much room for unnecessary coverage. Having a clear idea of what you need helps you make the most of every frame.

• Don’t underestimate shooting wide open. The 25mm f/1.4 is a great lens, but focusing at f/1.4 on the Bolex is challenging. In practice, I found myself stopping down whenever the light allowed.

• 500T was the right call. The weather wasn’t what we’d hoped for, but having a faster stock gave me the flexibility to keep shooting without completely changing the visual approach.

• Think about when to use a tripod versus handheld. Handheld footage feels more intimate and immersive, while a tripod gives a shot a more grounded, deliberate quality. Looking back, I’d like to experiment with using the tripod more intentionally, especially for the quieter moments.

Overall, this project was a good reminder of why I enjoy shooting on film. The limitations force you to slow down, make decisions, and pay attention to what’s happening in front of you. You can’t capture everything, and sometimes the best thing you can do is let a moment unfold rather than try to control it.

Huge thanks to Alex and the Field Studies Flora team for being so open to the process, and to Joey for helping bring it all together.

Team credits below:

• Client: Field Studies Flora

• Editor: Joey Tuzzolino

• Sound: John Osment

Thanks for reading.

—Kendall

Film

Aftersun - I wish I had discovered this one sooner. A coming-of-age story centered on the relationship between a father (Paul Mescal) and his teenage daughter. There’s a powerful visual language built around the observational approach, with a beautiful use of color that pulls you in.

Book and YouTube

Daniel Arnold, You Are What You Do (book) - I had my eye on this one for a while and finally picked it up at the NY Art Book Fair last week. It’s a wildly raw and humanistic point of view for NYC street photography.

Shooting Kodak's New Film Stock in the Outer Banks | Verita 200D (YouTube) -These videos are gold, especially when he shoots on 16mm. He does a great job capturing life cinematically and love how he shares his process throughout the video.

Dub Techno (music) - I’ve been loving this mix for late night editing/work sessions.

Solento (music) - A great channel for softer, more atmospheric jazz and with nice visuals. It’s become a go-to for background listening while working or winding down.

Museum and Interiors in NYC

The Whitney (Meatpacking District) - A contemporary museum with tons to explore without feeling overwhelming. The exhibits, Untitled (America) and the Whitney Biennial 2026, both offer an interesting look at American art across different periods. A great way to spend an afternoon, with some Warhol/Lichenstein in the mix, too.

Assembly Line Showroom (Brooklyn) - The three-story townhouse showroom by General Assembly’s ongoing partnership with Tankhouse and 144 Vanderbilt. Appointments required but very worth the time for anyone interested in interior design.

Toby’s Estate (Manhattan) - Their SoHo location just opened with great coffee and a beautiful interior. The sidewalk seating is a nice touch, making it an ideal spot for people-watching in the heart of the neighborhood.

If you’ve stumbled across something worth sharing lately, I’d love to hear.

—Kendall

On the personal front, highlights included a weekend trip to Martha’s Vineyard and more time spent with friends celebrating our engagement.

Client Shoots

The month kicked off with a new project for La Cabra, who are opening a flagship bakery here in NYC. They needed a mix of 16mm and stills focused on the space and surrounding neighborhood. Shooting both mediums can be challenging, but dedicating separate days to each gave me more time to capture the atmosphere. For the space itself, the priority was 16mm footage of the construction and architecture. My friend Max assisted, which was a good reminder of how much an extra set of hands can help, especially with lighting. We used my 300W LED with a lantern, which worked well with 500T.

The second shoot came together more spontaneously, and I’m glad I had the flexibility to say yes. A DP friend, Griffin, reached out the day before about shooting stills for a sportswear brand as part of a larger commercial following high school kids playing basketball in a NYC gym. They wanted a more street/editorial eye for the stills, so I brought along my Pentax 67 and Contax G1 with flash. It was a fun opportunity to test myself with fast-moving subjects, pushing Portra 400 a stop, incorporating flash, and embracing motion blur. Beyond the images themselves, it’s always fun to learn from being on set. They had a sizable crew working with multiple Aputure 1200X lights, which was great to see in action.

New Gear

I did a more detailed breakdown of my cameras in last week’s post here, and mentioned I sold my Contax T2 to get a G1. While I’m very happy with the G1, I knew something was missing: a point-and-shoot camera. I’d been eyeing the Yashica T4 for a while and decided to go with the slim version. So far, it’s been solid: light, quick, and sharp, although I do miss the manual exposure and focusing of the T2.

Lastly, I added two new lenses to my Bolex kit: a 10mm and a 75mm. I’ve been using the 25mm for the past year, and while it’s probably the most versatile focal length for everyday shooting, I’ve been wanting something wider and tighter. The H16 has a rotating turret, so I can keep all three lenses mounted simultaneously, which is very convenient.

Cold Email and Value Spec Work

Cold emailing is easily my least favorite part of being a photographer. My take is that it’s largely a game of luck, although there’s certainly some strategy involved. A lot comes down to finding the right person to reach out to and catching them on the right day. I still get ghosted and hear plenty of no’s, but that’s part of the job. It only takes one yes to shift the waters, which leads me to my next point.

Since moving to NYC, I’ve done a few collaborations that have started to pay off. They’ve helped build my portfolio while giving me the opportunity to approach projects like client shoots and retain creative control. It’s one of the best ways to practice, and I think the key is finding collaborations that align with your interests and the kind of work you want to be doing. These projects have even turned into paid work down the line, which is an added bonus.

Wherever we are in our photography careers, I think it’s important to keep making time for passion projects. They can be just as valuable as paid work, sometimes in ways you don’t immediately expect..

A few photos from September below:

See you next week.

—Kendall

I’ve also realized that I don’t really have one camera that does everything anymore. Each one has a pretty specific role, depending on the job or what I’m trying to make. It’s less about having the “right” camera and more about having a camera that makes sense for how I want to shoot.

35mm

Contax G1 + 28mm + T140 flash

I recently sold my Contax T2 after it broke and replaced it with a Contax G1. It’s quickly become my go-to 35mm setup when needing the wider focal length.

It feels like the T2 on steroids, and only slightly bigger. It's compact enough to keep with me, but still gives me the flexibility I want for interiors, hospitality, and lifestyle work. As for street shooting, I'm sure it'll find its place there too. So far, I’m really liking the flash but more to come on this camera.

