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Genderfluid posted:is there a mirror of the film processing video that's in the OP? watched it years ago and wanted to go back to it. . . . hasn't it been about three years since you were around last? I don't have what you're looking for, but welcome back.
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Jan 26, 2020 05:12
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Yond Cassius posted:. . . hasn't it been about three years since you were around last? I don't have what you're looking for, but welcome back. yea, time flies! i just remember that being a very good guide on editing scans of negatives when they're scanned as positives, which i'm going to be doing soon
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Jan 26, 2020 07:04
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The video has been lost to the ages unfortunately. The quick recap is: - scan as highest bit (48bit is good) positive - bring it into PS, invert it - open up Levels and for each channel bring in the black and the white points until they barely touch the graph. Hold down Alt while dragging to see how close you can get without clipping. - use a Curves layer to set the black/white/gray points. From there you need to finesse it, but the above should get you in the general area.
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Jan 26, 2020 15:44
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bobmarleysghost posted:The video has been lost to the ages unfortunately. great, those were exactly the steps i remembered so glad i wasn't missing something
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Jan 26, 2020 22:33
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So I just turned on my SLR and the film randomly rewinded itself making the roll of film useless. Thoughts on how/why this happened?
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Jan 27, 2020 01:07
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Spend  on a film extractor, reload the film, shoot with the lens cap on until you get back to where you were, then take the lens cap off and start shooting again.Auto-rewind on cameras use an infrared sensor to detect the end of the roll; dirt or an odd roll can throw them off and cause them to rewind prematurely. Some cameras have a rewind button on the bottom; if you have one you may have bumped it.
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Jan 27, 2020 02:37
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TheLastManStanding posted:Spend If you don’t feel like spending the on the extractor, you can even take a piece of old film or a leader from another roll and pull it out that way. Learned that one when I accidentally overwound my film to transport it for flying.
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Jan 27, 2020 03:25
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Cheap Fuji Superia 400 on my $10 Ansco pano p&s. Pretty happy with the results and exactly what I was looking for to carry on the bike.        
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Jan 27, 2020 20:07
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I just found out the Melbourne domestic terminal is using the new CT scanners that Kodak is warning against putting film through entirely. This is after I travelled with five rolls last weekend, including a roll of Acros II  Having a sacrificial roll developed now to see if the machines are really that much stronger or if a single pass through would be okay.
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Jan 27, 2020 22:55
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I recommend just having your film hand-checked every time, TSA won't give you too much poo poo. oddly the place I had the most trouble was LAX, you'd think they'd be used to people flying with film
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Jan 27, 2020 23:57
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Bottom Liner posted:Cheap Fuji Superia 400 on my $10 Ansco pano p&s. Pretty happy with the results and exactly what I was looking for to carry on the bike.  Getting great photos from cheap cameras always feels the best.
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Jan 28, 2020 04:34
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Is there a rule of thumb for how to meter expired film? I heard +1 stop/decade it's expired somewhere, just a a ballpark figure.
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Jan 29, 2020 19:58
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Pondex posted:Is there a rule of thumb for how to meter expired film? That's what's been advised here as well.
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Jan 29, 2020 20:14
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Pondex posted:Is there a rule of thumb for how to meter expired film? That's pretty good, with three caveats: * Very slow-speed film (sub-ISO-50) ages much slower. You can shoot 1960s-era Panatomic-X (box speed 32) at ISO25 and it comes out great. * Very high-speed film ages faster and fogs more as it goes. Royal-X Pan (box speed 1250+) from the 70s and 80s was basically "shoot at 50 and pray" even ten years ago. * Beware of color shifts. All kinds of weird things happen to color film. Cassius Belli fucked around with this message at 21:14 on Jan 29, 2020 |
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Jan 29, 2020 21:03
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Here's some Orca 110 I got back the other day. Shot it on my Fujinon Zoom something or other. Came out better than expected. 
