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  #1  
Old February 7th, 2010, 11:32 AM
Steve Robinson Steve Robinson is offline
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Default Shooting B&W With Asher

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Originally Posted by Steve Robinson View Post
When I first saw the image I just knew you had used a Pentax to shoot it! ;~) I miss using B&W film. The anticipation of seeing what you've captured was as exciting as the shooting. It didn't hurt that most of the film and chemicals were free at the time. I've got 3 vintage Pentax's I could load up with some B&W and I've got a stainless steel developing tank and reels somewhere. Hmmm. Of course by now I might have gotten too used to the instant gratification (or disgust) offered by our current cameras.

Will you really do that? If you do, let me know and 'll dig up my old Pentax Spotmatic too! I have just two lenses, a 50 1.4 and a something to 200mm zoom.

Asher

Okay Asher, I just ordered some Tri-X to try out in one of my 35's (eeny, meeny, miney...). I don't have a suitable place to develop so I'm going to use a commercial lab's mailers and have them scan the negs onto a CD. A little pricey but worth a try.
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  #2  
Old February 7th, 2010, 02:48 PM
Michael K. Carberry Michael K. Carberry is offline
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OK if I join in?
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  #3  
Old February 7th, 2010, 05:44 PM
Steve Robinson Steve Robinson is offline
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Absolutely. The more the merrier.
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  #4  
Old February 7th, 2010, 06:33 PM
Wendy Thurman Wendy Thurman is offline
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I'm in as well. I've got 50 rolls of Tri-X headed this way along with chemistry and a scanner. It will take a couple of weeks to make any images so bear with me...

Wendy
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  #5  
Old February 7th, 2010, 07:32 PM
Asher Kelman Asher Kelman is offline
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Well the timing is right! I was about to shoot some panos today but the 24mm TSE II wouldn't make contact. On returning home neither would any other lens. So I check my 5D and saw that the first gold pin was stuck in the depressed position. So the 5DII will have to go back to Canon service center.

I'll need to check the batteries for the Pentax and the Eos 3.

So I'll get some film from my freezer, Color only, so far! So I better get some Tri-X or something!

Asher
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  #6  
Old February 7th, 2010, 08:14 PM
Michael K. Carberry Michael K. Carberry is offline
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Thanks.I'm in but must use a lab so I hope this isn't a rush job.I'm not a very prolific shooter either.I think a great deal and go find what I "see".Takes some time but there's already a roll of Ilford Delta 100 in the AE-1 with a couple oddball shots on it.
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  #7  
Old February 8th, 2010, 11:41 AM
fahim mohammed fahim mohammed is offline
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Default Invitation to Shangri-La...in Edinburgh of course!!


I did not see too many takers!..
M7, lux 50 asph, xp2..processed and scanned by the friendly Boots across the street!

Best.
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  #8  
Old February 9th, 2010, 11:12 AM
Jim Galli Jim Galli is offline
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Hoping this thread will take off. Here is mine for now.


old crow speed shop, burbank

I had the Yashica Electro 35 and was out of film so I stopped in the old time camera shop on Vineland in North Hollywood and asked if they had any out of date bargain film. The guy sort of squinted like, what is film? Then he threw me a roll that said SILVER TONE, made in germany 400 asa and said, don't say I never gave ya nothin'. I'll assume it is an agfa product well out of date.

Developed in Dektol 1 gram / liter. 30 sec agitation and 18 minute stand. Not as sharp as I'd wish but the stand development sure produces nil grain in 400asa film. This is a film scan.
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  #9  
Old February 9th, 2010, 12:05 PM
Jim Galli Jim Galli is offline
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A Tryptich


old crow speed from the alley

Don't ask for bigger. This was all I got after all the work when I went to save I got the FATAL window and did a quick screen print before it dis-appeared forever. Never meant to be a serious study in any case. Hand held tryptich. As above.
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  #10  
Old February 9th, 2010, 12:38 PM
Michael K. Carberry Michael K. Carberry is offline
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Digital.
Oh man.Uhmm...errr.........ahhhh..........