Canon F-1 + 50mm

The F-1 has become more of a two-purpose camera for me.

I still use it for personal street shooting, but I’ve also been bringing it on some interiors and hotel jobs. The 50mm gives me something a little more focused than the G1’s 28mm, and I like the way it slows me down a bit. This camera shoots just like the Pentax 67 in terms of ergonomics and the mechanical feel.

Canon EOS 620 (Body)

This one is a sleeper, and sadly doesn’t get as much use as it should. I originally picked it up because of the EF mount, which gives me access to a huge range of lenses. Back when I was living in California, I used it for more swimwear and fashion work, usually with the 70–200mm.

I don’t have a huge use for it right now, but I like keeping it around. It’s one of those cameras that could become useful again depending on where the work takes me.

Medium Format

Pentax 67 + 105mm / 65mm

The Pentax 67 is still my main medium format camera.

The 105mm is probably my favorite lens on it for general shooting. I like the compression and the way it isolates a subject without feeling too detached. I’ve also been using the 65mm more when I need something wider, especially for tighter interiors.

It’s definitely not the smallest or easiest camera to carry around, but when I want that particular medium format look and a more deliberate shooting experience, this is still the one I reach for.

Mamiya RB67 + 80mm

This one gets pulled out when I want to be more intentional.

It’s obviously a brick even compared to the Pentax, so I’m less likely to casually bring it around NYC. But for controlled shoots where I’m working from a tripod and have more time, I like having the option. It’s built for a slower pace, but aside from that it can handle almost anything: fashion, interiors, landscape, documentary.

The 80mm has become my main lens with it, and I love how different the process feels compared with shooting the Pentax handheld. I’m always a sucker for the bellows focusing capability, and shooting with the waist-level finder brings a different perspective. It also seems to disarm subjects a bit more.

Motion

Bolex H16 RX3 + 25mm

The Bolex has been my main 16mm setup for a few years now. I think it’s worth spending the extra money on the reflex version, compared to the non-reflex. It’s easier for framing, focusing, and overall speed when on the go.

I’ve been shooting more motion recently, and the Bolex has made me think about composition and movement differently than still photography does. The 25mm RX lens (~50mm equivalent) has become my new favorite for it’s sharpness and lightness, compared to heavier zoom lenses.

I hope to add 1-2 more lenses in the near terms so I have all my bases covered.

New Purchase + Final Thoughts

I just ordered a Yashica T4 slim, mostly for personal shooting. It wasn’t until recently that I was missed having a compact/daily camera since my Contax T2 broke. I've always been a big believer in point-and-shoot cameras, both film and digital. They're probably the easiest way to stay engaged with photography without making photography feel like work.

So that’s the current lineup.

It’s probably more cameras than I actually need, but I like that they each have a different purpose. The G1 is becoming the everyday/workhorse 35mm camera, the Pentax is still my main medium format setup, the Bolex handles motion, and the T4 will hopefully become the camera I actually carry around just for fun.

I’m curious to see how much this changes over the next year. If you have any specific questions, I’d love to hear from you.

—Kendall

Here’s the latest roundup of events happening. If you only make it to a few, I would personally prioritize these:

Los Angeles=>David Lynch, Tacita Dean FILM
New York=> Baldwin Lee, NY Art Book Fair

Los Angeles

Thursday, September 17th - Brittany Markert: In Rooms III at The Loved One (Echo Park) - The latest installment of Markert’s ongoing project combines analog photography and darkroom printing. The work explores domestic spaces through surreal, psychological, and cinematic imagery.

Friday, September 18th - Tacita Dean: FILM at Marciano Art Foundation - A chance to see Dean’s large-scale 2011 FILM installation, alongside nearly 100 works made across Super 8, 16mm, and 35mm. A good one for anyone interested in film as a medium.

Saturday, September 19th - David Lynch: LA at Pace Gallery (Mid Wilshire) - An exhibition of photographs by David Lynch, running through December 23rd. It’s the first presentation of his work in Los Angeles since his passing in 2025.

Saturday, October 3rd - Artist Talk/Book Signing/Arthur Grace/JimMcHugh/ARTWalk/10.3.2 at Leica Gallery Los Angeles (West Hollywood) -Artist talk and book signing with Arthur Grace and Jim McHugh as part of LA’s ArtWalk.

New York

Thursday, September 17th - 'Baldwin Lee: New York (1975–1979)’ at Howard Greenberg Gallery (Manhattan) - Opening night debuting a collection photographs Lee made between 1975 and 1979, shot on large format black and white, city in the early morning, often in winter, when its streets were nearly empty.

Friday, September 18th - Aperture Loves New York at Aperture's new home - Opening its new space in Upper West Side, with a group presentation featuring more than 20 photographers including Diane Arbus, Robert Frank and more. It's free and runs through November 1.

September 24-27 - NY Art Book Fair at MoMA PS1 - 20th anniversary for artists' books, zines and independent publishing. There are also talks, book launches, workshops and signings.

Thursday, October 15th - I’m So Happy You Are Here: Japanese Women Photographers from the 1950s to Now exhibition at ICP - Showcasing nearly 30 artists with focus on everyday life, critical reflections on the roles inhabited and reshaped by Japanese women, and approaches that push the boundaries of photography.

Saturday, October 24th - Darkroom Printing Workshop by Gowanus Darkoom (Brooklyn) - Intimate Color darkroom printing group workshop. You provide your own negatives to print from. Tickets are very reasonable at $165, which includes paper/chemicals.

Cheers,

Kendall

Instagram: @kenwheel

Over the years, I’ve found a middle ground: keeping the setup simple and using constant light when I want a little more control. I wanted to share a few setups I come back to when I’m shooting in the studio.

These examples are mostly geared toward photographing people, but the same principles can be applied to portraits, still life, and other subjects.

Lighting Equipment

99% of the time, I’m using constant lighting. Strobes are generally more powerful and efficient, but I prefer being able to see exactly how the light is hitting my subject (especially when shooting on film).

Nanlite FS-300B — 300W
My first constant light and still a great starting point. Enough power for most simple setups, with the added benefit of being bi-color (5600K for daylight, 3200K for warmer tungsten light). The main limitation is that diffusion quickly cuts the available output.