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Feb 6, 2020 04:26
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I’m thinking about hopping onto the instant film bandwagon, and I’m wondering about the relative merits of going Polaroid vs Instax. I’ve heard pros and cons for both and I’m now overthinking what should just be a cheap(ish) whim. My initial thought was grab a cheap Polaroid something off of eBay, but then that turned into the portability and $100 (and a prayer) on a SX-70, but I worry about lighting so I guess also a flash? An instax mini would be cheap but I don’t like the photo size. Yet there’s the wide and the lomo cameras and *head explode* Obviously the real answer is drop $30 on an Autofocus 660 and see where it goes. But anyone have fun guidance to help further muddle my mind with? Edit: $100 is about my max, but I’d probably pay extra to get the mint flash for an SX-70. So an SLR 680 is unfortunately out. dupersaurus fucked around with this message at 00:54 on Feb 7, 2020 |
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Feb 7, 2020 00:49
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dupersaurus posted:I’m thinking about hopping onto the instant film bandwagon, and I’m wondering about the relative merits of going Polaroid vs Instax. I’ve heard pros and cons for both and I’m now overthinking what should just be a cheap(ish) whim. I say go for the Autofocus/Sun 660. Apart from my Spectra Procam (don't get a Spectra) it's probably the Polaroid I shoot the most. It'll be a high quality affordable intro into Polaroid so you can find out if you even like it, because the film really ain't cheap. You may also consider just buying a new Polaroid OneStep+ or OnesStep 2 as the film is a little cheaper.
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Feb 8, 2020 07:27
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GreaseGunner posted:I say go for the Autofocus/Sun 660. Apart from my Spectra Procam (don't get a Spectra) it's probably the Polaroid I shoot the most. It'll be a high quality affordable intro into Polaroid so you can find out if you even like it, because the film really ain't cheap. You may also consider just buying a new Polaroid OneStep+ or OnesStep 2 as the film is a little cheaper. I won’t, but why not the spectra?
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Feb 9, 2020 04:32
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dupersaurus posted:I won’t, but why not the spectra? Most of the Spectra cameras can't spit out the current Spectra film so they stopped making it. I've been stockpiling it in my fridge to prevent another pack film style crisis in my life.
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Feb 9, 2020 04:39
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GreaseGunner posted:Most of the Spectra cameras can't spit out the current Spectra film so they stopped making it. I've been stockpiling it in my fridge to prevent another pack film style crisis in my life. This  . Which is a shame and turned me off the medium almost completely. I've got a box full of Spectras where the motors / electronics couldn't keep up, or trying to shove out the film burned the motors out, and until they bring it back I'm not really interested. I've some in my fridge that I save for special occasions (weddings mainly). I often find the revamped Onesteps used, since it seems like people pick it up since it seems fun until they realize how much it costs compared to Instax - you can always pick up a used one, try it out, and flip it for something better. You get something slightly better built / engineered, cheaper film, and in theory healthier for the environment by bypassing the need to keep recycling the batteries.I have an I-1 I found dirt cheap at a pawn shop and it's a little awkward to use. The extra features are neat until you realize how much trial and error it takes to get them to work.
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Feb 11, 2020 01:44
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It's really a shame because the Procam is probably my favorite Polaroid to use.
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Feb 11, 2020 06:47
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Why are Spectra cameras massively failing across the board compared to other Polaroids? Is it just planned obsolescence starting to hit or something?
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Feb 11, 2020 12:46
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I doubt it was planned. I would assume the tech just wasn't that good. It seems to happen with pretty much all Spectra cameras except for the Procam. I also know that the new film is thicker than the original Polaroid film so that may have something to do with it. They said they spent about six months trying to solve the issue by changing stuff with the film and nothing worked so the problem is most likely with the cameras and not the film.
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Feb 12, 2020 00:27
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Oh no. I want a Fujifilm GW690 now
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Feb 14, 2020 14:59
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The Modern Sky posted:Oh no. Why? The most expensive camera I own is a GW690III that only had 22 clicks on the odometer when I got it.
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Feb 15, 2020 03:22
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Is that actually 22 clicks, 220, 2200 or 22000?
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Feb 15, 2020 03:48
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220. The meter read 22 and it's x10. So you're looking at about 24 rolls of 120 or some other amount of 220 before I got a hold of it.
