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Long time no post. I started shooting film about a decade ago, a hobby which has since metastasized into a full-blown one-man lab. Super8 to 8x10", way too many cameras but just the right amount of lenses. And yet somehow no making GBS threads birds.
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Mar 5, 2024 05:25
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| # ¿ May 17, 2024 15:36 |
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Prepping the Speed Graphic with an ad-hoc distance scale for walkabout with some cut sheets of x-ray later this morning. The infinity stops are correct for 135mm but the scale installed on the rail is for some sort of telephoto.  The 135mm @ f22 corresponds almost exactly to the FOV of a Z6ii 40mm @ f/6.3 so I'll be toting that along as well. I've been shooting nothing but 16mm subminiature and 35mm half-frame for the last few months so this is sure to be a disaster. 
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Mar 5, 2024 11:38
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I was hoping to share some photos with that combo but unfortunately I got rained-out today. The 135mm is a natural choice for its FOV as well as the fact that it allows the SG to be closed while installed, unlike most of my other glass. Having a focal plane shutter allows for use of lots of wacky novelty lenses. Normal-ish glass: - 90mm f/8 Super Angulon in a busted shutter (~24mm equiv). Even easier to use for press-style photos than the 135. - 135mm f/4.7 Optar, my only lens with a completely functional leaf shutter (~40mm equiv) - 10" (250mm) f/5.6 Tele-Optar, sticky slow speeds (~70mm equiv) - 15" (380mm) f/5.6 Tele-Optar, barrel with 12" back focus (105mm equiv) Then the 'novelty' lenses - 50mm f/4.5 Wollensak Anastigmat (~14mm equiv). This obviously won't cover 4x5 at anything but extremely close distances but almost covers 4x5 at 1:1 magnification. - 21" (~530mm) f/10 Wollensak APO (~150 equiv). Not usable as is on the SG due to lack of bellows, but workable in 8x10. If I bluetac an additional negative element to the back of the lens I can reduce the effective focal length to something manageable but is rarely worth the fuss. - ~170mm? f/2.8? front group from a Pentax SMC 300m f/4 (50mm equiv). The aperture mechanism failed so I cannibalized the front group for 4x5. Image quality is holga-like at best but fun for experimenting. Also a 210mm f/6.8 Rodenstock Geronar but it lives in a toyo-view lens board. Here's a closeup comparison of the 135mm @ f/32 and the SMC 300. Fuji HR-U in Rodinal. 
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Mar 6, 2024 03:47
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Cassius Belli posted:They look like lens boards, for attaching the lenses to the camera. Large-format lenses aren't camera-specific; they're fitted to shutters (usually), which are in turn mounted to your choice of board (which are mostly standardized around camera types). The shutter is the round thing around the middle of the lens with all the settings and levers. Yep, this. The square things are lens boards that fit into the front of the Speed Graphic. Most large format cameras rely on the lens being mounted into a shutter but the SG also has a focal plane shutter like those found in 35mm SLRs. There are medium format camera systems without a focal plane shutter (Mamiya TLRs etc) where the shutter is built into the lens. Other cameras, the Pentax 67 for example, have a focal plane shutter but also offer lenses with a built in leaf shutter so you can have flash synchronization at speeds faster than 1/30s as well as minimize vibration. Moar photos  16mm FPP Yeti @ ISO 6 run through an FM2n w/ 24mm AF-D. When shooting panos in 35mm I prefer using narrower film to avoid wastage. Kinda like when people use 35mm in a 120 camera.