Nanlite FC-500B — 500W
My go-to when I need a little more power, particularly when shooting through larger diffusion or working in a darker space. The extra output also gives me more flexibility to create stronger contrast and separation.

Diffusion & Modifiers

Lantern — Broad, even light that’s great for filling a room or gently lifting shadows. The downside is less direction and potentially flatter images.

Softbox + Grid — My go-to for people. Gives you soft, directional light while the grid helps control spill. The tradeoff is reduced output.

Bare Bulb + Reflector — For harder, more directional light and stronger shadows. Simple, but effective when I want something more dramatic.

Other Considerations

Distance + Direction: Moving the light closer or farther away can completely change the look. A large source close to the subject will generally give you softer light and more falloff, while moving it farther away creates more even light. Before worrying about modifiers, I think about where I want the light to come from. I’ll often start around 45 degrees from the subject and adjust based on how much shadow I want.

Control the shadows: This is where V-flats become really useful. A white V-flat can bounce light back into the shadows, while a black V-flat can deepen them and add contrast. Most studios will have these available, but it’s worth checking beforehand.

Watch the ambient light: Pay attention to what the existing light in the room is doing. If I want the artificial light to feel like daylight, I’ll leave the windows uncovered and set the light around 5600K. If I want a more controlled or dramatic look, I’ll block them out. The important thing is knowing whether the ambient light is helping or fighting the look you’re after.

Example 1: 300W LED + Softbox + Grid + V Flat

Light positioned from camera left, roughly 45 degrees from the model, with V-Flat to camera right. We shot against a neutral-colored backdrop in a dark studio with very little ambient fill.

One useful trick here was moving the model away from the backdrop. This creates more separation and allows the background to fall off rather than being lit evenly by the key light.

I was pushing the exposure a little with an aperture around f/2.8 because of the longer lens and limited light output. It worked, but it’s also where constant light can become challenging on film you’re often balancing the look you want against how much light you actually have.

Example 2: 300W LED + Lantern

Light positioned from camera right at roughly a 45-degree angle.

There was already some ambient light coming from a nearby window, so the goal here was less about creating a dramatic artificial-light look and more about enhancing the existing daylight.

The lantern helped spread the light throughout the scene and gently lifted the shadows without making the artificial source feel too obvious.

This is probably the kind of setup I’d recommend to someone who is intimidated by studio lighting. Start with the existing light, then use one source to simply add to it.

Example 3: 500W LED + Bare Bulb

For this setup, the light was positioned from camera left, closer to a 90-degree angle.

We used blackout curtains to minimize the ambient natural light and let the artificial source become the dominant light.

Using the bare reflector created a much harder source than the previous two setups. The result has more contrast and deeper shadows, and the direction of the light becomes much more obvious.

This is also a good example of why more power can be useful. Without diffusion, the 500W light gives me plenty of output while still allowing me to control my exposure.

Takeaways

There are endless ways to light a studio, and I’m still figuring a lot of it out myself.

Most of the time, my approach is pretty simple: How can I get away with the least amount of gear while still getting the look I want?

I’m usually thinking about three things first:

• Where do I want the light to come from?

• How soft or hard should it be?

• What do I want the shadows to look like?

From there, the rest is just adjusting the distance, modifier, power, and ambient light until it feels right. I also think there’s value in knowing when not to overthink it. Sometimes the best setup is one light, one modifier, and a few minutes of moving things around.

There’s a really good YouTube channel called Easy Studio Lighting that I’d highly recommend checking out. The breakdowns are the best I’ve seen.

Studio lighting is something I’m still learning, but that’s also what makes it fun. You don’t need a huge lighting kit or a complicated setup to start experimenting. One light is more than enough.

See you next week.

—Kendall

Oh, and a small personal update: Meg and I are engaged.

I’m also excited to finally wrap up two larger collaborations that have been ongoing since the start of summer. The end of summer always feels a little bittersweet, but also like a good time to realign my focus as we head into fall.

Test Shoots

The stylist who I worked with on a test shoot back in April, approached me with a mood board a couple months ago. The creative direction was strong, mixing studio and location work, so we teamed up to make it happen. We originally planned to get a pull letter, but wanted more flexibility with the timeline and creative direction, so decided to do it on our own. I’ll do a separate post on the whole process, as I think there are some good learning points. We shot last week and it couldn’t have gone smoother, assuming the film comes back as envisioned. It was a good reminder that strong pre-production and team chemistry can get you 90% of the way there.

I also did a quick test beforehand to make sure my cameras were working properly. It ended up being two simple looks with a model and makeup in our apartment. We got some cool shots, but it also reminded me how much proper styling can elevate a shoot.

New Camera + ShareGrid

My Contax T2 broke on a client shoot back in July. It’s still usable, but I don’t think I can rely on it as my workhorse 35mm anymore. Naturally, I bought a Contax G1 with a 28mm lens and TLA 140 flash. I wanted something compact, sharp, and with flash capability, so it seemed to check all the boxes. I haven’t had much time to test it yet, but I’m planning to do more street shooting soon.

I’m also debating whether to keep my Canon F-1 or sell it and put the money toward another G1 lens. For now, I’m trying not to make too many changes at once.

On a separate note, I rented out my Bolex for a quick job the other day. It feels good to make a little passive income from gear that would otherwise be sitting in the closet. I use ShareGrid and have had nothing but good experiences. If you have sought-after gear, it’s worth looking into.

Connecting In Person

I’ve started checking out more gallery openings and exhibitions. There’s something about being in the same room with other like-minded people. So much of our world happens online that it’s easy to forget how much the in-person stuff matters. I checked out a photo exhibition for Gus Powell in Chinatown, followed by a couple gallery openings in Chelsea. Seeing physical work in a gallery and meeting interesting people goes a long way.

I plan to do more coffee meetups soon too. I met with another photographer visiting New York earlier this month, and it reminded me how valuable those conversations can be.

A few photos from August below:

See you next week.

—Kendall

Regarding your hotel clients. Do you reach out to them or do they reach out to you?

In most cases, I’ve reached out to the hotel first.

Depending on the city I’m looking at, I’ll make a target list of around 10 hotels that I admire and where I think my work could be a good fit. From there, I’ll create a mood board tailored to the hotel. Ideally, the visuals can work across most of my targets, and I’ll just swap the hotel logo on the cover.

