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You can pretty much put the film back on the reel and wash it again for a few more minutes. Fingers are better than squeegees, you're more likely to scratch the film with a squeegee, I've found. This Photoflo stuff is very good, it's a type of wetting agent. It lowers the surface tension of the water and lets it flow off quicker without making beads.
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May 12, 2009 11:09
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I got my first couple of LF exposures back today and let me tell you I'm just pleased that I didn't fog my film or put 'em in backwards when I was loading the film holder. I'm really very very pleased with how they came out actually and I got to say that I love this camera. Anyway, I don't have a 4x5 film scanner (I have a friend who does that I will make use of though) so here's a scan from the contact sheet:  and a crop that I think is real cool:  Film's Ilford HP5 Plus I tilted the back plane (I don't know what to call it) for to get cool "Art Tilt-Shift FX" but like a dumb newbie I didn't check with the lens stopped down so at f32 the effect kind of disappeared. I actually like how it turned out anyway. Next I will buy some nice slow film and do portraits 
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May 13, 2009 00:49
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Twenties Superstar posted:Next I will buy some nice slow film and do portraits Nice! Get a pale model with deep red lips, mix with Adox CHS 25, win!
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May 13, 2009 01:07
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Twenties Superstar posted:I got my first couple of LF exposures back today and let me tell you I'm just pleased that I didn't fog my film or put 'em in backwards when I was loading the film holder. I'm really very very pleased with how they came out actually and I got to say that I love this camera. Was it a pain to set it up/focus correctly etc etc?
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May 13, 2009 01:50
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dorkasaurus_rex posted:Was it a pain to set it up/focus correctly etc etc? Not really a pain, it's kind of fun. It just takes time. Focusing is not so difficult because, even though there is no focusing screen, the ground glass is big enough that you can tell pretty easily if something is out of focus, it can be pretty hard to see with the lens stopped down though but careful focus is less of an issue at f/32. If you are familiar with taking photos using manual controls and a light meter setting that sort of stuff up shouldn't be an issue. If I wanted to I could probably have it go from off tripod to taking a photo in five minutes but I figure that there is really no reason to be hasty. As far as camera movements go I'm still a beginner to LF so I still don't have a good handle on what sort of effects I can get with tilting the lens and film plane and things but I'm picking it up. Really the only thing is that, once you have the film loaded, you don't have access to the ground glass anymore and it's all a matter of remembering where you're focused and waiting for the perfect moment which, of course, isn't an issue if you're doing pre-planned portraits, or landscapes, or architectural photography, or whatever.
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May 13, 2009 02:35
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I've been getting into large format as well. drat I hate scratching the negs during tank development, but otherwise it's quite fun. I'm using 100 ISO Arista film (relabled Fomapan?) at 64 ISO. Here's the one I'm happiest with:  Click here for the full 1024x814 image.
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May 13, 2009 04:18
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So I sent my Minolta XD-5 off to Garry's Camera repair, and close to $50 later, it still has a really slow shutter return speed. I've discussed this with Garry, and he's convinced it's my lenses (the aperture is not returning, etc)... The problem with this is, I've tried four lenses, and the problem is the same with each and every one of them. And the lenses work fine on my SRT-101. Is there perhaps a part of the XD that controls the aperture and may be slowing things down? If I have no lens at all, the shutter appears to function properly, so I think we're on the right track, even if the lenses aren't the actual cause of the issue. EDIT: Specifically, the mirror will go up, but not come back down. Ten seconds or so later, it comes back. The shutter is closed throughout this whole duration, from what I can tell. Prior to sending to Garry, this occurred with the lens on or off.
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May 13, 2009 19:58
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I bought a bulk loader and 2 rolls of Arista Legacy Pro because I heard that it's Fuji Acros 100 in disguise like the AP400/Tri-X thing. Loaded my first roll of film. Not too bad. Now to try it out and see if I royally screwed up or not. EDIT: Well, it seemed to work fine. Developed it just like Acros and it turned out pretty much like Acros. Where's the best place to buy DX coded film cannisters in Canada? Also, I was reading about how some Czech guy adapted 35mm movie film for his camera during the Prague uprising. How hard would that be to do with modern movie film stock? HPL fucked around with this message at 05:05 on May 14, 2009 |
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May 14, 2009 00:50
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Im about to go do develop some black and whites and make prints for the first time in a long time. Im pretty sure I have it down and know what im doing, but just in case are there any super good guides any of you know of? Or really just any advice? Shot two rolls of HP5+ one at 400 and the other at 1600.