Doh!Sorry had a brain cramp.As punishment I'll force myself to watch a Seinfeld rerun.

Last edited by Michael K. Carberry; February 9th, 2010 at 03:21 PM.
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  #11  
Old February 9th, 2010, 02:38 PM
Mike Shimwell Mike Shimwell is offline
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Quote:
Originally Posted by Michael K. Carberry View Post
Digital.


Come on Michael, dig out that old film body and shoot some tri X or HP5, or even XP2 and have it processed and scanned in your local WalMArt:)

Mike
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  #12  
Old February 4th, 2013, 07:35 PM
Chris Calohan Chris Calohan is offline
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Is this thread strictly for film photographers?
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  #13  
Old February 5th, 2013, 02:07 AM
Dawid Loubser Dawid Loubser is offline
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Quote:
Originally Posted by Chris Calohan View Post
Is this thread strictly for film photographers?
I think that was the spirit of the original post - to "get down to it" and shoot some film in old cameras. I don't think anybody would object to some tasteful digital monochrome imagery, but let's hear what the rest says.
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  #14  
Old February 5th, 2013, 11:02 AM
Asher Kelman Asher Kelman is offline
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Quote:
Originally Posted by Dawid Loubser View Post
I think that was the spirit of the original post - to "get down to it" and shoot some film in old cameras. I don't think anybody would object to some tasteful digital monochrome imagery, but let's hear what the rest says.
My own view is that we should enrich OPF with B&W expression and that anyone who shoots film earns our devotion. Having said that, some digital is welcome. I'd love to see Chris and others also shoot some film too!!

The experience of valuing and conserving film to make the best exposure and composition one can get at the time, is important and hard to match. So bring on B&W and think in terms of form, lighting, textures, balance, disorder, rhythm and layers of value!

Thanks for every single B&W picture!

Asher
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  #15  
Old February 5th, 2013, 11:32 AM
Chris Calohan Chris Calohan is offline
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I had to quit shooting and processing film. Late in life, I've seemed to have developed an allergic reaction to most of the chemistry. This is as much why I switched to Platinum/Palladium, Salt, Albumen and Ziatype printing...not so many naughty chemicals to have to mix.

This is one of several digital images I've converted to B&W that I believe enhances the subject far better than the color. I generally convert using SEP2, but have been known to futz around in channels first and do several layering techniques to enrichen the tonal values.

In one image I'll post later, I used David Byrne's exposure layer technique to create a super rich image - but oh, it is quite time consuming...- but oh, it is so nice.

http://www.85mm.co.uk for David Byrne

"Well Connected"


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  #16  
Old February 5th, 2013, 11:44 AM
Chris Calohan Chris Calohan is offline
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These are two I made using David Byrne's exposure layering technique:





Chris Calohan: "Unto a Place I Walk in Peace"





Chris Calohan: "Into the Light"
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  #17  
Old February 5th, 2013, 01:39 PM
Asher Kelman Asher Kelman is offline
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Quote:
Originally Posted by Chris Calohan View Post
These are two I made using David Byrne's exposure layering technique:

Chris,

Both of these images are impressive. They stop one from just walking past. What then?







Chris Calohan: "Unto a Place I Walk in Peace"



The first picture, is to me, something like looking at HDR. We're hit by the unusual solidity of everything. It appears as if there's no "somewhats" or "possiblys" or "nearlys" left, hinting of what things might be. But then, the entire image becomes really a mystery and so one has no choice but to move to a world of either hyper or alternate reality. So this is going to become for us a fascinating new world to exercise one's imagination, with new rules, perhaps that we ourselves might create.

