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Karl Barks posted:Does instagram still retain control of any image posted on instagram? That's one reason to not put anything serious on it. It's the same as Facebook, you grant them a free licence to use your stuff but they don't own or control it. quote:Instagram does not claim ownership of any Content that you post on or through the Service. Instead, you hereby grant to Instagram a non-exclusive, fully paid and royalty-free, transferable, sub-licensable, worldwide license to use the Content that you post on or through the Service, subject to the Service's Privacy Policy, available here http://instagram.com/legal/privacy/, including but not limited to sections 3 ("Sharing of Your Information"), 4 ("How We Store Your Information"), and 5 ("Your Choices About Your Information"). You can choose who can view your Content and activities, including your photos, as described in the Privacy Policy.
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Jul 20, 2016 20:06
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I shot exclusively on digital until late last year when I bought a Kiev 88. Since then I've been buying up lovely Soviet 35mm, MF and sheet-film cameras and going hogwild. My photos are still bad but I don't feel that I had to go through some kind of 35mm film apprenticeship to earn the right to shoot 120 film. The last time I shot film before buying my Kiev 88 was shooting 8x10 stuff on a rack system for White Dwarf about a million years ago and then when I was a kid and had a lovely Halina 110 cartridge camera.
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Aug 4, 2016 16:05
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akadajet posted:Medium format is fun as heck. Everyone should have a big heavy rear end MF camera. This is true. I was doing headshots and group photos for my company's webpage today with my Kiev 88. Next door to our new office space is a photo studio and the two very nice girls from there were watching what we were doing and playing around with 5D3s and some nice L glass. I asked if they'd mind pushing the button for the group shots with me in them, and they thought it was just the neatest thing. I gave them a roll of film to play with and they gave me their phone numbers...
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Aug 6, 2016 02:27
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alkanphel posted:Also TLRs are huge chick magnets, as I've discovered.  Checks out.
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Aug 6, 2016 03:47
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The motion blur on the flags is super distracting. I'd have been tempted to clone them out.
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Aug 6, 2016 18:46
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deaders posted:Distracting from what? To me, the photo is all about the contrasts between the dark scene and the pools of light within it. The way that colours within the image transition from subdued and muddy tones in the darkness to popping vividly in the localised harsh lighting. The blur takes you away from that.
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Aug 7, 2016 12:43
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I almost always get a half-frame on the end of each 120 roll. I put it down to my camera being hilariously badly put together. I don't know how half a frame can actually end up in front of the shutter unless only part of the film is coated with emulsion and I'm just hitting the boundary for it.
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Sep 2, 2016 18:50
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This is what I use but it's only good for reflected light not spot metering (also, 'good' is a relative term here).  Leningrad 2 Lightmeter by Iain Compton, on Flickr
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Sep 12, 2016 18:30
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SMERSH Mouth posted:
I might be in the market for some nice P6 glass. I had my Kiev 60 overhauled by Arax (I bought it from a flea market) and it's now a perfect camera. Cost me about $100 including a CLA on a severely fungus infested lens and postage back to me (in Europe). Gevorg at Arax is the shitcam whisperer. Dunno if that's an option that interests you after you've already thrown some money at it.
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Sep 16, 2016 09:57
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Most Kiev 88s used a screw mount that was specific to them. AFAIK it's not a copy of the Hasselblad mount. Later ones used the Pentacon 6 bayonet mount. I have a Kiev 88 that has been retrofitted with a P6 mount and I have lenses for both mounts and an adapter. I lent my Kiev mount Tair-33 to a Hassy owning friend and he was unable to mount it without risking violence.
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Oct 14, 2016 21:05
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Portra is (as the name suggests) designed for portraits so it's a low contrast, low saturation film. It's a fairly distinctive signature once you know to look for it. For high contrast colour, you shoot slide film like Provia and if you want to crank up the colours, Ektar is the usual choice. Thus, it's not so much an artifact of medium format cameras per se, it's more that there's not the same level of choice in film stocks for 120 colour film as there is for 35mm cameras. You're well sorted for black and white options still but colour not so much.
