deaders posted:

I haven't contributed for a while expect to poo poo on the street thread so here are some photos

McMadCow posted:

This is a shot from an 8x10 paper negative, darkroom printed to 16x20.

Lyola by Jason, on Flickr

McMadCow posted:

Similar, but it's a much longer exposure. The paper neg goes into the negative carrier on the enlarger emulsion down, just like a cellulose negative. Obviously paper is opaque, so the amount of light that makes it through to the easel is pretty minimal, but it does get there. The paper neg itself tends to be super contrasty, then the enlarger shooting through solid paper turns it all very flat. So you need to use a high contrast filter to get good results. Obviously all the contrast manipulation results in a lot of changes to the quality of the image, but that's the point. There's absolutely no silver grain at all, obviously, but there's some granularity from the paper itself that makes its way to the image.

Basically just shoot some 4x5 paper negatives and experiment with them on an enlarger. You'll be surprised at the quality that is possible.

Sludge Tank posted:

I've had the photographic version of erectile dysfunction all year so I've been shooting some 120 pinholes to try and motivate myself

Paul MaudDib posted:

double think whether you want your darkslide in or out before you do anything!

make sure you pull the front standard out to the appropriate track stop (for that lens, if multiple).

work the shutter a few times before you remove the darkslide and take your final exposure, it helps older shutters that are gummy to run reliably at full speeds.

if it's a non-original lens you may need to trip the lens shutter from something other than the main body release. If so, consider your hand position as you fire. Don't cover the lens.

do not move any unknown shutter to its top speed when it's cocked. Always reinsert darkslide (if necessary), dry fire, and then move to the top speed. The top shutter setting often engages a special top speed spring that strains some older shutters to spin to when it's cocked. If your shutter is new enough it'll probably have a modern datable 70s+ shutter, don't do it on your friend's retro graphlex shutter or random old-looking compur.

wait till you pull giant negatives out of the tank/envelope. mf/lf film reveal moment is always amazing.

Will you be using rangefinder or rear glass focusing?

MrBlandAverage posted:

Jobo tanks and rotation instead of inversion.

MrBlandAverage posted:

Jobo still makes the machines - http://www.jobo-usa.com/jobo-analog-products/jobo-cpp3-processor

For manual rotation, yes, you'd be rolling it continually on a roller base like this:


The arms that hold the wheels pop out for different positions for different size tanks (it's set up for 3xxx Expert tanks in the picture). On that note, I was never able to completely avoid development artifacts with the Jobo 2509n reels, with or without the paddles. I switched to using a 3010 tank for 4x5 and I've never been happier.

theHUNGERian posted:

: Can I ask a gear question here?

I have been curious about MF ever since opening this thread for the first time. What kinds of questions should I be asking myself to determine what MF system I might enjoy as a second camera (primary camera is a digital FF, I use manual focus 90+% of the time, and I frequently spend many minutes on just one subject)? Alternatively, since I already have one compatible lens, would a Hasselblad 500 be a decent choice for walking around and landscape shooting?

If the Hassy 500 is a decent choice, all I need is a camera body, a film back, film, a finder, and a lens, right? Any reason to pick the CW over the CX or the CM?

beergod posted:

Picking up a 500cm tomorrow. Very excited. Who has One Weird Trick?

TomR posted:

Does this count? I got a big lens and made a big camera. It's a 600mm f/9






Camera Test20220619-3 by Tom Rintjema, on Flickr

Viginti Septem posted: