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Mr. Despair posted:I just ordered a c-41 kit, now I need to shoot more c-41 before it shows up. Shoot more C-41 than the kit can handle, so you have an excuse to buy another kit...
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May 12, 2013 23:17
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I looked at my credit card statement yesterday and asked myself, "Self, what the hell were you thinking last week?" Then the UPS man knocked and I remembered. I think my exact words were, "I'll make more money. They won't make more Ektachrome."  Expires May 2014 so this is probably the last batch.
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Jun 6, 2013 13:54
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aliencowboy posted:Those should say VS, not G. Why do you hate colour? I do have a decent supply of it (and a hold on another four or five boxes until I get paid again), but I've never really had much luck with the way VS renders skin tones.
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Jun 6, 2013 14:07
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Quick question for the large-format crowd: I bought a small amount of LF Ektachrome to freeze, because I love that film and would love to see what it does in 4x5 or 8x10 one day. Should I bag the film before freezing it, or is it safe just to put the boxes in the freezer unprotected?
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Jul 4, 2013 01:41
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I think I remember something similar to what Spedman says, but this Kodak document says deep freeze for long storage, refrigerate for "next six months". It may be over-cautious. Personally I have more freezer space than fridge space, and I stage my film (freezer->fridge->room temperature) so a little temperature-shock prevention is built into my process. I'll bag it up, though; thanks!
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Jul 4, 2013 02:42
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GobiasIndustries posted:I have a sink, but I also have a roommate who I'm sure will be plenty irritated when I start sealing off the kitchen or the bathroom for large amounts of time to develop crappy landscape photos or such. Unless I'm really missing something, I was under the impression that you needed complete darkness to develop film, and that's really not an option for my living situation right now. Unless you're doing your own printing, you only really need total darkness for loading film into your tank. The tank should be light-tight and will provide all the darkness you need.
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Aug 16, 2013 04:31
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Awkward Davies posted:1: The film is all expired by at least 7 years, but has been stored in a fridge that entire time. It's currently residing in mine after being shipped across the country. Anyone know whether that's going to make an appreciable (negative) impact on the image? You might notice a slight loss of speed. APUG consensus seems to be about 1/2 stop to 1 full stop per decade, but I've shot (in the last year) mid-70s Verichrome Pan at box speed and called it good. E6 starts going weird relatively quickly, but any slow-to-mid-speed black-and-white (except PanF for some reason) will be fine even if he left it in the back of a sock drawer. Maybe overexpose 1/3 or 1/2 stop if you're feeling conservative.
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Oct 24, 2013 06:53
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Ambihelical Hexnut posted:Got the RZ's first three rolls worth of scans back from the lab. At least I know the camera actually works now, and that the free iphone light meter app does okay, but holy balls am I disappointed in the scan quality you get for ten bucks. With a 7cm wide negative giving me roughly 2500 pixels I paid for about a 900ppi scan, which apparently even a cheap flatbed could beat handily. Not to discourage you from getting a scanner, but Precision Camera in Austin will do your scans at $12/roll and send back a CD at ~4815x5902 for 6x7. I was always pretty happy with their services, and the one time I wasn't (the scans were dusty as hell) they did a re-scan for free. Send your sleeved and home-developed black-and-white and they'll even scan them at the color rate.
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Nov 21, 2013 05:46
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MrBlandAverage posted:Yeah, that's still only 12 rolls before a V500 pays for itself. Not when you factor in the (included) cost of C41 development, it isn't, unless you're doing your own C41 too.
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Nov 21, 2013 06:04
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Awkward Davies posted:I like this, but what's with the blurring on the left and the lack of it on the right? Scheimpflug, I think. The focus plane cuts diagonally across the beach instead of parallel to the film plane, very close to the camera on the left side and through the grass on the right.
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Dec 14, 2013 20:30
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OjaiYoda posted:I have been passively looking for a 50mm lens for my mamiya 6. are there any sites anyone can recommend besides things like ebay, or keh? Their website makes KEH's look like Amazon's by comparison, but I've had pretty decent luck with Igor Camera. They have one for $620 listed in EX condition, which isn't quite as cheap as the $550-ish one on eBay, but will be in much nicer shape.
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Dec 19, 2013 07:59
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Baron Dirigible posted:Another silly beginner's question: Film's not even close to that finicky. Refrigeration and that temperature recommendation are for long-term storage, not for a day's (or even week's or month's) shooting. People have been dragging film out into the deserts and jungles of the world for decades. You don't want to cook it more than you have to, but even 40C wouldn't hurt it too much in the short run.
