About

Dustin Vaughn-Luma (b. 1977) is a freelance photographer, experience designer (@Capital One), husband, father, competitive cyclist, and contributing writer at Casual Photophile living in San Jose, CA. He is a graduate of San Jose State University (M.S. Human Factors Engineering) and San Diego State University (B.S. Information Systems).

His personal work, is at its core, a humble regard for human life; often using his family, perfect strangers, and the otherwise unexplainable as a language. He attempts to document life as it exists, chaotic and unabashed.

He has had the privlidge of working with brands such as Carnival Cruise Lines, HTC, Harry’s, and Topo Athletic; and continues to shoot weddings and portrait sessions alongside his wife, Lindsay.

He remains committed to film as a photographic medium. The majority of his personal work is shot on 35mm and 120mm film, and is developed and scanned at home.

Why Film?

As much as the internet would lead you to believe that there is a massive film revival, most folks dive into it and then eventually drop it once they realize the complexities, frustration, and cost involved. Honestly, it’s tough to stay on top of it.

Shooting film has taught me to be patient, selective, and most importantly, to embrace the struggle and countless mistakes. It keeps me grounded in process and allows me to grow the relationship with my subject, not just the outcome. Photography, to me, is about interactions and stories as they exist in the moment, not about the results themselves.

I will do whatever I can to remain committed to it as my primary medium.

Equipment

The tools I use seem to change from time to time, but this is what I currently have in the pen.

SLRs
Canon EOS-1v
Canon 5D Mark IV
Pentax 645n
Nikon FM3a
Nikon FE
Olympus OM-1n
Olympus OM-2n
Minolta srt202
Minolta x570

Rangefinders
Minolta CLE
Leitz Minolta CL
Canonet QL17 GIII
Olympus 35RD

Other
Nikonos V

Film Stocks

When it comes to film stocks, I’m not vehemently loyal to any one particular brand. It’s often hard to know what’s genuine and what’s rebranded anyway, so I tend to shoot what I think works best for a given situation or environment. This isn’t everything, but here’s what I tend to use most.

Kodak Portra 160/400/800
Kodak Tri-X 400
Kodak Gold 200
Kodak Ektar 100
Ilford Delta 400
Ilford HP5 Plus
Fuji Pro400H
Fuji Natura 1600
Fuji Superia 400/800
Fuji C200
Fuji Acros 100