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What'd you pay for them? I've been using AE-1s since I was in High School but have been tempted to supplement them with an OM due to the smaller body size.
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Jul 13, 2014 06:53
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The difference is nonexistent in terms of use.
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Jul 13, 2014 09:37
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The body was $90 but only because I wanted a black one, regular chrome models are around $40-50. The 50mm was $30, the 135mm was $120. So if you want to get one you could get a body and fifty for under $100 bucks, that's basically free in photography terms. They are a sexy little camera and don't need batteries unless you want to use the light meter... if you do depend on the meter a lot maybe don't get one because it takes the old mercury batteries and will actually be a few stops out if you use a zinc-air as a replacement. Apparently the Wein cells work perfectly.
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Jul 13, 2014 11:29
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My first ever roll of film, gas station quality Fuji Superia 400. Ran a roll through to make sure the camera worked before I do a project this week on Portra. Film roooooockkkkssssssss.   
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Jul 14, 2014 18:06
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I love my little Konica C35  
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Jul 14, 2014 19:25
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Huxley posted:My first ever roll of film, gas station quality Fuji Superia 400. Ran a roll through to make sure the camera worked before I do a project this week on Portra. Are these lab scans or your own? I always find I like the look and feel of everyone else's cheapo film processing more than my own. I dunno if it's just a bias I have against my own work.
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Jul 14, 2014 19:32
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BANME.sh posted:Are these lab scans or your own? I always find I like the look and feel of everyone else's cheapo film processing more than my own. I dunno if it's just a bias I have against my own work. A lab at an actual photo store (as opposed to a Walgreens) that handles most of the local film people I know, so they have a good reputation.
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Jul 14, 2014 20:02
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My friend's moving and in packing she found an old AE-1 that belonged to her dad along with some lenses and a 2x teleconverter. I think it'd be fun as hell to load this thing with some B&W and walk around Fairmount Park shooting the old mansions. Last time I shot film was literally in high school, when Velvia was brand new. And my awareness of what I was doing was rudimentary, to say the least. So for walking around in broad daylight, what'd be a good film choice? T-Max 100? Or just don't worry about it and use whatever?
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Jul 14, 2014 20:24
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Phanatic posted:My friend's moving and in packing she found an old AE-1 that belonged to her dad along with some lenses and a 2x teleconverter. I think it'd be fun as hell to load this thing with some B&W and walk around Fairmount Park shooting the old mansions. Can you do your own b/w development? If not, you should probably shoot C41 process film, i.e. typically color negative. You can also get Kodak BW400CN or Ilford XP2 which are both C41 process b/w films, both rated at 400 ISO. If you do have the equipment, or want to get it, for developing b/w yourself (hint: never get b/w developed at a lab, it's expensive and you lose control of the process) then I guess T-Max 100 is okay, but I'd probably prefer Ilford FP4+ myself, for a medium speed film for broad daylight use. Tri-X or HP5+ are more general purpose, though, and both are well suited also for pushing to high speeds. I've used Tri-X at EI 6400 myself, and liked the result.
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Jul 14, 2014 20:31
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Phanatic posted:My friend's moving and in packing she found an old AE-1 that belonged to her dad along with some lenses and a 2x teleconverter. I think it'd be fun as hell to load this thing with some B&W and walk around Fairmount Park shooting the old mansions. It's just like digital, except you can only change the ISO every 36 photos or so.
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Jul 14, 2014 21:37
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I just got three rolls of Lomography Redscale 120 in. Any tips for how to shoot it?