Usually it’s three pages: a cover, a mood board with 6–8 images, and a final page with my contact information, website, and Instagram.

I organize all of my outreach in a single Google Sheet with the brand, website, location/category (i.e. NYC hotel), and contact information. Most hotel websites have a general email, and sometimes a media or partnerships contact as well. I’ll usually go with the latter and cc the general contact when appropriate. Another option is reaching out through Instagram. I’ve actually had some good conversations start that way.

From there, I’ll email each hotel individually, introduce myself, share the mood board, and open the conversation up to a potential project. In my experience, the first opportunity has sometimes been a trade for a stay, which can then turn into paid work down the line.

I’m pretty intentional about which hotels I reach out to. It’s less about sending as many emails as possible and more about finding places where I genuinely think my work makes sense.

What camera do you use for your analogue photography?

For 35mm, I mostly use the Contax T2 and Canon F-1. For medium format, it’s the Pentax 67 and Mamiya RB67.

Each camera has its own purpose, and I’ll usually shoot with at least three of them across a project. The choice depends on the look I’m after, how much I’m moving around, and how quickly I need to work. It also helps to have backups in case anything goes wrong. Not relying on a single cameras is the best approach (I’ve learned the hard way).

Would love to see more lighting setups, working with 16mm, and getting published!

I’ll do future posts on all three of these. There’s definitely enough to say about each to warrant its own post.

What’s your favorite film stock for indoor photography?

If a space has decent natural light, it’s usually Portra 400 for me. I love the tones and the versatility.

If the space is darker or has a lot of artificial overhead lighting, I’ll often use Cinestill 800T. The extra speed is helpful when shooting handheld, and the halation can add a really unique quality to the images.

For mixed lighting, I’ll usually just embrace it rather than trying to correct everything. Sometimes the weird combination of daylight, tungsten, and practical lights is what gives an interior its character.

How do you stay consistent with shooting?

Consistency is probably one of the toughest parts for me personally.

Sometimes client work is steady, and other times it’s completely dry. When I’m in a busier client season, I try to keep at least one personal project going at the same time. It gives me something to shoot for myself when most of my energy is going toward client work.

When things are slower, I’ll put more energy into maybe two separate personal projects or collaborations that I think could strengthen my portfolio.

Beyond that, I try to make a habit of getting out at least once a week and shooting candidly. In New York, I’ll often block off two hours to walk around the city with a camera. There’s no client, no shot list, and no pressure to come home with anything specific. It’s just a way to stay engaged with the craft.

I’ve also found a lot of value in having a daily camera that comes with me everywhere. Ninety-nine percent of the time, it’s a point-and-shoot.

I think the biggest thing for me is remembering that not every time I pick up a camera needs to be productive. Sometimes it’s just about continuing to look.

Thanks for following along.

-Kendall

If there’s anything you’ve been curious about (technical, creative, or business-related), leave a question in the comments or reply to this email directly, and I’ll answer a selection in an upcoming post.

A few ideas:

• Film photography, gear, workflow

• Working with clients

• Editorials & getting published

• Building a team for a shoot (stylists, MUA, assistants, etc.)

• Shooting on 16mm

• Lighting approaches, interior or exterior

• Living in New York vs. Los Angeles

• Photo books & photography influences

These are just a few starting points, so feel free to ask about anything else you’re curious about.

I’ll collect the questions and put together a more detailed Q&A next week. For now, let’s say August 26th is the deadline to submit.

Feel free to comment below, reply to the email, or even DM me on Instagram at @kenwheel.

Cheers,

Kendall

I find the city incredibly inspiring as a photographer. Mostly just to observe. The mix of people, architecture, light, and seasons is what keeps pulling me back.

You don’t have to be a street photographer to appreciate it either. There’s something here for pretty much every kind of photographer.

These are a few of the places I keep coming back to.

Grand Central

An obvious one, but it always delivers.

The architecture inside and out is worth photographing on its own, but I think the people are what make it. When the station is busy, it has that slightly surreal, cinematic quality that makes New York feel like New York.

I usually go in the morning when the light is nice on the exterior and commuters are moving through Midtown. If you want to make a morning out of it, start around 42nd Street near Bryant Park and walk east toward Grand Central. You’ll get some nice views of the Chrysler Building along the way.

SoHo

This has consistently been one of my favorite areas since our first trip to NYC, when I was working with The Mercer.

There’s something about the combination of old cast-rion architecture, luxury storefronts, and well-dressed people that makes it incredibly photogenic. Prince Street and Spring Street rarely disappoint.

Sunrise is great for photographing the architecture when the streets are quiet, but I actually prefer a sunny Saturday afternoon. The streets are busy, light bounces between the buildings, and there’s usually something happening in every direction.

Brooklyn Bridge + DUMBO

It can definitely feel like a tourist trap, but I’m always impressed by the views here. From the waterfront, you can get Lower Manhattan, Midtown, and three of the city’s most recognizable bridges within a relatively small area.

I usually start around the carousel and work my way toward Brooklyn Bridge Park before heading onto the bridge as the sun starts to go down. The crowds can actually make the bridge more interesting.

Sunset is the move. The light on Lower Manhattan gets especially good toward the end of the day, and it’s an easy place to spend a few hours without having to force anything.

It’s also surreal at sunrise, although the skyline gets front-lit pretty quickly. Early morning is the better option if you want a quieter version of the bridge.

Chinatown

Probably the best place for street and nighttime photography.

Afternoons and early evenings are great if you want more people in the frame, but I really like Chinatown after dark. The neon, fluorescent storefronts, reflections, and mixed lighting make it feel completely different from the rest of Manhattan.

This is one of those places where I think it’s better to wander without much of a plan. Get off the main streets, look for interesting light, and see what happens.

Greenpoint

One of the best views of the Midtown skyline.

It’s great for the obvious cityscape photographs, but I actually prefer sunrise most times of the year. That first light hitting the Empire State Building can be incredible, especially when there’s some color in the sky. I usually start in WNYC Transmitter Park and go from there.

The nice thing is that it doesn’t have to be just a skyline shoot. Photograph the view for a while, then wander around Franklin street in Greenpoint afterward. It feels more like a neighborhood that happens to have a great vantage point.