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Feb 15, 2020 03:55
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GreaseGunner posted:Why? I've never used their 35mm line but the MF and LF lines are some good-rear end poo poo. The GW690 and GSW690 are both fantastic cameras, as are the parent G690 series (much less available than the fixed lens versions). I have a GS645 folder that is fantastic but apparently finicky to repair and get parts for, KEH could never make my first one work right (this was before chinese acquisition even) and after four months in their shop they gave up and offered me a different unit. The GF670 is one of those cult "packs a big punch" folders too. Their LF optics are top-notch as well and often much cheaper because of lesser name recognition, they're plasmats and tessars and super angulon types about like everyone elses and Fuji's QC has always been excellent. Fuji has always done an exceptionally terrible job marketing its products outside the homeland, it's the classic japanese parent company that doesn't feel the need to communicate with any of their subordinates. They basically didn't market outside Japan hardly at all and it's pretty routine to see them just cancel a film line abruptly without any notice. The foremost authority on their LF lens production is... amateur brochure archaeologists and lens testers. The products themselves have always been pretty excellent though. The GW690 and the GSW690 are like, comically big though, like Pentax 67 tier of size distortion but without the grip or prism to give you a sense of perspective. Quite a bit lighter though. Paul MaudDib fucked around with this message at 04:23 on Feb 15, 2020 |
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Feb 15, 2020 04:13
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GreaseGunner posted:Why? Something about a REALLY REALLY BIG negative compared to 35mm calls to me. I've been wanting to dive into MF for a while now, but I wasnt able to afford a camera system to start from. It being an all-in-one unit makes it easier for me to start shooting without having to find a cheap kit. And it's all manual, which is how i've preferred all my cameras
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Feb 15, 2020 04:32
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The Modern Sky posted:Something about a REALLY REALLY BIG negative compared to 35mm calls to me. not a negative...  (trust me go shoot a roll of provia 100F or ektachrome E100 or something, MF/LF slides own. Your humble grocery store (walmart/meijer/costco/etc) probably sends their film out to Fuji (unless they advertise 1 hour turnaround, they do) and if you write "E-6 process" in the special instructions fuji knows exactly what to do with it. Takes about 3 or weeks turnaround but is cheap and available if you don't have a local photo lab / don't mind waiting.) life pro tip: you don't need a loupe to view a slide/negative with magnification. Take a normal (50mm equivalent) lens, put the film side close to the film, and look through the front aperture, against a light source/light box/etc. edit: I wonder what would happen if you sent a box of 4x5 e-6 or c-41 in the mail to Fuji. It works for 120 for sure. Presumably they'd give it back if they couldn't, maybe try sending just one negative. Otherwise send out to North Coast photo. Paul MaudDib fucked around with this message at 04:55 on Feb 15, 2020 |
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Feb 15, 2020 04:38
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I was tempted by the 690s with the interchangeable lenses but all the lenses I wanted were expensive and I heard the quality was iffy. When I saw the one I ended up picking it it was basically a panic impulse buy but I don't regret it. Honestly I really want a Fuji 645 but they've become more clout camera than anything and the prices have shot way up. I have a clean rear end Pentax 645 but the battery grip is jacked and they're apparently impossible to find so I'll have to stick with the 690 and my Mamiya C33 for my medium format needs.
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Feb 15, 2020 04:52
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GreaseGunner posted:I was tempted by the 690s with the interchangeable lenses but all the lenses I wanted were expensive and I heard the quality was iffy. When I saw the one I ended up picking it it was basically a panic impulse buy but I don't regret it. Honestly I really want a Fuji 645 but they've become more clout camera than anything and the prices have shot way up. I've always heard good things about the optics but the bodies and the shutters may not be that renowned. Earlier stuff may not be as good and the G690 is early. And G690 lenses are expensive because they're rare, it's the cost of some systems, lenses are hard to come by and you don't pass them up if you see a good copy. 645 as a format fence-sits uncomfortably between quality and convenience. The lenses aren't as fast and the bodies aren't as flexible as 35mm and aren't as high quality as 6x7/6x9. Most of the market that's doing MF is in it because it's a cool quality medium. The undeniable trend is towards 6x7 to 6x9 formats being preferred over "small medium format". Compare things like the relative prices of various Super Ikonta models of different formats, etc. I still like my GS645 as a travel camera but even I would rather have a GF670 than a GS645. And I have no particular attachment to 6x4.5 as a format compared to 6x9/GW690, it's just cheaper. I suppose my favorite 645 system would be Pentax because I could potentially use my P67 lenses on it with full aperture functionality. And you can run digital, including if Pentax ever does a full frame 645 or something else that's cool. Paul MaudDib fucked around with this message at 05:06 on Feb 15, 2020 |
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Feb 15, 2020 04:59
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645 always seemed like a weird size to me. I love the 6x6 I get out of my C33 but the lab I sent my film to prints my 6x6 shots in the same size paper they print my 110 and it is starting to get on my nerves. I also like what I get from my Yashica but I'm holding out for an affordable 35mm kit for it.