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Jul 14, 2014 21:40
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Phanatic posted:My friend's moving and in packing she found an old AE-1 that belonged to her dad along with some lenses and a 2x teleconverter. I think it'd be fun as hell to load this thing with some B&W and walk around Fairmount Park shooting the old mansions. So first thing is there's a distinction in what process (chemicals, etc) is used to develop film. Color negative film (almost always) uses a process called C-41, and "real B+W" films like T-max or HP5 won't turn out in C-41 chemicals. If you want to shoot B+W, you can use color film, scan, and desaturate the image yourself. Or you can use what's called "chromogenic B+W" film, which processes normally in those chemicals. This is Kodak BW400CN and Ilford XP2. You don't really have any choices in chromogenic B+W film, the process is totally automatic and about all you can control is what film you're using (out of the 2 available). Developing real B+W is super easy, it's incredibly difficult to totally gently caress it up. You do need one windowless (or otherwise totally dark) room to load the film into the tank, but after that you can do everything in daylight. There's also a small investment in equipment (a developing tank, some liquid measures, some quart bottles, etc) and a small ongoing cost in chemicals. Last time I checked it was like $2 a roll to process it myself or something like that, assuming you make reasonably full use of the chemicals. Versus having B+W process film done at a lab, it probably pays itself back in <4 rolls. Real B+W there's an enormous amount of interesting things to try. Film/developer combinations really change the results. There's two types of B+W film, there's "cube-grain" or "traditional grain", and "T-grain" films. Cube-grain tends to be really in-your-face, particularly high-ISO films. They do really well with pushing. This is stuff like Tri-X, Neopan, HP5, or FP4. Tabular grain tends to be finer and less visible, but some people don't like it as much, and it can be sensitive to film/developer combinations (like any film). This is T-max, Delta, and Acros. I keep two kinds of B+W film. I have fast film, 400 speed, and then I push-process that if I need something faster. I also have slow film (100), which I use outdoors, on tripods, etc. Tri-X or HP5+ are both great fast films, and I have fallen in love with Acros for slow-speed film. It's gorgeous, has no grain to speak of, and you can do really long exposures with it since it has incredibly low reciprocity failure. I'm a big big fan of Rodinal as a developer, it works reliably and produces good results with pretty much everything, you mix it up fresh every time, and it stays good in the bottle forever (mixed-up developer is usually what goes bad first, and you have to add fresh chemicals every 10 rolls or so with most developers). It also works great with Acros, and there's a recipe which develops pretty much any film exposed at box-speed ISO, which is helpful in a lot of situations. If you want to get into "special" processes, the sky is the limit. There are all kinds of developers that do all kinds of things. Rodinal sharpens images but makes grain more apparent, and Microdol-X does the opposite. There's split-bath developers that can let you shoot a single roll of film at different ISOs and get correct-ish exposures from all of the shots. Push-processing can let you shoot at really high ISOs (Tri-X/HP5 can easily do 1600 or 3200), and selenium intensification can help it even further. Staining developers help give you more tonal range when you're doing wet-paper enlargements, etc. Paul MaudDib fucked around with this message at 22:51 on Jul 14, 2014 |
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Jul 14, 2014 21:57
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ZippySLC posted:I just got three rolls of Lomography Redscale 120 in. Any tips for how to shoot it? This is one of the better shots I've seen on Redscale (not mine):  rest stop on Mars by QsySue, on Flickr
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Jul 14, 2014 22:19
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Speaking of BW dev, I have a 1L bottle of Ilfotec HC and I am beginning to worry that I won't be able to use it up before it expires. It's the ultra concentrated syrup that I gotta mix into 1:31 dilutions for use (roughly 9 ml per batch). I've been mixing it directly rather than turning it into 4L of stock first. People say it has a shelf life of 6 months, and others say that it will last years and years if the bottle is sealed tight. I've only developed maybe a dozen rolls so far. Am I crazy for thinking this stuff is gonna expire any time soon?
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Jul 14, 2014 22:28
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ZippySLC posted:I just got three rolls of Lomography Redscale 120 in. Any tips for how to shoot it? Hahahahaha my god people actually buy lomo film?
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Jul 14, 2014 22:41
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ZippySLC posted:I just got three rolls of Lomography Redscale 120 in. Any tips for how to shoot it? out of a cannon into a garbage can
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Jul 14, 2014 22:53
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You can make redscale yourself SUPER easily. All you need is a full roll and an old roll that's been cut and still has the end hanging out. Here's one I shot of my brother in Portugal years ago  I think the more you expose to your base film speed, the more pronounced the effect. If you start compensating, your images get less of the redscale effect (as far as I can remember!)