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Mar 6, 2024 05:20
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Mar 7, 2024 12:56
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dupersaurus posted:I shot a roll on the most gorgeous day in one of the most gorgeous areas of Iceland, went to rewind it at the end of the day and discovered that the reel didn’t grab the film and I spent all day not noticing that After this happens more than once you start habitually paying attention to the rotation (or lack thereof) of the camera's rewind spool during film advance. I'll always remove all the slack in the canister while loading to ensure every new frame causes rotation on the feed side. Cameras with motorized advances will generally throw some sort of error code if the take-up fails but failures can still happen. If you notice intermittent grindyness/resistance when advancing the film then there's a good chance that film debris has worked its way into the mechanics. The torque in my Pen FV is bananas and will happily shred to bits any film unlucky enough to become misaligned. Similarly it will very easily rip the end of the film off of the canister spool if you force it at the end of the roll. Bulk loads adhered with scotch tape are especially prone to this.
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Mar 8, 2024 06:17
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Futzing around with 16mm microfilm panos. No sprockets? No problem.
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Mar 11, 2024 22:08
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Rollei 16 & wide converter with Double-X
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Apr 1, 2024 04:11
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I started shooting film in earnest about 8 years ago with the intention of going totally DIY in terms of processing. It has made for an extremely affordable hobby in terms of ongoing cost but has also alienated me from other folks' sentiments of exorbitant film and lab prices. I mixed up a liter of scratch E6 first developer today with the intention of shooting some 16mm Ektachrome stills as my town starts crawling with eclipse tourists in the coming days. Keeping with the spirit of the thread title, I'm at about 15c per developed and scanned 35mm frame (b&w or Vision3 color, bulk rolled). A Paterson tank, changing bag, and a quick order from https://artcraftchemicals.com/ will save loads of money over the long term. Pulling the developed film out the tank never gets old.
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Apr 4, 2024 06:09
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Yep, there are tons of guides everywhere online. A good resource for a lot of film-related things is the Analog Resurgence channel. https://www.youtube.com/watch?v=MEN8G6z76_A It is quite straight forward once you've got a basic understanding but is also fine-tunable to the Nth degree with further practice. With some experience you're able to mix and match various films, exposures, developers, and development regimens to produce more precisely the image you've (hopefully) pre-visualized before taking the shot. Having full control of the back end processing will ultimately influence how you shoot the film in the first place. Not to mention all the heinous fun experimental processing can provide. https://www.youtube.com/watch?v=fVhozjE-NIA
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Apr 4, 2024 08:15
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Megabound posted:It’s very easy and what’s been linked has been great but my developers of choice are Rodinal and HC110 as they both have shelf lives of decades. That way you don’t need to worry about shooting to the capacity of the developer before it expires. RIP HC-110 syrup. I haven't tried the new formulation so can't comment on it's longevity but Rodinal (aka para-aminophenol aka tylenol & hydroxide) is extraordinarily long-lived. Doubly so if you decant or use a capping gas. Other non-water based concentrates (Pyrocat in glycol, PC-TEA) have excellent keeping properties but are a tad more exotic. For purpose-built scanning gear, life starts at about 300 bux for a new V600 or a Valoi film holder sans digital camera. With some determination you can get by with an ILC on tripod, extension tubes, 2 panes of glass and a sunny window. People seem to hate on flatbeds these days but the quality they provide perfectly fine for half-frame 35mm and larger for all but the most anal retentive  Digital ICE is a godsend and is worth the price of entry alone if you regularly scan color film or XP2 Super.
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Apr 4, 2024 09:55
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Yeah, same. The gear doesn't have to be prohibitively expensive, but anyone just getting into film will likely be overwhelmed by marketing from modern suppliers. Non-110 16mm is the One True cheapskate stills format and probably my favorite for casual shooting. All the cameras are 60+ years old at this point but drat if they aren't bulletproof mechanically. The Minolta cassette is the first thing I'd revive if I were a robber baron with endless capital. And then immediately repeat history by going bankrupt. Edit: What, me 16mm collector scum? Oh yeah. 