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Jan 27, 2014 11:24
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It could be worse. I recently moved and turned a tidy profit selling my condo. I was looking at property listings in my new city and commenting on how expensive they were, when one of my friends joked, "Property ownership is overrated. Get into ULF." I briefly considered it.
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Jun 29, 2014 18:42
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No Gravitas posted:Only 816.95$ for 25 photos! What a steal! Well, you need (bare minimum) 794mm of image circle, or realistically about 825 to give you a little movement and keep vignetting down. The only modern lenses I know that can do that are the Schneider XXL series (900mm image circle), which get into "used small car" price ranges. Some of the larger process lenses can get that big if you stop way down, but most of them don't have shutters - you'd be using a hat to improvise, or doubling the cost by sending it to SK Grimes for retrofitting (probably $3500 total cost, lens + shutter + machine work). You might be able to order the glass elements and put together a simple Petzval lens yourself if you really wanted. Cassius Belli fucked around with this message at 02:49 on Jul 6, 2014 |
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Jul 6, 2014 02:46
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Helicity posted:1) The resolving power of the GW690 lens is rated lower than a bunch of other lenses, especially the Mamiya's. In practical use, how does this play out? If I try printing A0 @ 300dpi for example, am I going to say "ugh this GW690 isn't cutting it, should have gotten a Mamiya"? You might, if you're shooting test targets. First off, the GW690 shoots a negative about 28% bigger than the Mamiya 7. That's significantly less enlargement that you have to do to get up there. Second: I have a 30x40 Cibachrome print taken from 35mm Kodachrome and it looks fine, though it has a not-unpleasantly-grainy, very distinct "gigantic print from 35mm" feel. Steve McCurry sells a few 40x60 prints (50% larger again than A0) shot from the same and has said he's very happy with them. I know he's said they're scanned on an Imacon, but I suspect there's some digital trickery involved in postprocessing. Would they be better shot on medium format? Ignoring the question of "Could Steve McCurry get those pictures lugging around a camera over twice as big?", almost definitely. You'd get that finer detail and grain structure, subtler color rendition, and all of the other reasons we shoot with this stuff. Between the different lenses, would you have a preference? Sure. That's a personal thing, though, and you're only really going to figure it out through experience, not by looking at charts and ratings. Will you have pictures where you say "Ugh, this would have been better on the Mamiya."? That's quite possible. Will you have pictures where you say "Ugh, this Fuji's completely inadequate, but the Mamiya would've made it worthwhile?" I'll bet you a nice lunch you won't. Cassius Belli fucked around with this message at 19:27 on Aug 22, 2014 |
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Aug 22, 2014 17:29
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Genderfluid posted:i'm enjoying your astia, yond cassius. I'm happy to hear that! That really is a fantastic shot. I like particularly how it managed to catch just a little bit of structure on the ground. I don't think I would have expected that, but as I said before, Astia likes to keep some pleasant surprises up its sleeves. fake edit: Man, I'm looking at this at 1600 pixels across, and it's like you could fall into the scene. Bravo.
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Aug 26, 2014 16:20
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Sludge Tank posted:Maybe the rodinol has finally expired. Bugger. The Rodinal clones allegedly don't have quite the staying power of the original, but I've yet to have a bottle of either go bad. The newer stuff does have a slight tendency to go "crunchy" and weaken a little as some of the solution crystallizes out, but I've been able to fix that by letting the bottle sit with a loose cap in a small tank of hot (tea-temperature) water for a while. What film stock were you using? I've had occasional issues with tabular-grained films when my Rodinal working solutions weren't well-mixed before developing.
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Sep 9, 2014 00:45
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Sludge Tank posted:I'm using fomapan 200, shot and developed at box speed. The R09 is quite "crystalised" as you say. Could be my water (tankwater) as well... Could it be that my stop/fix weren't at the right temperatures also? I've never been too pedantic about stop/fix temperatures before I warm them up with my developer and then just sit them on the bench whilst I'm developing. Stop and fix are relatively temperature-insensitive. You should be fine. Try squeezing the bottle a few times to break up the crystals, (maybe) give it a shake or two, and put it in a jar of hot water for a while. See what it does next time; it should be fine. I personally let it rest for a day if I give it a good shake, to let any dissolved air come back out, but that's probably superstition.