The High Line

Another must if you’re into architecture and urban landscapes.

You get elevated views from Hudson Yards down to the Meatpacking District. What I like most is how much the environment changes as you walk.

Sunset is my go-to. The buildings start catching that warm late-day light, and there are plenty of opportunities to layer people into the architecture.

It can get crowded, but I don’t necessarily think that’s a bad thing. The people are part of what makes the High Line work.

Staten Island Ferry

Probably the best free view of the city.

The ferry itself feels like a piece of New York history, and you get great views of Lower Manhattan while passing close to the Statue of Liberty. The terminal is also surprisingly photogenic.

I’ve only done it around sunset, but I’d recommend timing it around golden hour. Watching the light change over Lower Manhattan from the water is worth the trip alone.

A Few Others

There are obviously hundreds of other places worth photographing. The Met and Guggenheim are great when you want to spend a few hours shooting interiors, but honestly, some of my favorite photographs have come from places I wasn’t specifically looking to photograph

A hotel lobby, a coffee shop, a subway platform, a random side street. New York is full of places where the architecture and light can be just as interesting as the obvious landmarks.

That’s the thing about shooting in New York. You can walk out with no plan and come home with a roll you didn’t expect.

If I Only Had One Day

If I had one day to photograph New York, I’d keep it simple.

Sunrise / morning: Start in Midtown. Walk from Bryant Park toward Grand Central, then work your way around the Chrysler Building. The morning light and commuters give you a good mix of architecture and people. If there’s time, head up to Upper East Side for galleries or Central Park.

Afternoon: Head downtown and spend a few hours wandering SoHo. This is when I’d want bright sun. The hard light bouncing between the buildings is part of what makes the neighborhood so good.

Sunset: Make your way to DUMBO and walk toward Brooklyn Bridge. Start around the waterfront, then cross the bridge as the light starts to disappear.

Night: Finish in Chinatown. By this point, you’re looking for something completely different (neon, reflections, storefronts) and whatever happens to be unfolding on the street.

Four different environments in one day, and you barely have to leave Manhattan and Brooklyn.

The best part, though, is not having a shot list. Pick a neighborhood, walk for a few hours, and see what happens. New York usually gives you something.

—Kendall

The rest of the month was spent editing, catching up on admin, visiting family in Colorado, and finally working through a few rolls I had been meaning to scan.

Client Projects & 16mm

Both commercial shoots were for repeat clients, which always makes pre-production and shoot days feel more collaborative.

For La Cabra, I photographed their East Village bakery, documenting the process behind a few seasonal menu items along with updated images of the space. I did something similar earlier this year, and it's always a fun challenge taking more of a fly-on-the-wall approach. Working around customers and staff without the ability to shape or add light, I shot everything handheld at 800 ISO. That meant pushing Portra 400 one stop and mixing in Cinestill 800T, which gave the images a look I was really happy with. Lately, I've been especially drawn to the way Cinestill renders darker, fluorescent-lit interiors.

At The Mercer, the focus shifted to lifestyle and architecture. Having their marketing manager on set to help shape scenes and work with props was a reminder that the best client work is often a collaborative process.

The highlight of the month, though, was shooting a 16mm piece with Field Studies Flora, a floral design studio based here in NYC I’ve admired for a while. We shot two rolls of 500T on the Bolex, and it’s now in the edit with my friend Joey. I’ll share more once it’s ready.

Frontier Scans

Nice Film Club recently added a Fuji Frontier scanner, and after putting a few rolls through it, I remembered why I loved Frontier scans when I lived in Los Angeles. They have a richness and texture that feels great straight out of the scanner.

That said, they’re more expensive and take longer to turn around. For client work, I’ll probably continue using Noritsu for its neutral, flexible files. But for personal 35mm work, I’m leaning toward Frontier.

Perspective

Not everything this month went to plan.

I lost out on a promising project after sending over my pricing, and while it’s never fun, it was a good reminder that rejection is simply part of the process. The work is personal, but these decisions usually aren’t.

I also managed to drop my Contax T2 during The Mercer shoot, leaving the control dial stuck. It should be repairable, though it might also be the excuse I needed to explore a different everyday camera.

Some moments from July:

See you next week.

—Kendall

Here’s the latest roundup of events happening in August. If you only make it to a few, I would personally prioritize these:

Los Angeles=> The Odyssey, Concrete Shadows
New York=> Sixteen Corners, Print as a Practice workshop, Unseen Color

Los Angeles

Ends August 7th - The Odyssey screening in 70mm at Aero Theatre (Santa Monica) - One of the few chances to catch it in 70mm.

Tuesday, August 11th - Artist Talk with Michael Histoshi at Leica Gallery (West Hollywood) - A conversation with the photographer best known for his iconic aerial work.

Ends August 22nd - Concrete Shadows at 34.0522°N: Cityscape 2026 exhibition at Billis/Williams Gallery (Mid City) - A group exhibition featuring gallery artists and invited guests working across a range of mediums, offering another thoughtful look at the strange, endlessly inspiring city many of us call home.

Ends August 31st - Sasha by Zamar Velez exhibition at IconLa (Mid Wilshire) - A solo exhibition of new work by Zamar Velez.

New York

Thursday, July 30th - Sixteen Corners: Gus Powell exhibition at Rectangle Room (Manhattan) - Opening reception (6–9pm) from street photographer Gus Powell (SVA faculty, member of the UP collective), shown in a gallery operating out of a working film lab. Exhibition ends August 29th.

Saturday, August 8th - Print as Practice: 3 Day Workshop w/ Jared Tapy + VSCO (Brooklyn) - A hands-on workshop exploring street photography, film processing, and darkroom printing, ending with a small group exhibition. Looks like a great weekend if you've been wanting to dive deeper into analog photography. Ticket required.

Tuesday, August 4th - La Haine screening at Metrograph (Manhattan) - One of the defining films of '90s French cinema and always worth seeing on the big screen.

.

Ends August 15th - Frank Paulin: Unseen Color, 1956–2008 exhibition at Bruce Silverstein Gallery (Manhattan) - The first exhibition dedicated entirely to Paulin's color photography, featuring 20 images spanning five decades.

