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brad industry posted:Why are you drymatting at all? I never understood the point. Mats are supposed to be disposable protectors for your prints, semi-permanently attached a print to one seems to defeat the purpose. Learn to cut window matts. Required for the class. 
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Nov 20, 2008 00:20
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MMD3 posted:I've never tried it, looking at some results though on GIS I like it's characteristics. I'll probably have to pick up a roll or two each of this, the Ilford Delta 3200, and T-Max 3200 and try them all in the same setting at a show. You should be able to develop in your apartment just fine without a darkroom. I develop things all the time. I use a changing bag to get the film on to the reel and in to the tank. After that, there is no need for darkness. A local lab can probably do it just fine, though. I'm not sure what developer they use. I use DD-X for it, though.
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Nov 20, 2008 06:28
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ryangs posted:What developer do you use with Efke? I always used D-76 1:1 (for everything) at school and have never experimented with anything else, but now that I need to buy my own chemicals, it's time. Rodinal responds well to low speed film like Efke. Efke has an "old school" look. I also find Rodinal really easy to use because you really don't have to worry about the temperature of the rodinal, just the temperature of the water, which is much easier to manage.
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Nov 20, 2008 06:31
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ryangs posted:What developer do you use with Efke? I always used D-76 1:1 (for everything) at school and have never experimented with anything else, but now that I need to buy my own chemicals, it's time.
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Nov 20, 2008 06:37
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HC-110 is the way to go. It's cheap, flexible and the concentrate lasts for goddamn ever. Diafine is also awesome.
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Nov 20, 2008 16:46
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I think I want to do some night photography with my Mamiya RZ 67 Pro II and I've got the opportunity tomorrow when two photographer friends are in town. I've got 3 rolls of Fuji Provia, which looks like a good film for the job: http://home.earthlink.net/~kitathome/LunarLight/moonlight_gallery/technique/reciprocity.htm#provia2. I can go out and buy film tomorrow if anybody has any specific recommendations. I need to get a shutter release cable and arca swiss plate anyway. I also have a good lightmeter that does spot as well, and a good tripod and ball head. My widest lens is a 110mm, which is probably too long, but I'll make do with what I have for the sake of the experience. I'll probably take the D300 with 10-20 and 35 just in case anyway (and to verify I'm using my lightmeter correctly...) Any suggestions before the day? I think I might miss the sunset because I have to work in the afternoon, so I'm not going to get too many shots with colour in the sky .I'm tempted to pick up some B&W film. Any ideas? Edit: I know I lose sharpness below f/11 on the D300. What's the rough standard for this for slide/B&W/negative film? TokenBrit fucked around with this message at 18:56 on Nov 20, 2008 |
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Nov 20, 2008 18:48
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TokenBrit posted:I also have a good lightmeter that does spot as well, and a good tripod and ball head. Don't forget to think about reciprocity failure, if you'll be doing exposures of several seconds or more. I would definitely pick up some B&W. I have a theory that B&W is easier at night, or in any low light condition. You notice colors less (or not at all) when it's dark, so it's almost as if you're seeing in black and white, making it easier to shoot in B&W. That is, the results on film are going to be closer to the photo you imagine in your head.
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Nov 20, 2008 22:20
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Here's a completely random question: does anyone know of, or has anyone ever used a lab with a Fuji Frontier (or other minilab) that has been converted to use real black and white chemicals and paper? I've read that it's possible, but I've never read about any results from it. These are the things I think about when I can't sleep.
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Nov 20, 2008 22:57
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I'm still relatively new to film. I'm looking at finally getting a Nikon 35mm SLR and was wondering if it's possible/advisable to shoot a single roll of slide film at different speed settings? Like if I shoot a single roll of Velvia 50 at ISO 50 for most of it but maybe a few frames at ISO 40, would a developer be able to process the individual slides accordingly (provided with a list of which frames were which speed)? Sorry if it sounds like a dumb question.
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Nov 21, 2008 01:01
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pwn posted:I'm still relatively new to film. I'm looking at finally getting a Nikon 35mm SLR and was wondering if it's possible/advisable to shoot a single roll of slide film at different speed settings? Like if I shoot a single roll of Velvia 50 at ISO 50 for most of it but maybe a few frames at ISO 40, would a developer be able to process the individual slides accordingly (provided with a list of which frames were which speed)? Sorry if it sounds like a dumb question. Theoretically possible, practically impossible. Slide film is like any other film and is shot and developed as a single strip, it is only cut and mounted after development. You can shoot different frames at different EIs, but they will all be developed to the same specifications.