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Sep 9, 2014 03:04
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Paul MaudDib posted:Could the guy with the Astia film please email his address to redacted? The note got lost during my move, but I need to shoot the 2nd roll and get it mailed out here. "the guy"? Come on, ExecuDork named me right before you posted.  I did send you my address again, though.big scary monsters posted:I'm a little scared to shoot my Astia because I get frame spacing issues on my Pentacon Six too. Apparently it's pretty common and mostly down to poor loading technique but I can't seem to get it consistently right; about half the time I have no problems and the rest I get 10mm or so overlap on my frames. My first medium-format experience was a Pentacon Six. On mine, it helped if you kept your thumb on the spool while you were winding it over and made the camera fight you just a little for the take-up. Between that and riding the film advance back down (not letting it snap), I didn't have any problems after my first couple rolls. ExecuDork posted:On the other hand, I believe Yond Cassius' intent (please correct me if I'm wrong on this, YC) was for *interesting* film to be returned to him. Obviously subject matter / composition / quality of photograph is high priority here, but I think "shot through an odd camera" also contributes to "interesting". 10mm seems like a lot, though. I think I'm just going to go into it with the intention of taking one good photo (personal definition of "good" applies) on the roll, with 12 or 13 frames a reasonable estimate for how many shots I'll get. Then YC can have that one good one and whatever is next to it (on either or both sides?). That's about the space of it. Part of the reason I asked for an unbroken strip, instead of individual picked frames, is that I find it really fascinating to see the fingerprints of other people's processes. The near-misses tell you a lot, I think, about how a photographer works and decides what's worth keeping, and a slightly-eccentric camera can be part of that. For example, I know one photographer who edits his film with a holepunch. He put a hole through the middle of anything he doesn't like, so he can't second-guess himself into showing anyone less than his best. If I got a strip back from him, I'd expect a hole punched through at least one of them. I personally use an adapter to stick Hasselblad lenses on top of my Nikon sometimes. It's not necessarily best for perfect sharpness (a mid-higher-end 35mm lens will be sharper, just because of the manufacturing challenges in building bigger lenses), but I like the way they render colors and tones, and I think something survives in the translation to small-format (vignetting is nil, for one). If you look, you'll see little pentagon-shaped catchlights even in my 35mm, and I think that's pretty neat. If you can comfortably say "Yes, that feels like me and my work," then I'll be happy. It's a chance for me to get to know people as photographers in a way that's hard to achieve online, and to let you all enjoy a really special film before it disappears forever. If you send me a letter with your film strip that says "All the Astia talk convinced me to bite the medium-format bullet. This is what I think so far and these are some things I've learned..." then, honestly, I'll be delighted. I don't intend for this to be a competition. I'm not going to judge the entries and send an extra five rolls of Astia to the winner or something. At best, if everyone does really well, I might dig around in my fridge for a while, open up one of the Snaplock boxes back there, and see if there's anything else back there that I'd like to share. Cassius Belli fucked around with this message at 05:19 on Nov 14, 2014 |
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Nov 14, 2014 01:41
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ExecuDork posted:Tragic twist in my saga of Yond Cassius' Astia project. My Kiev 60 jammed on frame 5. The film advance lever goes no further than about 1/4 of the distance it's supposed to go, the shutter cannot be cocked, and the film cannot be moved on the rolls - normally the uptake roll can be ratcheted forward but this action is also jammed. On the Pentacon Six there is a little tiny lever under the film advance that will unjam it. I don't see it in pictures of the Kiev, though, so that may be one of the mechanisms that got simplified away. This is, however, my nigh-universal unjamming technique: 1 - Take note of which exposure you're on. 2 - Put the camera in a dark bag, or get yourself (with the camera) into a darkroom. Safelights off, of course. 3 - Open the back of the camera just enough to let it reset the film counter, de-tension everything, and think it's back at the beginning of the roll. 4 - Close camera back up and try winding again. 5 - Shoot the rest of the roll, counting in your head (or on a stickynote on the camera). You will lose the little bit of film you advanced on this frame, but there's enough extra length in 120 to make up for that and still give you 12 exposures.
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Dec 6, 2014 04:36
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Awkward Davies posted:Here is a photo from my $15.99/roll development fiasco. It is a picture of a flower. I think it is also, more importantly, a picture of a bumblebee. I would pay $15.99 to have taken that picture. You should repost it over in the Astia thread, even though you weren't part of the original project.
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Jun 22, 2015 15:46
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dorkasaurus_rex posted:IMHO, the shoot went very well, the point where I found myself inspired and wanting to do further nudes. It fits my style well, and the vast majority of female nudes I see are indoors, in bedrooms, etc, whereas I feel I can bring something different to it. I'm now stuck with the mental image of your avatar, about four and a half feet tall, clutching a Pentax 67 in stubby little T-rex arms as he directs a statuesque model around an empty shipyard or something. The Pentax has the wooden grip.