Saturday, August 15th - Film Lighting Workshop with Zach DeLoach (Brooklyn) - Hosted by Brooklyn Film Camera, this workshop covers the fundamentals of lighting with modifiers, continuous lights, and strobes, along with practical techniques for shaping and recreating light. Ticket required.

Cheers,

Kendall

Instagram: @kenwheel

Unlike most trips, I packed only one camera (Contax T2) and just three rolls of Portra 400.

I wanted photography to be secondary. It’s rare to truly switch into vacation mode somewhere this beautiful, and I wanted to experience it without constantly thinking about the next photo.

The last time we visited Europe, in 2023, I brought three cameras and at least 10+ rolls of film. Looking back, I made plenty of images, but I also remember the weight of carrying gear everywhere. This trip, I wanted something different.

Bringing less allowed me to notice more.

Italy

Our first stop was Luino, a quiet town on Lake Maggiore just minutes from the Swiss border.

What struck me wasn’t any one landmark, but the pace of everyday life. Mornings started with espresso at the café, surrounded by locals catching up before work. Nobody rushed. There were no to-go cups, just conversations over tiny cups of coffee.

It’s one of the things I always appreciate about Italy. Cafés feel like places to gather rather than places to pass through. And as expected, the food never disappointed.

Swiss Alps

From Italy, we headed into the Bernese Alps and spent four nights in Mürren, a mountain village only accessible by cable car.

Every direction looked like a legit postcard, but what I’ll remember most wasn’t the scenery. It was slowing down enough to settle into a rhythm: cooking dinners in our Airbnb, drinking coffee while watching the hang gliders roll through, and listening to cowbells tinker in the distance.

We also spent a day in a nearby town called Wengen. It’s more of an upscale alpine resort town. We stumbled across an outdoor public pool, which was perfect considering the heat. The backdrop of snow capped alps along with the gondola was surreal. It felt like the kind of timeless European summer you hope to stumble upon while traveling.

Zurich

After the mountains, Zurich felt like a completely different trip.

With temperatures pushing 100 degrees, our days revolved around finding water. One of my favorite things about the city was its swim culture. The Limmat River and Lake Zurich become gathering places throughout the summer, and by late afternoon it feels like the entire city is outside.

Between swimming, we wandered the old town, found a few great coffee shops (quickly become regulars at Babus’s) and admired the mix of medieval architecture and modern life. It’s a city that somehow feels both polished and relaxed at the same time.

One Camera, Three Rolls

Looking back, I don’t wish I’d packed another camera or more film.

Limiting myself to one point-and-shoot and three rolls of film forced me to slow down. Instead of photographing every beautiful view, I waited for the moments that genuinely felt worth remembering.

Ironically, I think I came home with stronger photographs because of it—or at least ones that better captured the feeling, knowing I was fully present to experience it all. Less time thinking about gear meant more time lingering in cafés, hiking through the Alps, swimming in rivers, and simply paying attention.

Sometimes the best thing you can pack is less.

It also reminded me that limitations often lead to the most meaningful work. Not because you have less, but because you become more intentional with what you do have.

—Kendall

Film

Minari - A beautiful film about a Korean American family that moves to an Arkansas farm in search of its own American dream. I was especially drawn to the naturalistic lighting, quiet compositions, and patient, observational approach to everyday life.

Photography

Tanguy Sergheraert - A fashion and editorial photographer based in France. His work speaks for itself, but I keep coming back to the recurring use of deep reds throughout his projects.

Emir Eralp - A film director and cinematographer based between London and Stockholm. His archive of 16mm work is stunning. It blends intimate storytelling with a commercial appeal for big clients like Chanel and Vogue.

Café, Gallery, and Museum in NYC

Head Hi (Brooklyn) - A bookstore and coffee shop centered around architecture and design. It's also a Hi-Fi listening café and (I believe) laptop-free, making it an easy place to slow down, grab a latte, and browse books for an hour.

TAGE Gallery (Brooklyn) - A thoughtfully curated gallery featuring a mix of timeless furniture, art, and objects. They recently celebrated their one-year anniversary with a great event. Definitely worth a visit—walk-ins are welcome on weekends, with appointments available during the week.

The Noguchi Museum (Astoria) - One of my favorite museums in New York. Designed and installed by Isamu Noguchi himself, the indoor and outdoor spaces feel equally considered. The blend of Japanese and Western influences, paired with thoughtful documentation of each project, makes it a place I leave inspired every time.

If you’ve stumbled across something worth sharing lately, I’d love to hear about it.

See you next week.

— Kendall

But there’s one step that’s often overlooked because it happens after you’ve dropped your film off at the lab:

The scan.

The scanner your lab uses can dramatically change the way your negatives are interpreted. Recently I had a roll of 35mm scanned on both a Noritsu and a Fuji Frontier. Looking at them side by side, I was reminded that neither scanner is necessarily “better”—they simply have different personalities.

A quick thank you before we begin: I recently turned on paid subscriptions for LIGHT LEAKS. Nothing about the newsletter is changing (see more at bottom).

Noritsu

If you’ve had film developed at a professional lab, there’s a good chance it was scanned on a Noritsu.

To me, Noritsu scans feel clean, balanced, and neutral. Colors are true without feeling sterile, contrast is controlled, and the files have a crispness that leaves plenty of room for editing afterward.

Most of my photography these days is interiors, hospitality, and editorial projects where I want consistency from image to image. A neutral scan gives me the flexibility to shape the final look myself instead of working against a scanner’s interpretation.

Some characteristics I’ve noticed:

• Neutral, balanced color but overall warmth

• Clean contrast without crushed shadows

• Warmer shadows/midtones

• Crisp detail and grain

• Great starting point for editing

• Consistent across different lighting situations

One downside is that many labs don’t offer the overscan option on Noritsu, so if you like seeing the rebate on 35mm, you may be out of luck.

Fuji Frontier

Frontier scans have a personality that’s hard to describe until you’ve seen them.

They’re often a little punchier, with richer blacks, slightly cooler shadows, and colors that feel more saturated without looking artificial. The images have an immediacy to them—they often feel finished before you’ve touched Lightroom.

This is the scanner I tend to gravitate toward for personal work.

I recently came back from Switzerland and had several rolls scanned on a Frontier. Looking through the images, I found myself making very few adjustments. The deep blacks, vibrant greens, and subtle warmth in the highlights already matched how the moment felt in my head.