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Nov 21, 2008 01:15
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Reichstag posted:Theoretically possible, practically impossible. Slide film is like any other film and is shot and developed as a single strip, it is only cut and mounted after development. 
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Nov 21, 2008 01:43
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I have taken the plunge back into silver again, and have a question about washing films and septic tanks. The main reason I stopped doing darkroom stuff a decade or 2 back was that I moved from a job where I had access to the garage majal of darkrooms (photolith lab, tempered water, safelights, big trays, etc) to a house with a septic tank and one "wet" room, the bathroom, with 3 kids that wasn't really going to work out and more importantly, I didn't want to wash an hours worth of chemically laden water into my septic system. I know I can cut that down with a hypo clearing agent and RC paper, the question being how much can I safely cut the time down? Anybody have a rough idea of how much water flows during an average wash? Is there a more efficient wash method out there? I think I will have to dig my enlarger out this weekend, and hopefully my other gear is in there. I was printing color towards the end of my big photo hobby days so I have a drum, which really cuts down on the red light time for processing, important when there is still, only, 1 bathroom.
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Nov 21, 2008 03:08
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For people who have bought bodies from keh.com: What's the most reasonable grade you would personally buy? The difference between BGN and LN is quite a lot, as far as price is concerned, so hopefully someone can shed light on this.
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Nov 21, 2008 04:13
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pwn posted:For people who have bought bodies from keh.com: What's the most reasonable grade you would personally buy? The difference between BGN and LN is quite a lot, as far as price is concerned, so hopefully someone can shed light on this. I've gotten 3 Mamiya M645 bodies and an RB67 body from KEH, all rated BGN. BGN is for things that work perfectly but look ugly. And ugly is subjective.
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Nov 21, 2008 04:31
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pwn posted:For people who have bought bodies from keh.com: What's the most reasonable grade you would personally buy? The difference between BGN and LN is quite a lot, as far as price is concerned, so hopefully someone can shed light on this.
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Nov 21, 2008 06:33
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KEH is notorious for underrating their gear. I bought a D200 that was rated LN- and the drat thing only had 700 shutter actuations. BGN grade is probably still very good.
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Nov 21, 2008 17:17
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Thanks guys, I don't care much about how the camera looks, I was mainly concerned with functionality. Now to decide between an N90s or an F4... Tincans posted:Ilford make a great selection of black and white films. ryangs posted:Pick up some HP5+. It's another old-school film, very much like Tri-X 400. Reichstag posted:Tri-X is the answer to all of your dreams, and can be purchased rebranded as Arista Premium 400 for cheap.
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Nov 22, 2008 10:04
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pwn posted:Still a little apprehensive about this, some Googling shows that a lot of people like T-max better. Could you please give a brief breakdown of why you prefer Tri-X? The new T-max emulsions have a much more modern look to them, finer grain, and a little less contrasty. Tri-X is a more flexible film, and has a much grittier look. It is simply a matter of taste. However, tri-x is a quality film that can be had for very little money if bought as the rebadged Arista Premium. Try as many films as you can/want to, look at samples of each film, see what you like.
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Nov 22, 2008 12:41
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pwn posted:Thanks guys, I don't care much about how the camera looks, I was mainly concerned with functionality. Now to decide between an N90s or an F4... If you want functionality get the F4 or dig up an F100. Nothing against the N90 but it feels like a toy compared to those. Tri-X is more versatile than the tmax films. You can push it farther and pull it as as low as you want.
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Nov 22, 2008 18:13
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Just developed a roll of Neopan 1600 someone gave me to try. I think I have a new favorite film. This stuff is fun.