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Oct 25, 2016 22:04
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Castle. Kiev 88 on Foma 400. MedFormat003.jpg by Iain Compton, on Flickr  MedFormat011.jpg by Iain Compton, on Flickr Also found an old Flexaret TLR at a flea market and put a roll of film through it. I think the shutter needs adjustment because everything was about a stop and a half overexposed, other than that however it works fine.  Flexaret011.jpg by Iain Compton, on Flickr
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Nov 1, 2016 09:35
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Kiev 88 on Ektar Rafting MF-7.jpg by Iain Compton, on Flickr  Rafting MF-11.jpg by Iain Compton, on Flickr
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Nov 6, 2016 09:18
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Could it be light coming in through the viewfinder? Does it happen if you compose the scene and then close the WLF or if you use the prism instead?
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Nov 7, 2016 17:11
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 untitled-6.jpg by Iain Compton, on Flickr
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Nov 22, 2016 15:34
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Also if you are looking for a smaller-bodied MF camera but you aren't specifically stuck on a TLR, check out folding rangefinders like the Super Ikonta or the Moskva (which was the Soviet copy of the Super Ikonta). They are fairly cheap these days but the Ikontas were well made (not so much the Moskvas) so they are probably still working. Maybe you'll need to cover up worn seams on the bellows with some liquid latex but that's likely to be all that's wrong with them.
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Dec 19, 2016 17:58
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Yeah, I love me some lovely Soviet cameras and I wouldn't buy a Lubitel unless I'd really had a chance to play around with it - and the guys on the Andriivskiy Descent aren't great at letting you do that. I have a Smena because I got it for free with another camera, that's probably the only camera that's worse than a Lubitel.
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Feb 2, 2017 00:30
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alkanphel posted:
I love this one. So crispy.
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Feb 7, 2017 13:46
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I've not reflocked a camera before but I've certainly pulled out my fair share of decomposing light seal foam from old Soviet cameras. On a TLR obviously it's not an issue but a lot of SLRs need the mirror bumper replacing as well as the foam around the prism.
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Mar 20, 2017 12:48
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I usually take an MF camera with me when I travel in addition to my DSLR. I use a LowePro backpack that is cabin baggage compatible and that (just) fits two bodies, a few lenses, my laptop, a tripod and the usual accessories. I think that most larger bags will handle a big body like your Mamiya plus one or two smaller bodies and a reasonable selection of lenses and other stuff. I guess if you exclusively shoot with huge lenses across all your gear or you need something like a video stabiliser then it's going to get awkward but I haven't had a problem with carrying big cameras around in addition to regular sized options. You'll be glad when you finally get to put the bag down though.
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Apr 1, 2017 09:22
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I have a bunch of cameras with selenium meters, in my experience they are enormously variable. Some just don't work at all, almost all of them are inaccurate. Mostly the ones that are inaccurate aren't consistently so, they'll maybe be -1Ev at one point and then +2 somewhere else. I tend to just forget that they exist and guess at the exposure instead. I'm usually closer than the lightmeter is.
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Apr 26, 2017 14:39
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Sludge Tank posted:Yeah I hung a thin bedsheet in front of the window to diffuse the sunlight Somewhere, Red19fire is twitching uncontrollably and doesn't know why.
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May 27, 2017 13:25
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Frobbe posted:
Obviously if you're shooting in weird light or are using positive film that's not as forgiving, then a lightmeter can be nice to have.
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Jun 13, 2017 11:45
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I might be a money-haver again soon and I'm really interested in a decent M/LF panoramic camera to complement my 35mm Horizon. I know about the GH617 and it looks pretty good for my needs but then I found the Shen-Hao which looks as rad as hell. I like the idea of using 120 rollfilm rather than sheet film as it better suits my current capabilities wrt to filling cartridges, developing and scanning. The fact that it's a view camera with a LF camera lens would also be a nice way to get a head start on 'proper' LF in the future. Has anyone used this camera? What sort of lens would I be looking at sticking on it? Is it a dumb waste of money and should I be looking at something else instead to fill that niche?