Some characteristics I’ve noticed:

• Richer blacks and stronger contrast

• Cooler shadows, greener midtones

• Slightly more saturated colors

• Often feels ready to share straight from the lab

• Overscan option

The tradeoff is that the stronger color rendering leaves a little less room to push the files in different directions later. That’s not necessarily a downside—it just depends on what you’re after.

I’ve also noticed some labs charge a premium for Frontier scans, so another thing to keep in mind.

Side by Side

I ran a roll of Portra 400 (shot on Contax T2) through both scanners to show you the difference. These are the raw JPEG files (unedited) that I received from my lab here in Brooklyn, Nice Film Club.

You’ll notice the Noritsu scans are a bit more neutral and slightly flatter than the Frontier scans. There’s a subtle warmth in the shadows and midtones, while the Frontier leans cooler with more blue and green in the darker tones.

The other obvious difference is the overscan option that the Frontier provides, which the Noritsu scans from my lab do not.

So...which one should you choose?

One caveat: scan settings and color profiles vary from lab to lab, so these results aren't universal. Think of this as a comparison of two common rendering styles rather than a definitive rule.

If I’m shooting paid work where consistency matters, I almost always choose a Noritsu. The neutral rendering gives me more flexibility in post. For personal work, travel, and everyday shooting, I usually reach for the Frontier. The richer blacks, stronger color, and overscan borders often feel finished straight out of the lab.

The nice part is that neither choice is permanent. With a good edit, you can move either scan toward the look you want—they’re simply different starting points.

Final Thoughts

If I had to choose one, all else being equal, I’d probably pick the Frontier for 35mm. There’s just something about the richness of the files that keeps pulling me back.

That said, I still choose Noritsu for most client work because I’d rather start from a neutral file and build the final look myself.

At the end of the day, neither scanner will make or break a photograph. They’re simply different interpretations of the same negative, and understanding those differences can help you choose the right starting point for your own work.

If you plan to edit your film, ask your lab about getting the flattest scan profile they offer rather than the punchiest one. Starting with a more neutral file usually gives you greater flexibility.

If your budget allows, TIFF files preserve more information than JPEGs and hold up better to heavier editing. That said, a well-scanned 2K JPEG is more than enough for a lot of work, especially if you’re mostly sharing online.

Every lab has its own workflow, color profile, and recommendations. Their experience is often more valuable than anything you’ll read online.

Quick note on supporting LIGHT LEAKS

If you've enjoyed reading LIGHT LEAKS or found it helpful, I've opened up the option to become a paid subscriber. It's simply a way to support the publication and help me continue shooting, writing, and sharing my work. The newsletter will remain free, and I'm grateful you're here either way.

— Kendall

June was split in two: outreach in the first half, travel in the second. I’m writing this from the Zurich airport after 4 days in Italy and 6 in Switzerland — a dream trip, made even more memorable by landing in the middle of a major heat wave. Unbearable at times, but in the most quintessential European summer way.

I’ll do a deeper post on the trip soon, but the short version: just me, my Contax T2, and 3 rolls of film. No medium format, no pressure, no expectations. A true reset.

Knicks + Backlog of Film

The Knicks winning the NBA title was the main act in NYC this month. Watching the city light up in the weeks leading up to it was special — 50 years of waiting made the celebration real. We were in Ft. Greene after Game 5, shooting from the hip with my T2 and Meg’s Olympus. Some incredible photos have surfaced since, like these from Jared Tapy.

With most of my energy on outreach, I haven’t developed a roll since June 1st. Scans from Europe and the Knicks win are also taking longer than expected — more coming soon.

European Summer

We started in Luino, Italy, near Lake Maggiore, for a friend’s wedding — stunning views, great espresso, an incredible venue, and a fun mix of American and Swiss family cultures. From there, we headed to Mürren, a Swiss mountain village reachable only by cable car (the steepest in the world, apparently). Waking up in the Alps with paragliders drifting past felt surreal. We closed things out in Zurich, right at the peak of the heat wave.

Every moment felt photogenic, and it took real restraint not to overshoot. Being limited to 3 rolls actually made the trip more enjoyable — deliberate when it mattered, without being consumed by shooting.

Playing the Long Game

Cold email is its own beast. With a light shoot schedule early in June, I knocked out 20+ new touchpoints before leaving. Results have been underwhelming, but I think of it less as chasing quick wins and more as building the rolodex — staying on brands’ radar for when timing lines up. Naturally, the moment I landed in Europe, two inquiries came in: one from a past client, one from a model agency.

July’s shaping up stronger already — there’s a 16mm project in the works I’m excited about. More soon.

A few moments from end of May/start of June, shot on the Contax T2. More from the second half coming shortly.

—Kendall

This year has been fine, neither a breakthrough nor a disaster. I’ve made some work I’m genuinely proud of, deepened a few client relationships, and kept pushing the 16mm side of things forward. Being in NYC for now 9 months, it feels like I’m finally getting some positive momentum.

But this year, paid inquiries have been light, cold outreach hasn’t been converting, and my day job has been quietly eating into the time and energy I’d normally put toward photo work.

Here’s the honest breakdown.

Wins

Repeat clients. A few brands I first shot with in 2025 have come back for additional projects. When I moved from LA to New York last fall, I knew my portfolio would make the trip but my network wouldn’t. Rebuilding from scratch takes time, and having clients return felt like real validation.

200 subscribers and still publishing. I hit 200 last month and haven’t missed a week since launching Light Leaks in January 2025. Consistency compounds and I keep coming back to that. The newsletter has also introduced me to photographers and creatives I never would have crossed paths with otherwise.

16mm portfolio is taking shape. It’s been a slow build over the last couple years, but I’m getting close to a place where I can genuinely offer both stills and motion on a single client project. That feels significant.

Losses

Cold outreach has been quiet. I’ve sent fewer emails than previous years, but made each one more targeted and personal. Even so, responses have been sparse and very few opportunities have materialized. Not sure if it’s timing, market conditions, or something in the approach (probably some of all three). On average, for every 10 emails I send, I get 1 reply.