Father O'Blivion fucked around with this message at 11:56 on Apr 4, 2024 |
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Apr 4, 2024 11:34
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The upper limit for normal usage would be 400 ISO in full sun given the range of shutter speeds (sunny 16 ftw). In reality, the top shutter speed is likely slower than the inscribed 1/300s. Foma 200 @ f/16 & 1/300 in full sun would probably be a good match. Once upon a time, anything rated 100 ISO/ASA was considered a high-speed film. For something a bit more period, try PanF+ or Vision3 with it's whopping 50 ISO, one of Film Ferrania's new offerings, or something more exotic like FPP Sonic 25 if you're confident in your lab.
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Apr 7, 2024 06:30
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Dive Bars: Nature's Tripod If having an SLR doesn't earn you a side-eye then ordering a Manhattan up definitely will.
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Apr 10, 2024 05:06
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Slavvy posted:It was xp2 Fancy that, so was the Manhattan snapshot, metered at ISO 800 and processed in C-41 bleach bypass. From the same roll a ~12x enlargement onto 3.5x5" paper.  After a few more printing sessions I'm going to bleach & re-fix the negatives to see if it makes any difference.
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Apr 10, 2024 10:47
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a dingus posted:Please post more vision 3 stuff, I just ordered a roll and Im starting to consider what stocks I might want to take on vacation in June. The Vision3 lineup (50D, 250D, 200T, 500T) is staggeringly great in both 16mm and 35mm when exposed and processed to spec in ECN-2. It, along with ektachrome, are the most compelling reasons to choose film over digital from a quality/post-processing standpoint. Most of it's 'look' comes from the lower contrast and retains bags of latitude in terms of exposure and color temperature. I'll post some examples from the last few years if I can unearth them. I exposed a roll of 50D today in a Regula Picca clone. Cinestill's offerings had to compromise from a consumer/marketing standpoint by removing the anti-halation layer and thus fundamentally altered the character of the film. If you can get the stocks with remjet and have them processed ECN-2, do it. Edit: The only stand-alone meter I've ever owned is the Gossen Sixtomat F2. Handles incident, reflective, and flash with a few other niche features like filter factor calculation and flash-fill balancing. Father O'Blivion fucked around with this message at 20:25 on Apr 14, 2024 |
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Apr 14, 2024 20:22
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It's based on a basic understanding of how a spot meter functions with regard 18% middle grey. You expose to place that spot at a given density then push or pull in development to handle the other densities. https://www.youtube.com/watch?v=wXFV05kho2s https://www.youtube.com/watch?v=mFr0qElpQx4 'Expose for the shadows, develop for the highlights'. Like an Iron Chef quote for how to handle an ingredient.
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Apr 14, 2024 23:19
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Kentmere 400, Nikkor 105mm f/1.8 Edit: Mama Mia   Father O'Blivion fucked around with this message at 20:14 on Apr 18, 2024 |
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Apr 18, 2024 20:12
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ECN-2 stocks are finely tuned to color temperature and ambient light. For best results you'll have to adjust in scanning. Unadjusted 250D scan; full sun against rear a tree line. Pretty green.
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Apr 22, 2024 23:42
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 C-41 ca. 2018
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May 2, 2024 05:16
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I'm on a processing rush prior to the end of my lease and so am developing my films from the last month this evening. The first batch was 2 rolls of FPP Low ISO color (Kodak 2254) in ECP-2, next up a set of 4 rolls of Vision3 in ECN-2 (50D & 500T) before moving on to 120... each a Gold 200, Fuji pro 400H, Ektachrome in 6x45 and Kentmere 400 in 6x6. Hopefully, some of them are decent.  Edit: the 2254 is dry and the default scans look alright. ECP-2 really boosts the greens.   And one more on the egg theme. Nikkor 35mm f1.4, IIRC. I forget if I used an 85B too but probably not judging from the 2nd frame. Father O'Blivion fucked around with this message at 05:40 on May 7, 2024 |
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May 7, 2024 04:34
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One more from 2254. 10' deep.
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May 7, 2024 05:58
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| # ¿ May 17, 2024 15:36 |
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 50D ECN-2, very vigorous agitation
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May 7, 2024 11:11
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