I'm not yet acclimatized to surreal HDR images and this holds true for these B&W interpretations. Just I have to catch up. O.K., I take the leap, now what? Now I wonder about the central path which is so much less detailed and defined than the clouds or the fields. But with a compositionally dominant path one cannot help but evoke the most important metaphor common to all known languages, namely "life as a journey". So I'd ask if you might have thought of other approaches to processing the path to give it the significance it appears to own by inherent rights in all our cultures. There are no real curves, walls, broken parts or diversions to overcome. Yes, the path is not quite horizontal, but that seems a matter of accident and not bold enough to have been designed. Also there's a slight notch in the road in the far distance, but once again hardly more than an accident to be either considered an imperfection or a distraction. So what's left is texture and lighting of the road. At present it's just embedded in a trough of darkness. Fine, that may be your intent and as good as it will be. If that's so stop where you are.


Still, this simple picture to me offers a myriad of related ongoing opportunities for presentation. I'd love to challenge you discover what you might come up with to take this further. :)
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  #18  
Old February 5th, 2013, 01:48 PM
Chris Calohan Chris Calohan is offline
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Neither image is HDR but rather a somewhat complex method of applying multiple inverted exposure/contrast layers.

I will take you up on your challenge to find a differing approach to the first image. The second stays as it...hey, ya gotta make a stand somewhere. ;>}
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  #19  
Old February 5th, 2013, 01:51 PM
Asher Kelman Asher Kelman is offline
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Chris,

I thought each picture deserves separate attention as they are so very different in subject and experience.





Chris Calohan: "Into the Light"


This is just one of those scenes I'm jealous to capture myself with crepuscular light filtering through trees. but here, with the processing, the light seems so strong it could be from an overflying Los Angeles police helicopter looking for suspects to shoot from air!

One process I always use is to work in layers with different version of my processing and then leave for several hours to get involved totally in something utterly different. when I return, my object now is to use the minimal percentage of the transformed layer that i'd left as "perfect" before the break. Most often I can use just 7-25" and still have the power of the transformation I thought was just right when I left it! sometimes I need almost all of it, but usually I can keep a few percent of the original. This way, one doesn't restrict oneself in artistic changes but one is also discipline not get intoxicated by the magic of the process itself.
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  #20  
Old February 6th, 2013, 12:37 PM
Ben Rubinstein Ben Rubinstein is offline
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Chris, in that second one I can imagine a hobbit walking out at any second, it's very surreal.
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  #21  
Old February 6th, 2013, 05:15 PM
fahim mohammed fahim mohammed is offline
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Quote:
Originally Posted by Chris Calohan View Post
These are two I made using David Byrne's exposure layering technique:





Chris Calohan: "Unto a Place I Walk in Peace"





Chris Calohan: "Into the Light"
Hi Chris.

I am not versed in describing images I see. All I shall say is they are marvelous to look at, give me a wonderful sensation of being there.

Best regards.
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  #22  
Old February 5th, 2013, 12:21 PM
Jerome Marot Jerome Marot is offline
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"Into the Light" is wonderful, even if it looks a bit like an IR picture, but "Unto a Place I Walk in Peace" is really over the top IMO. When I see strong contrast effects as is the case here, I need an explanation for it. I have it for "Into the Light", but not for the first picture. What about turning down the effect considerably on the trees but keeping it as it is for the grass for that picture?
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  #23  
Old February 5th, 2013, 12:34 PM
Chris Calohan Chris Calohan is offline
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Quote:
Originally Posted by Jerome Marot View Post
"Into the Light" is wonderful, even if it looks a bit like an IR picture, but "Unto a Place I Walk in Peace" is really over the top IMO. When I see strong contrast effects as is the case here, I need an explanation for it. I have it for "Into the Light", but not for the first picture. What about turning down the effect considerably on the trees but keeping it as it is for the grass for that picture?
Thanks for your observation and to Asher for placing the images in a gallery format. I have several variations for the first mage. The one I used to print was less bright on the trees but I find when I post that in a smaller format, I lose a lot of the subtle detail...Into the light is one of my favorites as well.
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  #24  
Old February 5th, 2013, 12:54 PM
Jerome Marot Jerome Marot is offline
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Quote:
Originally Posted by Chris Calohan View Post
Thanks for your observation and to Asher for placing the images in a gallery format. I have several variations for the first image. The one I used to print was less bright on the trees but I find when I post that in a smaller format, I lose a lot of the subtle detail...Into the light is one of my favorites as well.
The first image is more difficult to print just right, I suppose. And in smaller format, I noticed that about half-way to the right there is a tree pointing up the sky which responds to a straight line in the clouds. I find that element distracting in smaller format.
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  #25  
Old February 8th, 2013, 07:08 AM
Chris Calohan Chris Calohan is offline
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Thanks everyone for your comments. The process of declination from tiff at a rather large print scale to a jpeg really whacks the "Unto a Place I walk" image. At full size, on a matte Jon Cone paper, it is simply spectacular.

