Nathan Philips in Winter
I think it was winter 2014. I went to downtown and tried ice-skating for the first time with my family.
When I’m away from eye-trackers and computational models, I’m usually chasing light—for fun, not for a portfolio. I shoot 35mm on a Ricoh KR-5 Super II, often with expired film that surprises me in the wash. I also keep a handful of digital edits when a scene stuck. More of both on my Flickr.
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I think it was winter 2014. I went to downtown and tried ice-skating for the first time with my family.
We were packing to migrate to Canada for good. I took this photo from my balcony.
I was experimenting with expired film. We frequently went to this park when I was a kid.
My first experience being a Canadian Snowbird! Loved the 2-week break from the harsh winter of Toronto.
Tungsten-balanced stock under mixed lighting—the halation around practical lights is exactly why I reach for Cinestill after dark.
Soft domestic light through a screened porch—consumer film stock doing more than it has any right to in open shade.
Expired Ektar shifted the blues toward teal—a marine layer morning where the color cast felt more honest than correction would have.
Fine-grain daylight stock for a scene that didn't need drama—just accurate skin tones on the pier and a clean horizon line.
Spanish-revival architecture reduced to tonal planes—midday sun so harsh that composition mattered more than exposure latitude.
Weekend escape from the lab—cooler air, longer shadows, and a cheap roll of Superia that punched above its price in mountain light.
Twenty-year-old film stock at golden hour—the colors drifted magenta and amber in ways no LUT could replicate convincingly.
A few digital shots I've tinkered with on my phone or laptop—mostly when a scene felt worth keeping and I liked how it looked after a quick edit.
Overcast afternoon by the water.
Wet pavement and streetlights after rain.
Desert light on a weekend drive.
Soft light through a window at home.
Late sun in the park.
Neon and quiet streets after dark.