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Jun 24, 2015 17:39
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I got a bonus at work a little while ago. Rather than do anything even vaguely responsible with it, I found and ordered a 6x7 projector. As it turns out, 6x7 projectors are really big. This thing weighs close to 40 pounds, and the lens tube looks like it came off a softball launcher. I have some big slide mounts coming in the mail today. 
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Aug 4, 2015 19:43
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dorkasaurus_rex posted:give this thing to me. give it to me, i want it. If you're ever in Seattle I'll be happy to take it out somewhere and share! I'm ordering a proper display screen (70" on a side!) soon to go with it. I might be convinced to drag it down to Portland, too, if the MF Crew down there is interested. Ezekiel_980 posted:dear god where did you find one? can you post pics? They're around if you look hard enough! A few companies have made them over the years, and they tend to be well-cared-for. I bought a gently-used Goetschmann, which cost a little more than expected (seller only took wire transfers), but the weak Euro helped make up for it. I'll try to post pictures when I get home tonight. If you're interested in one, there's an old Pro Cabin on eBay, and a Viewlex too. Unfortunately the Cabins (rebranded by Mamiya) have great optics, but a reputation for not-great shielding. Supposedly they will fade your slides in just a few hours of display, so be careful of how much you use them - they're for quick-ish slide shows, not exhibitions. The really irritating thing is that MF slide mounts are nearly out of production, so being able to use the projector is nearly as much of a time investment as getting the thing to begin with. Cassius Belli fucked around with this message at 17:02 on Aug 6, 2015 |
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Aug 6, 2015 17:00
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Let's take pictures of an IMAX-level projector with a crappy cell phone camera:  35mm Tri-X roll for scale. Cassius Belli fucked around with this message at 17:37 on Aug 7, 2015 |
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Aug 7, 2015 17:28
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what the gently caress posted:Yeah that's printing not necessarily actual alt processes. Never mind. I guess I''ll just keep spamming this thread with my downward spiral into biological intoxication with heavy metals. Warn us when Daguerreotype starts sounding like a good idea.
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Aug 17, 2015 22:57
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I try to maintain a hit rate of about 1/4-1/3. Any lower than that and I need to get better at something - raw physical technique, reflexes, or just knowing when a shot is lost and there's no use burning film. Any higher than that and I need to be harder on myself and raise my mental bar of what constitutes something worth keeping.
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Aug 25, 2015 00:00
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what the gently caress posted:Oh yeah beg your pardon I remember you seeing that. What's the problem with the CL81 design? I got to try an 8x10 and developed a few sheets with it, and it seems to have worked out fine for me. I have the inversion lid, though, and using it that way is a bit effort-intensive.
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Sep 15, 2015 02:42
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dorkasaurus_rex posted:
Variation on a theme:  I really do adore the way Astia renders blues (and realized just a while ago that the Astia microthread fell to archives, unloved).
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Oct 14, 2015 16:29
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Xabi posted:What kind of shutter speeds should I consider for handheld photos to eliminate possible camera shake? Too much surfing has got me a bit worried, so now I've only done 1/250+. Is that too conservative or is 125 doable? Your personal hand steadiness has a lot to do with it, but this is probably conservative. I can freehand 1/60 with pretty good results, 1/30 most of the time, and 1/15 or (rarely) even 1/8 on a really good day (no caffeine, good place to kneel, phase of the moon is right...). If you're not shooting a fast-moving subject that you have to track, you can often buy yourself 1/2 stop or so by doing your framing and focus, thumbing the mirror lock, and shooting from there. You need good technique, though, and f/2.8 is not the best place to be doing that. Compose a little wide and crop later. The Hasselblad takes some time to learn good technique, though. It took me a lot of rolls to get here. Tip: let the weight of the camera work for you: cradle it from underneath and use your thumb behind the winding knob to brace it. Xabi posted:Also, what about aperture and nailing focus? I foolishly tried some quick portraits with 2.8 and missed the focus on several of them by a tiny bit. Aperture choice and DoF would of course depend on distance/DoF prefence etc, but are there any easy pointers to keep in mind to be safe? f4? f5.6? The classic "wide aperture for portraits" advice is easier said than done on this mofo. Since I'm only borrowing the camera for a short while I don't have the luxury of too much trial and error myself. 2.8 is fine but your DOF will be on the thin side when you get up close and personal. 80mm is 80mm and the depth of field is going to be the same as your 35mm-format 80mm at the same distance - your field of view is going to be substantially wider, though, so keep in mind that you'll have to get much closer to get comparable framing. Use your preview lever. Cassius Belli fucked around with this message at 19:42 on Oct 28, 2015 |
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Oct 28, 2015 16:39
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Helen Highwater posted:Unless I'm missing something, it looks like it is a full box of 5. There are about 28 UAH to the USD at the moment. Saint Fu posted:That's a screaming deal if it's for a box of 5. Wonder what shipping would be to the US. Цена за 1 ролик! Price is per roll, I'm afraid.