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Feb 15, 2020 05:08
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GreaseGunner posted:645 always seemed like a weird size to me. I love the 6x6 I get out of my C33 but the lab I sent my film to prints my 6x6 shots in the same size paper they print my 110 and it is starting to get on my nerves. I also like what I get from my Yashica but I'm holding out for an affordable 35mm kit for it. Yeah, like I said, it's an awkward fence-sit. Not as fast as 35mm, not as high-quality as 6x7/6x9. GS645 strikes a fun note because it's convenient and packs a punch, GF670 or GF670W would do equally/better though. (I think GF670 and GF670W may be undervalued in the long term, they are like mamiya 6/7 grade optics in a folder.) For TLRs (assuming you meant Yashica) the Rolleiflex Xenotar 3.5 is the best high-end model. Super high quality lens, much cheaper than the 2.8 models, and the fold-down TTL prism top finder mode is incredibly useful for focusing. (I have a user grade that I've been looking to sell, dead meter/crumbled meter readout plastic cover, but otherwise clean user 3.5E type 1. Not just saying that though, I found prism shooting far far easier than waist-level shooting. I replaced it with a 3.5F Xenotar with a split prism screen.) Autocords are also loving fantastic but don't break the loving focus lever off, get it cleaned if it needs to be. Yashinon yashicas are awesome as well. My first MF was a Yashica D with a 2.8/3.5 Yashinon setup (bright screen) and I regret selling it cause it was awesome. Someone on here bought it though. Paul MaudDib fucked around with this message at 05:29 on Feb 15, 2020 |
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Feb 15, 2020 05:20
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For TLRs I work with my Mamiya C33 and Yashica 635. I like using them for street photography because people generally don't care what you're doing with them and are more interested in how they still work.
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Feb 15, 2020 05:23
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GreaseGunner posted:For TLRs I work with my Mamiya C33 and Yashica 635. I like using them for street photography because people generally don't care what you're doing with them and are more interested in how they still work. Yeah, that's true for sure. It's not something you're pointing at them, it's something you're looking down into, people are way more chill about street shooting with TLRs shot at waist level. I think using cutdown formats (like 35mm in a 6x6) is generally a waste of the camera though. You can get the same thing by shooting 6x6 and cropping down later. Paul MaudDib fucked around with this message at 05:44 on Feb 15, 2020 |
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Feb 15, 2020 05:25
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Does that mean I'm stupid for shooting 35mm in my GW690III
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Feb 15, 2020 05:56
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GreaseGunner posted:Does that mean I'm stupid for shooting 35mm in my GW690III you're losing shots that you might want to crop/edit differently if you had a little more room, if only you'd spent a little more and developed the full area of 120 that was being exposed instead of using a 35mm adapter, yeah.
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Feb 15, 2020 06:01
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Had a gw670 Sold it Had a gw690 Sold it I think big rangefinders just arent for me
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Feb 15, 2020 06:07
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Wild EEPROM posted:Had a gw670 do you like rangefinders in any other format at all? a lot of rangefinders that you buy in tyool 2019 have super faded beamsplitter glass which fades out the patch significantly. a good CLA tech will replace this on a service. locating a clean well-mainted copy of a camera can be very significant to overall ownership happiness. I can tell you the difference in satisfaction and focusing speed/accuracy between when I owned a lovely 20s Crown Graphic and a well maintained 50s Crown Graphic was significant. 90 year old Kalart beamsplitters are Very Not Good. Paul MaudDib fucked around with this message at 06:13 on Feb 15, 2020 |
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Feb 15, 2020 06:11
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