The second image, "Into the Light," was a chance shot made when I turned from my path to yell at my kid to hurry along because it was quite much on the verge of a heavy downpour. Just as I turned, the sun broke through for a fleeting instance and I was able to make this capture. Fortunately for me, I'd previously been doing timed tripod shots in a three exposure bracket and between two of the three, I was able to make this image work. I love serendipitous captures.
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  #26  
Old March 1st, 2013, 03:35 PM
Dawid Loubser Dawid Loubser is offline
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Default Keeping in practice with the Linhof Technika

I produce these two images yesterday. I have not used my view camera in almost two months, and wanted to try out a new film-developing tank. I forgot just what a sensual compositional experience it is using that beautiful large ground glass (compared to the usual SLRs etc that we use).

Concave/Convex

Ilford HP5+, 1950s chrome Super-Angulon 90mm f/8.0

Steely Arum

Ilford HP5+, APO-Symmar 150mm f/5.6
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  #27  
Old March 5th, 2013, 09:33 PM
Terry Lee Terry Lee is offline
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Quote:
Originally Posted by Dawid Loubser View Post
I produce these two images yesterday. I have not used my view camera in almost two months, and wanted to try out a new film-developing tank. I forgot just what a sensual compositional experience it is using that beautiful large ground glass (compared to the usual SLRs etc that we use).

Concave/Convex

Ilford HP5+, 1950s chrome Super-Angulon 90mm f/8.0

Steely Arum

Ilford HP5+, APO-Symmar 150mm f/5.6
I love the spoons! Nice composition!

And yes, the ground glass is my personal wonderland! Down into the rabbit hole I go!
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  #28  
Old March 21st, 2013, 01:04 PM
Dawid Loubser Dawid Loubser is offline
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Pondering the light

(Nikkor-H.C 50mm at f/2.0)

Side note: The background in this image is over-exposed by at least six stops! (f/2.0, 1/30s, ISO 100 - as opposed to the f/22 or 1/2000s that would be needed). Film is wonderful...

Tuk-tuk driver

(Sonnar-type Nikkor-P 105mm at f/2.5)

Guarding the poshness

(Nikkor-H.C 50mm at f/5.6)

Three images with the wonderful Nikon F, shot on Fomapan 100. I'm sitting in a very dark room as I scanned these prints, I have a suspicion that they are not bright enough - oh well :-) The prints look as I wanted them, in anyway.

It's funny - over on the rangefinder forum, somebody asked the question - if you could use only one camera, one lens, one film - what would it be? More people nominated the Nikon F than any other single camera. I am bit surprised - for 35mm, I would be torn between this any my Leica M3 + 50mm Heliar, but it's a close call nevertheless. The Nikon F represents an era in mechanical design that will never return.
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  #29  
Old March 21st, 2013, 04:26 PM
Maris Rusis Maris Rusis is offline
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Dawid I share your admiration for the Nikon F but I was glad when the F2 and F3 came out. The biggest ergonomic problem with the F was changing film on the run. The removable back had to be put somewhere while one hand held the camera and the other threaded the film. Answer: hold the back between the teeth. I still have a chipped tooth!
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  #30  
Old April 18th, 2013, 05:08 PM
jake klein jake klein is offline
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Hey I finally get to join this thread!

My FM2 and some Ilford 3200. I think these are with the nikkor 85mm f1.4D. That lens has been glued to the FM2 for awhile!








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