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Feb 9, 2016 17:10
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If patching the bellows isn't viable, for $40 you can get a cheap but presumably functional custom bellows off eBay. For quite a bit more you could talk to Custom Bellows in the UK, or Turner Bellows, who have a pretty great reputation and will even handle the installation for you if you're not handy.
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Mar 12, 2016 14:06
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Keep my wallet and sanity in your prayers tonight, Dorkroom, for I have just placed an order with Hugo. 
Cassius Belli fucked around with this message at 03:32 on Mar 28, 2016 |
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Mar 28, 2016 03:26
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MrBlandAverage posted:What size? Just a 4x5 right now. I have some Fuji PA145 backs and not quite 50 packs of film for it, so the plan is to use it as training wheels before I go up a size again (note the absence of "if" in there - I know myself too well).
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Mar 28, 2016 04:47
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alkanphel posted:Got your lenses already? For this one, Xenar 4.5/210. The shutter is an old (but freshly CLA'd) Compound #3 that only goes to 1/100, but I have an ND filter for it and I figure "fast shutter speeds" are not the highest priority when I already have a tripod and stuff to drag around.
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Mar 28, 2016 05:55
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alkanphel posted:Sounds like a nice lens for landscapes and portraits! You might want to consider pairing it with a 90/120/135 wide lens if you're shooting stuff closer to you. That was the general plan, at least for now! If I did my math correctly, 210mm is only a little bit long, about 70mm on the Fujiroid and about 63mm on full 4x5, so it should work well with most of my general shooting style. I know different cameras tend to encourage different tempos, though, and simple "35mm equivalent" scaling gets naive as you get big, so something wider is definitely on the drawing board if I start to feel this one getting in my way. My really big, long-range plan is to use this as a transitional system to 8x10. Back when Kodak killed Ektachrome for good, I bought 50 frames of 8x10 E100G, because I knew one of two things would happen: 1 - I would get to large-format eventually, and it would be a crying shame not to have any E100G around for it. 2 - I would decide not to go large-format, and I could sell it for more than I paid. A little while back I took a workshop with a photographer who let me try out his rail camera, and now it's time to start working on Option 1. Since then I've picked up a stray box with a couple frames in it, enough to be an "Oops!" buffer, but I'm thinking of it as 50. There's something intellectually appealing about the idea of having only 50 frames, ever, and having to curate around that number, from beginning to end. If I'm any good at this, maybe I can turn the project into a little book or something.
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Mar 28, 2016 07:59
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alkanphel posted:IMHO you should have just gone straight into 8x10 You're not the only one. Heck, when I realized I was coming up on "down payment for a home" savings, one small part of me said "Property ownership is overrated. Get into ULF." I did consider this, but I've got all this Fujiroid film, and I want to make good use of it. I'm annoyed by the wastage involved in shooting it on my Mamiya (70mm square). This seems like a fun intermediate step and a good way to learn. I'll make my mistakes where they're relatively cheap, and when I move on some lucky Dorkroomer will get a good price on it.
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Mar 28, 2016 08:28
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alkanphel posted:Hmmm I dunno if it would have been cheaper to get an 8x10 camera and then just get a 4x5 reducing back so that you can use your PA145. I priced it out and it would be a bit cheaper in the long haul, but the 4x5 dovetails into my existing infrastructure (tripods, bags, and stuff) better, so it gives me some room to space out the big spends and clear out my fridge a bit. Besides, I thought I might feel a little silly using all that glass and camera to shoot a negative 17% the size of the film it was designed to use.
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Mar 28, 2016 08:52
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Awkward Davies posted:I have a stupid question. Pentax 67, right? This handy lens calculator says you've got a 75-degree angle of view horizontally and a 63-degree one vertically. You're basically projecting a set of Isosceles triangles in front of you, with heights of nine feet. We do a little simple trigonometry and you should have a frame just shy of eleven feet wide and nine and a half feet tall. We check our aspect ratio and get 1.16, which is about right for 7/6, so that's probably close enough for planning purposes.
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Apr 3, 2016 23:01
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nielsm posted:I uh... accidentally bought an RB67 with a 90 mm f/3.8. It's sort of bulky. It is large and in charge! I had to work over the weekend, but my 45F1 arrived and I was able to take it up to the roof deck for a few frames of practice, plus I was able to pencil in the extra frame sizes on the ground glass. 
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Apr 4, 2016 19:23
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