Missed projects I wanted. A larger global campaign, a New York designer I’d been hoping to work with — both gone because I wasn’t available. Some of that was personal travel, but a lot of it came down to having a full-time job. Opportunities don’t arrive on a schedule, and right now I’m not leaving much room for them.

Film costs keep climbing. Every roll feels noticeably more expensive than a couple years ago. It adds up fast.

State of the Industry

While waiting for Heather Morton’s ‘State of the Industry Survey’, to be published, I asked ChatGPT and here’s what it spit out:

A lot of my experience this year seems to mirror this what I’m hearing from photographers more broadly.

Photography isn’t disappearing but image-making has never been more abundant. Between AI, creators, in-house teams, and a large pool of freelancers, clients have more options than at any point in history. The bigger challenge isn’t competing with AI. It’s competing in a crowded market where the bar for “good enough” keeps getting lower.

The most valuable things a photographer can offer aren’t technical anymore. It’s taste, perspective, relationships, access, and trust.

There’s also something interesting happening with authenticity. As synthetic imagery becomes more common, real places and real people seem to carry more weight. Film photography, documentary work, and genuine stories feel like they’re becoming more valuable, not less. That’s not the doom-and-gloom narrative — it’s actually an interesting moment to be working this way.

For me, it reinforces the direction I’m already moving: shooting on film, building longer-term client relationships, and continuing to develop the motion side of my work.

Favorite Free Resources

Models.com - professional database, directory, and news resource for the global fashion and modeling industry. Solid resource if you’re trying to get published or connect with talent. Free, just need to sign up.

aphotoeditor - Instagram with anonymous industry related information. Great follow.

aphotographerinreallife - Instagram with anonymous info on pricing of job from a working photographer who isn’t repped. Always helpful to see rates in real time.

Would love to hear how your year is shaping up so far.

—Kendall

Instagram: @kenwheel

Back in April, I photographed two newly renovated rooms at The Mercer hotel in NYC.

It was my third time working with the hotel, which meant there was already a level of trust going into the shoot. They know how I work, I know what they’re looking for, and that familiarity makes the entire process smoother.

Two things made this assignment different: nobody from the client team was on set, and I relied on artificial light more than I normally do.

Shot List

Instead, they sent over a detailed shot list ahead of time, complete with iPhone reference photos showing the exact angles they needed.

At first glance, that’s kind of the ideal scenario. No waiting for approvals, no stopping every few minutes to review images, and no uncertainty about what the client expects. The roadmap is there.

But there’s a tradeoff.

A detailed shot list is incredibly helpful, though it can also narrow your field of view. When every frame is already mapped out, it’s easy to shift into execution mode and focus on checking boxes. You spend less time exploring and more time making sure you’ve covered what’s required. In some cases, the photos were nearly identical to what they wanted delivered, which removed a lot of guesswork from the process.

Neither approach is right or wrong. It’s just a different way of working.

My assistant Meg was with me again, which helped keep things moving. While I focused on composition and keeping track of the shot list, she handled gear, styling adjustments, and all the small tasks that add up over the course of a shoot day.

Gear

For this project I kept the kit pretty simple:

• Mamiya RB67 + 90mm

• Pentax 67 + 105mm

• Contax T2

• Canon F-1

• Portra 400

• Nanlite FS-300B LED

The Mamiya handled the hero images, while the Pentax and 35mm cameras were used for details and the neighborhood atmosphere around SoHo.

Lighting

The lighting approach was fairly straightforward.

We photographed the interiors around midday on a slightly overcast day, which gave the rooms a soft, even quality of light. Most of the work was simply turning the overheads off, opening the curtains, and letting the space do what it was designed to do.

The Mercer has large windows and enough natural light that you don’t need to force anything. Keeping the overheads off and allowing the lamps and sconces to glow naturally creates a much more believable image with better shape and depth.

Where things became more challenging were the bathrooms, closets, or darker areas of the living room when capturing details.

In the past, I’ve relied almost entirely on available light for these hospitality projects. This was one of the first times I intentionally incorporated a continuous LED into the workflow.

For the darker spaces, we bounced a Nanlite FS-300B into white ceilings and walls rather than pointing it directly at the room. The goal wasn’t to create dramatic lighting—it was to create the feeling of natural light where none existed. The bathrooms, in particular, had no window light to work with, so the bounced LED became the primary source while still maintaining a soft, natural look.

We used a similar approach for a handful of bed and detail photographs. By bouncing the light off a wall near the windows, we were able to subtly reinforce the existing daylight direction without making the scene feel artificially lit.

The difference was subtle, but important.

Instead of turning on overhead fixtures and flattening the room, the bounced LED added enough shape and fill to keep the images feeling consistent with the rest of the project. It solved a practical problem while preserving the natural atmosphere we were after.

It’s a simple technique, but one I’ll continue using moving forward.

Film + Scanning

We shot 6 rolls of 120 film and 2 rolls of 35mm film over roughly four hours.

The client needed 50 final images, and my general rule is that about one out of every three frames makes it through the final edit. That gave us a pretty clear target for how much film we’d need to shoot.

For scans, I requested flat TIFF files and handled the final adjustments in Lightroom.

At this point, TIFF files are my default for client work. They provide enough flexibility to make small exposure, color, and cleanup adjustments without feeling like I’m fighting the scan.

Most of the editing was minimal—perspective corrections, spot removal, and a few small color tweaks.

Delivery

The other thing I experimented with on this project was delivery.

Traditionally, I’ve delivered everything through Dropbox. It works, but it isn’t particularly exciting.

This time I used Pixieset for the preview gallery and Dropbox for the final delivery.

The difference was noticeable immediately.

Pixieset gave the work a more polished presentation and allowed the client to review the images in a way that felt intentional rather than simply opening a folder of files. Once they selected their favorites and requested edits, I delivered the final high-resolution images through Dropbox as usual.

It’s a small workflow change, but one that noticeably improved the first impression.

Final Thoughts

Looking back, the biggest takeaway wasn’t a camera, lens, or film stock.

The shot list provided structure. The bounced LED solved problems that window light couldn't. And Pixieset elevated the way the work was presented to the client.

None of those changes dramatically altered the final photographs on their own, but together they made the project smoother for both me and the client.

And that’s usually how progress happens. Not through one major breakthrough, but through a handful of small adjustments that make the next shoot a little better than the last.

Thanks for reading.

—Kendall