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Nov 23, 2008 10:55
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jollygrinch posted:Just developed a roll of Neopan 1600 someone gave me to try. I think I have a new favorite film. This stuff is fun. 8th-samurai posted:If you want functionality get the F4 or dig up an F100. Nothing against the N90 but it feels like a toy compared to those. That's the problem with buying a camera online is that I haven't personally handled, let alone used, either one. I read that the N90 was much faster at auto focusing than previous Nikons. Does that mean the F4 was slow to AF? But then it wouldn't matter really for me; I'm not using this camera in a workhorse sort of way. I plan to use digital for my main day-to-day work. When I shoot film it's going to be stuff where I take more time to set up shots, so it's kind of overkill to have all the convenience measures of the professional F line. With the F4, a lot of the reason to want it is because it's compatible with virtually- perhaps every, I'm not sure- lens Nikon's ever made, with only minor sacrifices for some of the oddballs (VR lenses mount and meter perfectly, but the VR doesn't work; G lenses mount and meter, but are only available in P and S, natch, etc.) It's basically about knowing what's important to me and my needs. So to anyone who's used and handled an F4... is the AF really that slow, that it would be frustrating, or is it a non-factor? Like I said, I don't shoot film like the F4 was originally made to, which is to say, fast and furious shooting for journalism. Two of my best photos I've ever shot were using a friend's old beater Pentax ZX-50, with a lens that you could hear dirt grinding when you zoomed, and the AF was so horrible and jerky that it was simply easier to manually focus, and which has finally seemed to die completely in the last couple weeks, so it doesn't really matter what camera one uses. That said, the F4 is a drat fine camera and it's tempting at the current prices. Just assure me that the AF isn't a dealbreaker so I can buy this beautiful bastard guilt-free. 
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Nov 23, 2008 12:42
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Went to a small photography market and managed to find two fixed-lens rangefinders, the Yashicas Lynx 14E and GSN Electro35. Unfortunately the shutter seems stuck on the Lynx so I think I'll be using the GSN. Now to find batteries and film.
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Nov 23, 2008 14:24
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The Electro 35 supposedly has a voltage regulator, so you can use a battery between about 4.6 to 6.6V and it should still meter properly if it does, the original battery was a rather large 5.6V mercury battery, larger than a AA battery. I used 4 1.55V silver-oxide button-cells with a few springs when mine started to go bad, so far it seems to be working properly. Yashica-Guy.com also sells a battery adapter that might be worth looking into. longview fucked around with this message at 15:01 on Nov 23, 2008 |
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Nov 23, 2008 14:56
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Alright, thanks. And is there anyway to fix the stuck shutter on the Lynx or should I have it checked out at a shop?
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Nov 23, 2008 15:21
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pwn posted:So to anyone who's used and handled an F4... is the AF really that slow, that it would be frustrating, or is it a non-factor? Like I said, I don't shoot film like the F4 was originally made to, which is to say, fast and furious shooting for journalism. Two of my best photos I've ever shot were using a friend's old beater Pentax ZX-50, with a lens that you could hear dirt grinding when you zoomed, and the AF was so horrible and jerky that it was simply easier to manually focus, and which has finally seemed to die completely in the last couple weeks, so it doesn't really matter what camera one uses. That said, the F4 is a drat fine camera and it's tempting at the current prices. Buy it and go nuts, it's my favourite Nikon AF camera and there's no reason it shouldn't be yours.
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Nov 24, 2008 00:48
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Luxmore posted:The F4 gets such a bad rap and I have no idea why; I love the way it handles and the autofocus is just fine. I don't think the F4 is compatible with "G" lenses which is a great reason to buy an F100 or F5...but if you have no intention of using a newer lens, the F4 is a good camera.
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Nov 24, 2008 02:29
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killabyte posted:I don't think the F4 is compatible with "G" lenses which is a great reason to buy an F100 or F5...but if you have no intention of using a newer lens, the F4 is a good camera. Pretty sure it works fine with G glass.
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Nov 24, 2008 03:07
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Lemme ask all of you a question: I have a love/hate relationship with "Lomography". Being that I'm the only one in my company that seems to have any relationship whatsoever with it, I've been tapped to host classes/meetings in my store. What sort of topics would your ideal Lomography class cover? The cameras we will be carrying are the Diana, Fisheye, LCA, and Action Sampler.
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Nov 24, 2008 03:43
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Celluloid posted:Lemme ask all of you a question: I would like to see a Lomography class attempt to teach people precisely why those cameras give the "look" associated with lomography, and give people more of an understanding of the technical nature of photography beyond the happy accident mentality of lomography.
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Nov 24, 2008 03:48
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There's nothing to teach, it's about being sloppy and calling it art.