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May 14, 2009 19:30
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Sadi posted:Im about to go do develop some black and whites and make prints for the first time in a long time. Im pretty sure I have it down and know what im doing, but just in case are there any super good guides any of you know of? Or really just any advice? Shot two rolls of HP5+ one at 400 and the other at 1600. Most guides make it sound more complex than it actually is. Just go slow, take your time and be careful the first time through. The key things to watch out for are developer dilution, water temperature, agitation and developing time. Everything after that has more wiggle room. You don't need to be absolutely dead balls-on, but the more precise you are, the more consistent you'll be. Honestly, the short guide on the first page of this thread that 8th-samurai wrote up is about as good as it gets for the basics. And for those considering Arista Legacy Pro 100 bulk film, I just finished up a can and the metal reel the film comes on does indeed say "Fuji Film" so if you love Acros, have at 'er.
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May 15, 2009 00:31
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Ilford also has a nice PDF explaining how to develop and print B&W. Developing: http://www.ilfordphoto.com/applications/page.asp?n=31 Printing: http://www.ilfordphoto.com/applications/page.asp?n=34
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May 15, 2009 00:34
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Thanks, all went well as far as the first roll went. Well other than me trying to load the film on to the spool I hadn't tried yet and it having a bur, preventing me from putting all the film on and and me getting pissed and cutting the roll in half to get it on two spools. Turns out I cut it in the perfect place while it was in the changing bag  Second roll seems to have broke at the canister in the camera. Im not sure what im going to do about that. It wouldn't be so bad if I had a dark room, but im using a 17inch by 17inch changing bag. Fitting every thing and a roll of film is hard, no doubt fitting all of it and a camera will be a bitch. Ill have scans of the two rolls up tomorrow.
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May 16, 2009 05:27
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Sadi posted:Thanks, all went well as far as the first roll went. Well other than me trying to load the film on to the spool I hadn't tried yet and it having a bur, preventing me from putting all the film on and and me getting pissed and cutting the roll in half to get it on two spools. Turns out I cut it in the perfect place while it was in the changing bag Along these lines, does anybody know of a method to develop the same roll of film at different rates? I've seen it alluded to as difficult to do, but never seen the method. The only way I can think to do it is to shoot it with a blank/not important frame at the transition, extract the leader, reload the film, wind it on to the frame delimitation, pop the back of the camera off and use a scalpel to cut the film at that point, just before the frame guides. Well, you could also dev for the faster speed and then inspect with IR goggles to see where to cut, but I'd like to be able to do it without access to a darkroom or IR equipment.
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May 16, 2009 14:14
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Yeah, that's the only way I can think of doing it, and it might be easier to just shoot all at a median speed since film has ridiculous amounts of latitude ('tis one of it's supreme advantages over consumer-grade digital sensors  .)
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May 16, 2009 17:00
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I'm sure Diafine will be offered as an answer at least once, but... If you're shooting 35mm (guessing yes since you're retrieving the leader), you pray. If you know ahead of time you're splitting the roll, it's easy to throw in two or three blank frames somewhere obvious like the middle. And then you pray you're actually finding the middle in the dark. One frame can be done—I knew someone who shot every roll that way and rarely mis-cut—but it's much more forgiving to have another frame width or two. The in-camera method you mentioned also works (and also benefits from an extra margin of error). For 120/220, unless you're shooting particularly fast film, you can use a sufficiently weak light to read the backer. Speaking from experience, glow-in-the-dark tchotchkes work without fogging.
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May 16, 2009 17:13
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Some old cameras actually have built-in film cutting blades, believe it or not. How useful that would be in real life, I don't know. If you have access to a bulk film loader, you could load up small rolls of film instead of the full 24 or 36.
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May 16, 2009 17:50
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It was more out of curiosity than anything. Particularly for landscapes, where the zone system may call for different exposures and I want to keep the shutter speed/aperture at a certain point or avoid reciprocity failure during rapidly falling/changing light. In a week or so it might not matter at all... Watch this space! I shoot both 35mm and 120 currently, it would be more of an issue on 120 because I tend to do more landscapes on that. Again, I was just wondering what the accepted method was. Never thought to read the backing paper on 120...
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May 16, 2009 18:46
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What's the best way to prepare silver halide negatives for a scan? Is it advisable to just PhotoFlo them and then clean them with your fingers? How do you dry them while avoiding dust?
