A PLACE TO STAND
Ever found that once you have your camera in just the right position that you can’t quite see the very top of the ground glass. It is important to get up there so you can see if your foreground is in focus. Never fails, you need just a little more to get a good view. Well, we found a neat accessory that just may save the day for you.
We discovered a nifty little folding step stool at Wal-Mart. We hauled a couple of these with us on our last trip and though I never used mine, Susan found it very helpful with several of her photographic efforts. It was especially useful for her and the pano format cameras she uses. She made use of the step several times when she needed a little height working with difficult setups.
Here is more information from the Wal-Mart web site;
Keep everything within reach with the Mainstays 12″ Folding Step Stool. This skid-resistant step stool gives you an extra boost to reach high shelves or cabinets. It folds down to two inches thick for easy storage.
Mainstays 12″ Folding Step Stool:
Easy to carry
Skid-resistant top and feet
Stands 12″ high
Folds to 2″ thick
Weight capacity: 300 lbs
Folded Size: 13.5″ x 12.5″ x 2″
Weight: 2.5 lbs
Wal-Mart No.: 007126355
This 12″ step folds up and is easily tucked away till you need a little boost. This is another accessory that is a life saver when you need it. We ended up purchasing several of these for use around the house also. You never know what you are going to find when you are out poking around in the stores.
JB
CLEANING FILM HOLDERS
Dust is forever the biggest enemy of the large format shooter. Seems that no matter how meticulous you are, that one little speck of dust sneaks in and plants itself right in the middle of some nice smooth area. . . like the sky. It is a never-ending battle and requires continuous attention.
It is obvious that you need to keep your camera clean and it is imperative that you vacuum out all of your film bags and equipment cases. Dust gets everywhere, and it is good practice to vacuum everything before you go out to photograph. But, there is one area we have found to be extremely important for dust control, and that is keeping your film holders clean.
We have found that a thorough cleaning of every holder just prior to loading film keeps the dust problem to a minimum. If the inside of the holder is clean, then the outside is the only place where dust resides. Realize that the most critical time is before and during exposure. If a dust speck gets on your film after exposure, at least it is no longer a threat for making the dreaded pinhole which leads to the black spot on the print. After exposure, the worst a dust speck can do is possibly scratch the film during handling.
Everyone has their own methods for cleaning and loading film holders, and here are my main concerns and how we prepare our holders for loading. I will begin by saying that every holder is cleaned and inspected just prior to every loading session. Even on the road, we never load a holder with fresh film without cleaning. My biggest concern is dust inside the holder. I want the inside to be as clean, and dust free as possible. No matter how clean your film bags and cameras are, dust will always settle on the outside of the holders. If you thoroughly clean the inside of the holder, you will have a better chance of keeping the film dust free. I begin by cleaning the work surface with a damp towel and after dry I vacuum the area just to be sure. I always use the round brush on the end of the vacuum hose and before attaching I vacuum it well to make sure the bristles are free of dust.
I work each holder individually and begin by vacuuming the entire outer surface of the holder with the dark slide still in place. I pay particular attention to the entire area around the parameter of the holder where the slide meets the holder. I want the exterior of the holder as dust free as possible before I remove the slide.
One area that collects dust is the light trap area. Any dust on the dark slide will be wiped off by the felt in the trap. It is imperative that the dark slide be completely removed and the light trap vacuumed thoroughly. Also, while the dark slide is out of the holder, I vacuum the inside of the holder and the entire parameter, paying special attention to the film hold down and dark slide slots along the sides. I open the loading flap and vacuum under it also. The last thing I do before reinserting the dark slide is vacuum both sides of the slide and inspect it for dust or any possible damage. Each dark slide is removed, one-at-a-time, and always replaced in the same side of the holder. I never mix up slides, they always go back into the same holder and same side. . . always!
Once the holders are cleaned we immediately load them with fresh film and place them into their film bag. It is a good idea to vacuum the film bag before placing newly loaded film holders back inside. This is a good idea, especially if you have been in a particularly dusty area.
This is the ritual we go through every time we load film and we have little problems with dust on our film. Everyone has their own way of doing things and this is the procedure we use when loading film. There are a few things that we have found that greatly improve the odds of keeping your film clean. Remember, the vacuum is your best friend when it comes to dust. See my previous post titled “DUST. . . A Four Letter Word!” for more information.
JB
SAMPLE GALLERY VIEW CAMERA PHOTOGRAPHY BY JB & SUSAN HARLIN
For those that are planning to come to our current exhibition and those not able to visit, we have created a sample album which contains a few of the 28 images on display. Do not forget to mark your calendar for our reception Saturday, Nov 05th.
Click HERE to go to the sample album.