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Nov 24, 2008 03:53
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Reichstag posted:There's nothing to teach, it's about being sloppy and calling it art. But you could go in an entirely different direction than this, I despise the cult of lomography, but you can still use those cameras to great results, provided you dont just do what you described.
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Nov 24, 2008 04:02
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Clayton Bigsby posted:Pretty sure it works fine with G glass. Only in Program and Shutter Priority.
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Nov 24, 2008 04:07
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johnasavoia posted:I would like to see a Lomography class attempt to teach people precisely why those cameras give the "look" associated with lomography, and give people more of an understanding of the technical nature of photography beyond the happy accident mentality of lomography. I think most of the "students" will be having their first experiences with film cameras through these classes. These Lomographic cameras are going to be the first film cameras my store has carried in some time. I did a victory lap around the sales floor when I opened the catalogue and saw them. Now, if only I can get us in on that "suprise" Polaroid shipment... Reichstag posted:There's nothing to teach, it's about being sloppy and calling it art. Which is why I have a love/hate relationship. "Lomographic" cameras are wonderful tools that can be used to create stunning images. I'm hoping to abandon the "10 rules" and use the classes more as a way to encourage film experimentation.
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Nov 24, 2008 04:27
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Celluloid posted:Now, if only I can get us in on that "suprise" Polaroid shipment... johnasavoia posted:But you could go in an entirely different direction than this, I despise the cult of lomography, but you can still use those cameras to great results, provided you dont just do what you described. On the other hand, I expect that someone signing up for a "Lomography" class isn't going to care. Life is cruel
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Nov 24, 2008 04:29
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johnasavoia posted:But you could go in an entirely different direction than this, I despise the cult of lomography, but you can still use those cameras to great results, provided you dont just do what you described. Pretty much this. There has been some discussion in #creatives about starting https://www.fucklomography.com. The first link would be to eBay where you can buy every single camera that's on the lomography site for about 1/10th the price, the rest of the site would be devoted to how to take good photos with these cameras.
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Nov 24, 2008 04:45
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Luxmore posted:Explain please. In this area (North Chicago) everyone was out solid of Polaroid for months. Well, of course - they went out of business! The only places to get it were Central Camera for about 33/pack or Calumet for 80ish/pack. Suddenly, about Oct 28th, 600 showed up everywhere and Central Camera even got in Spectra. A good friend of mine works the film counter at Central - he says that the shipment was unexpected and they were about to jack up the price to take advantage of it being unfindable. The WalMart across from us says they have cases in the back, Walgreens down the block is stocked up with only the "well, we didn't order any..." explanation, and CVS down the other block denys they have any until you show them the packs on the shelf. Us? "I'd rather you use the closing of Polaroid to open the dialogue about digital cameras and our quick processing."
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Nov 24, 2008 06:23
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Gnomad posted:I have taken the plunge back into silver again, and have a question about washing films and septic tanks. I wish I had an answer for you, and I'm quoting this in hopes somebody will see it and reply.
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Nov 24, 2008 07:53
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jollygrinch posted:Just developed a roll of Neopan 1600 someone gave me to try. I think I have a new favorite film. This stuff is fun. This came out nice. Wish I lived in New York, and could have gone to some real protests. I love taking protest shots. It's an easy way to get people shots, as they're expecting to be photographed.
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Nov 24, 2008 09:03
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Mello Clello posted:This came out nice. Wish I lived in New York, and could have gone to some real protests. I love taking protest shots. It's an easy way to get people shots, as they're expecting to be photographed. Thanks! Yeah, I'm trying to get over my hang ups about taking people's pictures on the street, protests help. To add some film discussion, the Neopan isn't quite as contrasty as that shot makes it look. I just didn't expose that one as well as I should have. Over all it has a very nice tonal range. I'll definitely be shooting more of it. The Westboro Baptist Church (the "god hates fags" people) are gracing us with their presence today. Hopefully they and the counter-demonstrations will provide a more sizable group to work with.
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Nov 24, 2008 16:11
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jollygrinch posted:The Westboro Baptist Church (the "god hates fags" people) are gracing us with their presence today. Hopefully they and the counter-demonstrations will provide a more sizable group to work with. Daang, prime opportunity there. See how close you can get. Closer always = better in this kind of situation.
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Nov 24, 2008 20:16
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