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May 17, 2009 19:18
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Just as you would for printing, make sure the negatives are dust free and flat. Photo-flo is great for anyone who doesn't have extremely good water, but it's not a necessity. If you use it, don't wipe your negatives off with anything, just let them dry on their own. As to where to dry them, a dedicated film drying cabinet is great to have, but a little unrealistic for a lot of people. In general, make sure the area they are hanging is clean (no dust), and they won't be disturbed, hanging them in the shower isn't a bad idea.
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May 18, 2009 01:22
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Speaking of film scanners, does anybody know affordable, decent scanners? I can't decide whether to get a cheap enlarger setup or a scanner.
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May 18, 2009 01:42
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Cryhavoc posted:Speaking of film scanners, does anybody know affordable, decent scanners? I can't decide whether to get a cheap enlarger setup or a scanner. The Epson V500 is a good scanner for the money, but it's kind of slow and the film holders can be annoying.
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May 18, 2009 02:34
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I paid $200 US for a Canon 8800F and I'm pretty happy with it. It will scan 12 35mm and at least 3 or 4 120's in a batch and does a good job of it. Warms up quickly (LED's) and it easy to figure out. Works with Mac. It may be a slightly newer model than the Epson V500, which I almost bought but the morons at Office Depot didn't actually have one to sell me, despite the display and the "take this tag to the cashier" tags on the shelf.
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May 18, 2009 06:08
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Kind of stupid, but wondering if anyone else has had a similar problem: I just got another scanned roll back from CVS, the tech said "something was wrong with the spacing on the camera". I check my negs and they're fine, but the scans are basically all split in half (half of one frame and half of the next). This is a problem with their scanner/method, not my camera, right? I was thinking maybe the camera is starting the roll half a frame too soon or too late, but that doesn't seem like it'd matter. I had the same problem with the same lab a few months ago with a test roll from another camera, but the other roll I gave them today (from a third camera) turned out fine. I don't really give a poo poo about the pics; all of these have been test rolls, but I want to know if something is actually wrong with my cameras. On a side note, the Oly tech's modifications to my XA's meter were successful; it can now shoot ASA 1600 film! It's a pretty unique little package now; pocketable rangefinder with Av shooting and a nice 35mm f/2.8 lens for low light. Aside from being cut in half the images from the 1600 turned out surprisingly well, I had accidentally let it go through an airport scanner or two.
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May 20, 2009 23:19
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Were you shooting low light photos? My scanner has problems picking out the photo borders when the photo is mostly blackness.
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May 20, 2009 23:55
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HPL posted:Were you shooting low light photos? My scanner has problems picking out the photo borders when the photo is mostly blackness. For the most part yeah. It isn't a flatbed though, they feed it in.
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May 21, 2009 00:27
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While I was buying the rest of the outdated (4-09) Plus-X at the local photo pro shop, I saw that they had a 4x5 view camera setup, ready to go, everything you'd need right down to the light meter for $600. The question-do I raid the kid's college money, take the money out of my 401K, sell a kidney, or bow to reality and leave it there for some other
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May 21, 2009 03:36
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Pompous Rhombus posted:For the most part yeah. It isn't a flatbed though, they feed it in. The scanner was still probably having a tough time finding edges to start the scan. What I usually end up doing is scanning the whole strip and manually picking out the photos in Photoshop. In related news, I seem to have found a winning combo for concert photography with film. HP5 jacked up to 3200, then bump up the exposure by half a stop or a stop depending how your camera meters dark photos. For development, Xtol stock for 20 minutes, alternating between one gentle inversion and one gentle swirl every minute. Turns out real nice. 20 minutes seems to be just enough to bring out the shadows while not blowing out the highlights. Also, I love how bulk HP5 says "SAFETY FILM" on the border. Well! Thank god I won't be having any Cinema Paradiso-style infernos any time soon. HPL fucked around with this message at 03:54 on May 21, 2009 |
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May 21, 2009 03:51