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Jun 13, 2017 14:05
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MrBlandAverage posted:The Shen-Hao will let you use more different lenses, with movements; but if you're not used to dealing with focusing and composing on ground glass, or to film backs that don't automatically stop, the Fuji 617 cameras will be easier to use. I am used to focusing on waist level finders, is there a big difference between using those and LF ground glass other than the size? I guess I'd need to use a cloth or a shade to see it more clearly. My Moskva shoots 6x6 and 6x9 so the film advance isn't geared to a particular frame size, it's all managed by eyeballing red windows on the back. I suspect the Shen Hao back has a similar arrangement, you'd just need to advance it three 6x6 or two 6x9 frames at a time.
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Jun 15, 2017 10:50
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MrBlandAverage posted:With rare exceptions like the Graflex RB, LF cameras don't have mirrors, so the image on the ground glass will be upside down. The Fuji doesn't have ground glass or a TTL viewfinder, but the hotshoe viewfinder (don't buy a camera that doesn't have the one matched to the lens included) will be easier to use, if perhaps less precise, than a ground glass. Good to know. What about lenses? 6x17 has a diagonal of 180mm so obviously that's the minimum image circle I'd need but I expect that I'd want more for the movements. What are the usual allowances for that? Also I know nothing about LF lenses. What am I looking for and what would be a good match for that sort of use?
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Jun 16, 2017 20:06
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This is a pretty cool site that teaches you the basics of the exposure triangle (aperture, shutterspeed and ISO) in an interactive and easily understood way. Play around with it. As for lightmeters, I never bother and they'll just confuse you more to start with. If you stick to shooting outside in daylight, it's pretty easy to get close to the right exposure with the 'sunny 16' rule, and film is pretty forgiving if you overexpose it a bit. The sunny 16 rule is simply that on a sunny day, if your aperture is f/16 then your shutter speed should be the nearest number to your film ISO. So, if you have 100 ISO film loaded, you'd use 1/125 speed to get a good exposure. If you go down one stop of aperture then you can double the speed (so f/11 will let you shoot at 1/250, f/8 will let you shoot at 1/500 and so on). If it's a bit cloudy, then give yourself an extra stop (so instead of f/16, be at f/11). If it's very overcast, give yourself two stops (f/8) and if it's getting on for twilight then 3 stops (f/5.6). Remember that every time you change by one stop on your aperture you can either halve your shutter speed (if you go to a bigger aperture) or double it (if you go to a smaller one). f/8 at 1/500 is the same amount of exposure as f/5.6 at 1/1000 or f/11 at 1/500. If in doubt err on the side of letting more light in so go for a slower speed or a larger aperture if you aren't sure.
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Jun 29, 2017 21:06
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That second one especially looks like an Edward Hopper painting. Really dig those pictures.
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Jun 29, 2017 21:46
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State Theatre, Kosice. Moskva 5, 6x9. Fomapan 200. Moskva003 by Iain Compton, on Flickr
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Jul 13, 2017 09:26
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For $625 you could get a brand new Arax 88. Put another $80 in there and he'll pimp it out for you with a custom covering and engravings. For that you get a 6x6 MF camera, an 80mm f/2.8 lens, two film backs, a metered prism and a waist-level finder. With a warranty. For about $500 you can stick with the SLR format and get a new Arax 60 which has much the same stuff except that it doesn't need film backs. I have both of those cameras (well, I have an Arax 88 and an original Kiev 60 which was CLAd by Arax). I prefer the 88 but I use both with waist-level finders instead of prisms. Being able to switch film types in the middle of a roll is handy and it's easier to find room for a brick-shaped 88 in a bag than for another big SLR-shaped camera body. I've put hundreds of rolls through those cameras and they have worked flawlessly for me.