AN INTERESTING BOOK “MAKING KODAK FILM” by Robert L. Shanebrook
I have always been a collector of books, and I have always been interested in how things are made. I am especially fascinated with large industrial manufacturing processes. Photography is also more than a fascination for me, it has become my prime interest. I have little interest in the chemistry and mechanics beyond knowing how to make things work, yet I am still fascinated with how things are made. I ran across an interesting book a while back, put it on my list of things I needed to check out, and promptly forgot all about it. Typical for me, but thankfully I did remember the book and ordered a copy.
If you were ever curious as to how photographic film is manufactured, then I can highly recommend a great book on how Kodak makes film. “Making KODAK Film; The Illustrated Story of State-of-the-Art Photographic Film Manufacturing” by Robert L. Shanebrook, is a book I can suggest to answer the majority of your questions about what goes into manufacturing film. I will quote from the author’s web site;
Information in the book
The book was compiled based on my personal experience plus the input from Kodak experts. Kodak provided access to Kodak Park and assigned experts to the project. Typically the experts explained the operation to me and then accompanied me as I photographed. After I retired I spent over forty days photographing in Kodak Park and many more days in discussion.
In addition, I was aided by input from 24 Kodak retirees. In most cases the retirees were the predecessors of the current Kodak experts that helped me. I also utilized the advice of ten experts from outside Kodak. To insure accuracy the manuscript was reviewed by many of the people that provided information used in the book.
I am grateful to over ninety people who helped me with the book.
Author
Bob Shanebrook graduated from Rochester Institute of Technology and worked at Eastman Kodak Company for 35 years before retiring in 2003. At Kodak he worked as a commercial photographer, researcher, product development engineer, film manufacturing manager, and for over twenty years was a Worldwide Product-Line Manager for Kodak Professional Films. He was involved in nearly all aspects of Kodak’s black-and-white and professional film business.
I highly recommend this book to anyone interested in learning about the art and craft of film manufacturing. For me this was a slow read since the book is mostly photographs. They say a picture is worth a thousand words, with some of these machines, it may be more like ten thousand.
Mr Shanebrook has self published this book and I can recommend it is a good one. . . two thumbs up from me. A great read if you are interested in just how complex the film in your camera is to produce. More information and how to order a copy from the author can be found HERE.
JB
D/FW LFG WEEKEND
The D/FW LF Group had another exciting weekend, with two gatherings. Saturday we started off with breakfast at the Original Pancake House in Grapevine. We had ten people join us for the beginning of a usual gathering. After breakfast we then adjourned and moved over to the Grapevine Convention Center for the Camera Show. This one was a productive one. I found several things including some raw chemicals for the darkroom. Susan and I actually made several trips to the van to unload our trappings. Larry made even more trips and needed some help. What fun!
Sunday it was an early trip down to County Road 1118 in Johnson County to photograph a very old iron bridge on the Brazos River. If I counted correctly we had eight people that showed up before, and some after sunrise. Beautiful morning, not a cloud in the sky, not a breath of wind, and it was in the upper 40’s to mid 50’s. Couldn’t have been better for such an outing. As usual we migrated mid morning over to Glen Rose for a late breakfast, early lunch at the Big Cup Cafe. Outstanding hamburger and by a little after noon we were home. Susan and I shot a few 4×5 negatives and, as usual had a great time.
We will be planning more outings and if you are interested in joining us, please watch for our next gathering.
JB
WRITING ON THE NEGATIVE EDGE
I was recently asked what type of writing device we use to mark the catalog number on the edge of our film. I had not given it much thought since we have been using the same pens for marking film for many years. I have heard of people using various mechanical pens and India ink. Some say they use a common Sharpie. There are numerous ways to do this, but the easiest and most effective way I have found is to use a pigment liner pen.
Specifically, I have used a Staedtler pigment liner pen for years. They are clean, easy to use, make very dense letters and numbers that easily show up on proofs, and are filled with permanent black ink. The ink used is lightfast and will not fade. One nice thing about the Staedtler pigment liner pen is it will not dry out. The manufacturer says, “The unique cap-off feature of the ink enables pens to be left uncapped for 18 hours without drying up. Even when left open during long breaks in writing, they remain ready for action without delay.” They also last a long time. We have not had to buy new pens in years.
The Staedtler pigment liner pens are available in nine writing widths from 0.05 mm to 0.8 mm. My favorite sizes are the 0.3, 0.5, 0.7 mm widths. I use the smaller diameter pen for small film where the clear edge is very narrow. You still get very legible writing along the film edge that prints well on the proofs. I prefer the larger diameter pen for the really big film. These have worked well for me for over 30 years, and should work well for you also.