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Jul 14, 2014 22:56
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BANME.sh posted:Speaking of BW dev, I have a 1L bottle of Ilfotec HC and I am beginning to worry that I won't be able to use it up before it expires. It's the ultra concentrated syrup that I gotta mix into 1:31 dilutions for use (roughly 9 ml per batch). I've been mixing it directly rather than turning it into 4L of stock first. People say it has a shelf life of 6 months, and others say that it will last years and years if the bottle is sealed tight. I've only developed maybe a dozen rolls so far. Squeeze out the air. Ilfotec HC (like HC-110) is sensitive to oxygenation and light. It'll last longer with less air in the bottle.
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Jul 14, 2014 23:01
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MrBlandAverage posted:out of a cannon into a garbage can Came here to post this
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Jul 15, 2014 00:21
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Quantum of Phallus posted:You can make redscale yourself SUPER easily. All you need is a full roll and an old roll that's been cut and still has the end hanging out. This. If you compensate (2 or 3 stops) it has some really nice tones for portraits actually, in my opinion. Uncompensated all hell breaks loose and your pictures look like you've spent a season in hell or something. I've also just re-rolled some cheapo C-41 backwards. Redscale can be quite fun and is something that everybody should try once.
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Jul 15, 2014 00:36
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BANME.sh posted:Are these lab scans or your own? I always find I like the look and feel of everyone else's cheapo film processing more than my own. I dunno if it's just a bias I have against my own work. Haha I know what you mean, I think it's because when you scan it yourself you probably correct the colours more accurately so it loses some of that hipster "film look".
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Jul 15, 2014 00:44
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ansel autisms posted:Hahahahaha my god people actually buy lomo film? It was $15 and I wanted to try redscale in a format that I could not gently caress up by doing it myself. I was buying a Holga at the time, too.  MrBlandAverage posted:out of a cannon into a garbage can That's what I assumed would be the answer.
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Jul 15, 2014 00:50
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Paul MaudDib posted:Push-processing can let you shoot at really high ISOs (Tri-X/HP5 can easily do 1600 or 3200) As long as you love grain, you can easily push 6400 or 12800 with Tri-X and HP5.
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Jul 15, 2014 00:50
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 Portra 400
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Jul 15, 2014 00:59
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365 Nog Hogger posted:The difference is nonexistent in terms of use. Yup. Went to Citizens in Portland today and looked at a few different 4Ts (all priced ~$300) and realized how negligible the swap would be.
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Jul 15, 2014 01:56
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You are underestimating the sexiness of getting an OM in black though.
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Jul 15, 2014 08:19
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I've got a black OM-D and the AE-1 in both black and silver so I think I'll be alright. Truth be told I need to just stop being a stubborn bastard and get accustomed to shooting with the OM-D. I was recommended a Pentax ME which I've seen floating around Goodwill/etc. If I can find one for a decent price I might pick one up but honestly I don't know how much smaller I'd be able to go from my OM-D/pancake/body cap setup without sacrificing control or quality. I just need to stop being a baby and using my film SLRs as a crutch. IM DAY DAY IRL fucked around with this message at 10:34 on Jul 15, 2014 |
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Jul 15, 2014 10:30
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An AE-1 is honestly not some giant clunky brick of a camera - I sent mine around the world and so far it's made it Japan for sure and possibly Singapore (you know who you are: get back into that thread and give us some updates, dammit!) Just shoot more. With every camera.
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Jul 15, 2014 19:19
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I got an excellent condition OM-2 yesterday for $60, pretty excited about taking it for a spin 
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Jul 15, 2014 20:09
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Seems like the AE-1 is the new ME Super.
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Jul 15, 2014 22:07
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Heavier, no Av mode. Doesn't keep me from owning two of them for some reason though.
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Jul 16, 2014 01:50
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I don't have an AE-1 in front of me right now. They have shutter priority (Tv), don't they? Also, yeah, heavier. And you can amuse yourself by mounting "new-old-old-old-stock" L-lenses from the weirdo display of weirdo gear in that weirdo camera shop around the corner. Why yes, I am *COMPLETELY SERIOUS* about this very nice FD-Canon 50/1.4 L you've had sitting on that shelf since 1988 and that you're asking $600 for. Of course!