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Jul 14, 2017 11:26
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You can also get friction releases that screw into the shutter button. I have an old Russian one where you tighten or loosen it to get a longer or shorter timer, then it fires the camera once the spring is released. If you're comfortable around a soldering iron, there's also this DIY wireless mechanical release project
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Aug 5, 2017 13:21
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Helicity posted:Is the weight difference like "oh gently caress this is heavy I hate this"? Do the 67s tend to need repairs, and are they easy to find repairs for? Part of the reason I'm looking at a new MF camera is that I'm getting anxious that the RF on my Mamiya 7 will knock out of alignment or something else will break - and repairs don't seem to be super feasible (and rangefinder MFs in general just don't "feel" right to me). The removable prism on my 6x6 Kiev 60 is almost 450g. It's a big chunk of glass, so it's going to be heavy as gently caress.
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Aug 6, 2017 10:35
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Choicecut posted:A timed release is exactly what I'm looking for. My wife is complaining that I'm not in any pictures. What would I search for to get one of those Russian cables? It's not a cable, it looks like this.  You turn the knob at the top to adjust the tension, screw it into the shutter release and then push the spring-loaded button out of the locked position. After a few seconds (0 to ~25s) it releases and pushes a spike into the shutter release. The text on the case says 'avtospusk' which is just Russian for self-timer. If you search eBay for 'mechanical self-timer' there are a bunch of similar ones.
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Aug 6, 2017 21:56
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Do they leak with the darkslide in or only when it's removed? if the latter then, pull the darkslide out until it clears the frame and make a notch in it at that point so that you can tell how far to remove it without removing it completely. I've seen some people suggest washing the felt with a little bit of water and laundry soap on a brush then squeezing it all out a few times. Sometimes that restores the pile and gets rid of any crud that might have got attached to the felt. Is simply replacing the felt an option?
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Aug 27, 2017 00:44
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I bought some positive paper and gave one of my view cameras a go. It was a bit of a hack from start to finish, it's a 1930 Ihagee Fotoklapp Duplex with ~6x9 holders so I had to cut the 5x4 sheets down to size and load the holders inside my darkbag, then I developed them in a Paterson tank using Tetenal and Rapidfix. As you can see the results are less than overwhelming. How can I get more sharpness? Is it a development issue, an exposure problem or is it inherent to the paper? I used Harman FB glossy paper which I developed for 2 minutes in a 1+9 Tetenal mix, washed and then fixed in 1+4 Rapidfix for a minute. I was at the sharpest focus possible and I used an 8s exposure at f/11. My lightmeter doesn't go down to ISO 3 but it indicated a 1/4s exposure at ISO 100 so I just counted down five stops. The left hand image was a 12s exposure to account for reciprocity. It looks as though the exposure wasn't too far off on all three as the histogram is hosed at both ends.  Ihagee001.jpg by Iain Compton, on Flickr
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Aug 27, 2017 21:42
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A foggy night outside my window. Arax 88 on very expired Ilford Delta 100  Arax002.jpg by Iain Compton, on Flickr  Arax006.jpg by Iain Compton, on Flickr
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Oct 21, 2017 06:49
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VelociBacon posted:^What would you say is the all-in cost of getting the equipment and enough supplies to dev 5-10 rolls? For equipment, it cost me about €70 for a darkbag, a Paterson tank and some small sundries (measuring jugs, stopwatch, squeegee and a thing to hang over the shower rail for drying the film).
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Jan 26, 2018 03:54
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If you don't even want to gently caress with a film extractor, you can also just hulk the canister open by jamming your thumbs into the light trap and pushing them apart. You don't need to pull the outside cover off entirely, just enough to get at the film leader.
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Feb 18, 2018 21:46
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I try not to do that because it makes it harder to tell which films have been exposed already.
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Feb 19, 2018 17:14
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There's quite a big lo-fi photography enthusiast following for stuff like that. At the artistic end, it's people playing with alternate processes and pinholes, at the bandwagon end it's hipsters dropping a few hundos at the Lomography store to get a refurb LC-A and some lovely film with light-leaks pre-applied.
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Mar 26, 2018 09:30
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