Here are a few things I have learned over the years that may help when using these pens to mark your film. I always mark my negatives on base side opposite the emulsion, this way the file number prints correctly on the edge of prints and proofs. Be sure to let the ink dry thoroughly before you place the film into a storage sleeve. It should only take a minute to dry. I have found that if you make a mistake, you can remove the ink using a cotton swab lightly moistened with acetone. And, one more thing; the biggest mistake you can ever make is not using a filing system for your negatives. If you choose to mark your film on the edge, these markers will do the trick.
If you are interested in learning more about Staedtler pigment liner pens, HERE is their web site.
JB
STOP & FIX WITH STAINING DEVELOPERS
As most know by now, we use staining film developers. To be specific, we use the classic PyroCat HD formula from Sandy King. This developer gives us the type of negative we like. Keep in mind that creating art, no matter what may be your chosen medium, is a very personal thing. What works for me may very well not be at all acceptable to you. My father used to say, “that is why they paint cars different colors.” Personally I do not care for red cars.
All of that said, I have experimented with numerous staining developers and have chosen the one that works best for us. Along my journey of research I have found many opinions and myths that I have found to just not be true. Everyone seems to have an idea of what they believe to be true, but few have actually gone to the trouble to, as Fred Picker would say, TRY IT.
One area of great debate when it comes to staining developers is what stop and fix is appropriate. I find that this is not that great an issue and even John Wimberley agrees. Just in case you have not heard of John Wimberley, he is the father of modern Pyro developers. Even Gordon Hutchings the father of PMK, and author of “The Book of Pyro” was preceded by Wimberley and his first modern formula, WD2H. From an article titled “PyroTechnics Plus: Formulating a New Developer” in Photo Techniques magazine, March/April 2003, Wimberley has the following to say about Stop Bath and Fixer:
“Myths abound concerning the correct stop bath and fix to use with pyro, but it is not a critical issue. Either an acid or plain-water stop bath may be used, and any standard or rapid fixer is acceptable. . . However, avoid hardening fixers. I recommend the manufacturer’s minimum recommended time to avoid the possibility that sodium sulfite in the fixer might weaken the dye mask.”
Wimberley goes on to say that you should follow the manufacturer’s suggestion as to the proper stop for any type of fixer. If you use an alkaline fixer, use a plain water stop, or follow the instructions. He also says Hypo Clearing Agent (HCA) should not be used, since they are mostly sodium sulfite and “the enemy of the dye mask.” He recommends a 10 minute wash time in running water sufficient to complete five changes of water by volume.
If you do much research on this subject, you will find a lot of differing opinions. The thing is, you finally have to draw a line and choose what you intend to do with your processing procedures. So, having said that, here is the way I process film using PyroCat HD.
• Film is processed in open trays by the shuffle method
• Acid stop using 3ml 28% Acetic Acid plus 1,000ml water
• Fix in Kodak Rapid Fixer (no hardener)
• Rinse in running water 2-3 minutes
• Wash in a vertical washer 15-20 minutes
• Bathe in 2 drops wetting agent plus 1,000 ml distilled water
• Hang to dry
This is how I process film using my chosen staining developer. I am sure there are those that will point out all of the reasons this will not work, but I can assure you, it works for me. The most important thing to do is to be consistent. If you do things exactly the same every time, there is a very good probability that you will see consistent results. Fred Picker would say, “different is not the same.”
Remember, the best thing you can do is finalize your procedures and get on with creating your art. The finished print is what is important, how you get there should not get in the way of your creativity.
JB
JB & SUSAN HARLIN UPCOMING EVENTS
Here is our current calendar of upcoming events. More information available by clicking on the event below. We invite everyone interested in film photography to join us, though we specialize in LF and ULF, we love film. Hope to see you at one of our gatherings!
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01/28/2012 – D/FW LF GROUP OUTING. . . Grapevine Camera Show Saturday 01/28/2012
DFW LF GROUP, MUSEUM OF THE AMERICAN RAILROAD GATHERING, Saturday, July 02, 2011
Though not exactly posted here in order, the D/FW LF Group, by popular request, has added more summer events. The Dallas Museum of the American Railroad, located in Fair Park, will open their doors a bit early this July 2nd morning to allow our big cameras in for some peaceful photography. Once the doors open at 10, we will still be able to take our time to take photos, but there might be foot traffic between you and your object!
The museum is located at Gate 3 in Fair Park. We can begin entering the premises at 9AM.
A couple of things to consider:
1. Everyone will need to sign a standard waiver stating that the photos will not be used for commercial purposes.
2. There is a $7 admission fee. Since they are opening the doors a bit early and have additional costs involved with this, We am asking you to make an additional contribution to the museum. This can be any amount you feel comfortable with; it is just a friendly gesture of thanks to the museum.
We are planning to have lunch at an old Dallas Deep Ellum restaurant after the shoot, so save your appetite for more good food. Adairs has been around for a long time and has a great rustic(?) ambience.
For more continuing information, drop by the Large Format Photography Forum.