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Jul 16, 2014 02:16
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ExecuDork posted:I don't have an AE-1 in front of me right now. They have shutter priority (Tv), don't they? Also, yeah, heavier. And you can amuse yourself by mounting "new-old-old-old-stock" L-lenses from the weirdo display of weirdo gear in that weirdo camera shop around the corner. Why yes, I am *COMPLETELY SERIOUS* about this very nice FD-Canon 50/1.4 L you've had sitting on that shelf since 1988 and that you're asking $600 for. Of course! Shutter priority mode is completely useless. I have always hated that it's even a thing.
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Jul 16, 2014 04:55
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If any of you nerds have access to journals through a university or whatever, you can download a full version of the Darkroom Cookbook: http://www.sciencedirect.com/science/book/9780240810553
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Jul 16, 2014 05:33
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8th-snype posted:Shutter priority mode is completely useless. I have always hated that it's even a thing. I agree for 99% of the shooting I do. But it's nice when I have a very particular shutter speed in mind for a specific reason. The only time I use Tv is when I'm shooting racecars - 1/100 on a short tele (around 100mm) makes for nicely dragged shutters and that impression of speed. Usually I care more about aperture than about shutter speed, as long as the shutter speed is at least fast enough for what I'm doing, while I (delude myself in thinking I) can see the difference between, say, f/5.6, f/8, and f/11 but 1/250 and 1/500 look the same unless I'm shooting something really twitchy. But, yeah, I've never actually done that using film, just digital. My Konica FC-1 has Tv but no Av, and it takes some getting used to compared to my Minoltas or my Pentaxes from the same era. I find I take too many pictures wide-open on the basic consumer-grade zooms I have for that camera (which do not do well at f/4 or f/5.6 or whatever).
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Jul 17, 2014 05:55
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Here's a film that I hadn't seen before, Adox Color Implosion: http://www.silverprint.co.uk/ProductByGroup.asp?PrGrp=238 From a quick glance on flickr it looks like Adox got a hold of a pile of very expired Vericolor and left it on the dashboard during the summer.
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Jul 17, 2014 13:06
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There is definitely a market for that stuff, I dont really get it though. I am loving the OM-1. Here are a few shots from a roll of expired Tmax 400 I shot yesterday.  Doubleview, July 2014 by s d photo, on Flickr Caravan, Perth, July 2014 by s d photo, on FlickrHas anyone ever done the experiment of limiting themselves to one type of film and one all-manual camera/lens combo for a few months? I'd like to give it a go when my bulk order of Tri-X arrives, anyone else interested in making it a challenge? While it could get boring being limited to black and white it would be good practice. Lately I have noticed that so many of my black and white shots don't quite convey what I was seeing because the detail or scene was too dependent on colour rather than just the light and composition.
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Jul 20, 2014 03:05
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deaders posted:Has anyone ever done the experiment of limiting themselves to one type of film and one all-manual camera/lens combo for a few months? I'd like to give it a go when my bulk order of Tri-X arrives, anyone else interested in making it a challenge? While it could get boring being limited to black and white it would be good practice. Lately I have noticed that so many of my black and white shots don't quite convey what I was seeing because the detail or scene was too dependent on colour rather than just the light and composition. I do that with my Hasselblad, 80mm lens and Provia 100F. Pretty much my main combo for most of the last 2-3 years.
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Jul 20, 2014 03:15
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Interesting, I guess that is part of why you have such a consistent look.
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Jul 20, 2014 07:13
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deaders posted:Has anyone ever done the experiment of limiting themselves to one type of film and one all-manual camera/lens combo for a few months? Last 4 months i've only done hp5+ on 4x5 with mostly a 210mm lens (love that lens). And the 80mm on hasselblad. Hp5+ is easy to handle in my opinion. Not that I have a great deal of experience to go by... Going to try this foma 200 on 8x10, because it's cheap(ish) and has pretty good reviews, if I like it i might stick with it for all formats once i burn through the rest of my ilford.
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Jul 20, 2014 12:59
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