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HPL posted:The scanner was still probably having a tough time finding edges to start the scan. What I usually end up doing is scanning the whole strip and manually picking out the photos in Photoshop. Ah, that makes sense, I'll keep it in mind. Hopefully I'll be able to borrow a scanner from work later this summer; I want to digitize some of my grandfather's Vietnam slides when I go up to visit. Are you still using the T2 for concerts? Just curious, what made you choose it over an SLR for that? Gnomad posted:While I was buying the rest of the outdated (4-09) Plus-X at the local photo pro shop, I saw that they had a 4x5 view camera setup, ready to go, everything you'd need right down to the light meter for $600. I'm not sure the make/whatever of that one, but you can get in to LF for a lot less than $600. Here are some auctions I've watched in the last couple weeks: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&ssPageName=STRK:MEWAX:IT&item=260402690914#ht_778wt_907 http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&ssPageName=STRK:MEWAX:IT&item=140318712424#ht_500wt_924 (this one especially seems like a pretty  deal)http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&ssPageName=STRK:MEWAX:IT&item=200337742857#ht_702wt_907 http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&ssPageName=STRK:MEWAX:IT&item=170328186340#ht_7103wt_907 http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&ssPageName=STRK:MEWAX:IT&item=170328992294#ht_500wt_924 (disclaimer: I don't shoot LF but these seem like fairly complete and functional setups) Edit: Sweet! Just snagged a used Pentacon-6 Arsat 30mm fisheye in the States for less than half of what the Ukranian sellers have them priced at! I'd been looking at getting further in to the Bronica system and while most of the lenses are really reasonable, I wanted wide and cheap (and poo poo, I'll never be able to justify paying $100 for a loving WLF), so I'm going to sell it and go Russian. Pompous Rhombus fucked around with this message at 04:17 on May 21, 2009 |
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May 21, 2009 04:12
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Pompous Rhombus posted:Are you still using the T2 for concerts? Just curious, what made you choose it over an SLR for that? The T2 is my pocket camera. I use it when I don't feel like bringing the kitchen sink to concerts. When I want to use something a bit more proper, I use a Canon EOS A2E.
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May 21, 2009 04:24
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HPL posted:The T2 is my pocket camera. I use it when I don't feel like bringing the kitchen sink to concerts. When I want to use something a bit more proper, I use a Canon EOS A2E. I essentially want to use it like you're using your T2, as a pocket camera. I mostly don't like the photos digital point & shoots produce. Hey! fucked around with this message at 19:32 on May 22, 2009 |
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May 22, 2009 19:29
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Hey! posted:I just found a guy to sell me a T4 Super. I'm just curious if you have any general preferences for types of film or where to get the film developed. I'm a total noob to film photography, so I don't know if different kinds have a different "feel" and how much it matters if you take your film to the Rite-Aid to get it developed or a camera store. I shoot just about all in black and white because I can develop it myself and you can really crank the speed on black and white film whereas colour film is chancey at best for push development if you can find a place that will do it at all. I'm big on Ilford HP5+ 400 because it's a very versatile film. You can slow it down to 200 or ramp it up to 3200 and it will perform like a champ. It's like Kodak Tri-X 400 but better. The thing to watch out for with older, smaller cameras is the maximum shutter speed and aperture. Shutter speed usually only goes up to 1/500 or less, so you have to choose which film you use wisely. Anything faster than 100 or 200 in daylight will max out your shutter speed and give you overexposed photos. If you end up taking a shine to film photography and plan on shooting a lot, I definitely recommend getting a bulk film loader as well as learning to do your own developing. What I would also recommend is that you go out and get yourself a manual film SLR too, like a Pentax MX. The MX is a small but very tough mechanical camera that only needs batteries for the light meter. There will be times when you'll want a faster lens than an f/2.8 or f/3.5 or you'll want something wider or narrower. At this point in time, Pentax manual focus gear is a great value and you have to almost go out your way to find stinkers.
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May 22, 2009 19:47
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Hey guys, Hope you don't posting here. I'm a writer over on https://www.holgablog.com a film photography blog(worry not! It's not just holgas!). We have a great competition at the moment where you can win any holga camera you want, direct from the manufaturers, from the el cheapo 120n through to the (relatively) expensive 3d stereo jobbie. You basically have to submit 6 photos taken with a film camera, along with a wee bit of writing with it, which can be about anything you want: how you took the photos, the subject of the photos, or even fiction/poetry, it doesn't really matter what! Further details are here, and it closes on sunday :-) http://www.holgablog.com/2009/04/24/competition-win-any-holga-camera-you-want/
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May 25, 2009 10:26
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HPL posted:I shoot just about all in black and white because I can develop it myself and you can really crank the speed on black and white film whereas colour film is chancey at best for push development if you can find a place that will do it at all. As for getting a film SLR and developing my own film, those really aren't options for me right now. I just want to use this film point & shoot for snapshots and my digital SLR for "serious" shooting. Given that I can't develop my own shots, I'm concerned I won't be able to get them look how I want, at least the physical prints. But I guess I'll have to get some rolls developed, see what they look like and go from there. I'm not worried about pushing the speed of the film. Before I got this camera, I had done some research to see what types of color 35mm film people liked. I went to a local camera chain to see what they had, and I was surprised that all the color 35mm seemed to be your generic Kodak and Fuji stuff, with none of the kinds I had seen recommended online. They did have a decent selection of Ilford B+W, though. At any rate, I gather that selling film is not an incredibly lucrative business these days.
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May 26, 2009 15:52
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Hey! posted:Before I got this camera, I had done some research to see what types of color 35mm film people liked. I went to a local camera chain to see what they had, and I was surprised that all the color 35mm seemed to be your generic Kodak and Fuji stuff, with none of the kinds I had seen recommended online. They did have a decent selection of Ilford B+W, though. At any rate, I gather that selling film is not an incredibly lucrative business these days. For general purpose, non-critical colour work, I use store-brand film, which in my case is rebranded Fuji Superia 200, except for cheaper than actual Fuji Superia. I don't shoot much colour these days though. Mostly just Acros 100 and HP5+. Most brick and mortar stores will only stock what will move, which means only the most generic stuff. Try Freestyle Photo ( http://www.freestylephoto.biz ) for the good stuff. I've had nothing but great service from them.
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May 26, 2009 16:27
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HPL posted:Try Freestyle Photo [...] I've had nothing but great service from them. Seconded. Two bricks of Arista to New Zealand, well-packaged, in no time at all. Anyone here had experience with pinholes? I made my own out of a pair of coffee tins.  I was going to use the two cameras side-by-side to take stereographic images but then I realised that there was already a Holga camera that did this (LOMOOOO...!  )Regardless of this one developed a light leak and that plan went out the window.  Both of these pictures actually have me in them. Two hours each.
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May 27, 2009 00:20
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I was in an antique store this past weekend, and they had quite a few old medium format kodak cameras. I have no first-hand experience with medium format, so I had no idea if any of them were worth-while. Most every one was a "Tourist" model, and they all looked quite old and abused. They were all in the $15-40 range. I almost bought one of the better looking ones, but I had a feeling I would just have been throwing money away on something that probably wouldn't work. If I spot something like that again, is it worth giving one a shot?
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May 27, 2009 01:06
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Associate Christ
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Hey! posted:As for getting a film SLR and developing my own film, those really aren't options for me right now. I just want to use this film point & shoot for snapshots and my digital SLR for "serious" shooting. What sort snapshots? Different P&S's are good for different things. As far as getting them developed, the quality at drugstore labs varies from OK to poo poo... in general the techs don't really know what they're doing and it's not uncommon to get your negatives back scratched up, lovely scans, etc. It's just a job for them; film goes in one end, comes out another, whatever. A pro lab costs more but will actually do a nice job and treat your film like it's theirs. Developing your own B&W film isn't that expensive, the initial investment is probably $40-50 and that stuff will last you for quite a few rolls. For film, find what you like and then buy that in bulk. One of my favorites is Kodak Elitechrome 400 (slide film) for crossprocessing. Pompous Rhombus fucked around with this message at 01:39 on May 27, 2009 |
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May 27, 2009 01:37
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Kaluza-Klein posted:If I spot something like that again, is it worth giving one a shot? If you're comfortable with the idea of respooling, you can load 120 film onto a 620 spool. They don't make the film that the old Tourists used to take anymore. It's pretty cheap for a start to medium format that isn't a holga, though.
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May 27, 2009 02:01
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If you do end up ordering from Freestyle, you should know that their Arista and Legacy Pro films are usually rebranded versions of other films. For instance, Arista Pro 400 is Kodak Tri-X 400 and Legacy Pro 100 is Fuji Acros 100. If there's a particular kind of film you like, do a google search and see if there's an equivalent at Freestyle. It's a great way to shoot film for about half the price. The shrinking number of film manufacturers is bad for variety, but it also means that as long as you can nail down the country of origin, you've got a good chance of figuring out who actually makes it.
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May 27, 2009 03:21
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As a tip for Canadians, https://www.photo-co.com has pretty good prices on film. I got a bulk roll of HP5+ for $53CDN.
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May 28, 2009 15:37
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