See you on July 2. . . and. . . do not forget we are heading to Pilot Point July 30th.
JB
DFW LF GROUP, PILOT POINT GATHERING, Saturday, July 30, 2011
Here we go again! Our informal LF Photography Group is holding another outing, and even braving the heat of summer in Texas.
Visit historic downtown Pilot Point for some great photo opportunities; both architectural as well as close-up detail of antiques and antique fixtures.
Since it is the midst of summer, we will meet early in the morning – 7:30AM. Color film photographers might want to be there even earlier! Sunrise will be at 6:39! Complete side lighting right down W. Main Street will be at 9:17AM. This might provide for some interesting shadows! There are some wonderful murals to photograph also. Google “Bare Nekkid Ladies in Pilot Point” to read up on the most controversial mural in town! The bank building, just off the square, was used in the movie “Bonnie & Clyde.” Many photographic opportunities are within 2 blocks on each side of the town square.
We will end with brunch at the local greasy-spoon on the town square between 10:30 and 11. This should help us beat the worst summer heat and humidity!
Estimated drive times from:
Ft. Worth: 1 hr, 10 min
Dallas: 1 hr, 15 min.
Carrollton – 55 min.
We invite everyone interested in LF & ULF photography to join us for some serious discussion and fun. Also, if you are a working photographer, please bring a few photos to share with everyone.
For more continuing information, drop by theLarge Format Photography Forum.
Hope to see you July 30th in Pilot Point!
JB & Susan
D/FW LF GROUP & TCC GATHERING. . . A GREAT TIME!
What a great time we had Saturday with the D/FW LF Group & Tarrant County College, Exposure Photo Club gathering at the TCC N/E Campus. We had about 25 enthusiastic
participants, ranging from beginners to somewhat seasoned photographer-types in attendance, and everyone had a great time sharing stories, showing off their equipment, and photographs. The weather cooperated, it was dry, cloudy, and the temperature was pleasant.
We packed up our outing on the campus grounds after a lot of looking, touching, and photographic talk, then continued with more discussion over BBQ at North Main BBQ in Euless. The truth of the matter is, for those that are interested, you just can’t get enough photography! And, there is a rumor that the D/FW LF Group is planning more outings for the rest of this year and into next year.
Stay tuned here for more announcements and to keep up with the local happenings. Our goal is to promote film photography, in any and all formats. . . though our main focus is LF and ULF, if you shoot film of any size, or if you are interested in film, please join us to learn more. Everyone is welcome. Our goal is to promote photography, in any and all forms, and to dispelled the myth that film is dead.
We would like to thank all of those involved in the planning of this event and an even bigger THANK YOU to those that attended. We are looking forward to seeing everyone again soon.
JB & Susan
D/FW LF GROUP, VIEW CAMERAS & BBQ
We continue with preparations for the upcoming DFW LF GROUP, TCC GATHERING, Saturday, May 21, 2011. We are hoping for a good group to show up to see, touch and experience the LF & ULF camera. this is a no excuses, dedicated to film and the view camera gathering and we hope to promote film and the art of photography.
We will be gathering at the Tarrant County College N/E Campus at 8:00am. For more information, see my previous post, “DFW LF GROUP, TCC GATHERING, Saturday, May 21, 2011.” We plan on adjourning our field trip about noon or so and continue our outing over lunch. Not only will we be talking large cameras and film, but we will be heading for a little BBQ. We invite everyone to join us for what should be a lively lunch and discussion. We will be going to a local landmark restaurant, North Main BBQ in Euless. Here is an excerpt from their web site;
. . . “Home of the World’s Best Ribs” is backed with 30 years of barbeque experience. North Main BBQ serves the “World’s Best Ribs”. . .
North Main BBQ is located about three (3) miles west of the Dallas-Fort Worth Airport off Hwy 183.
North Main BBQ serves an “All you can Eat” lunch and dinner buffet that includes its award winning ribs, chopped and sliced beef brisket, chicken breast, pork shoulder, sausage, ranch beans, potato salad, cole slaw, assorted relishes and bbq sauce. All meats are slow cooked with hickory smoke from four to twelve hours.
More information on North Main BBQ HERE.
This just couldn’t be any better. . . View Cameras and BBQ. Join us for a little fun!!!
JB
DFW LF GROUP, TCC GATHERING, Saturday, May 21, 2011
We will be helping host an informal gathering of LF & ULF photographers from the Dallas/Fort Worth area Saturday, May 21, 2011. The DFW LF Group will be meeting at 8am at the Tarrant County College (TCC) North East Campus, 828 Harwood Road, in Hurst. We will gather at the Visitor Parking and will be photographing in the central campus park area just a short distance from the parking lot (see map). Those interested in traditional, large format photography are welcome to join us. Here is a link with driving directions;
http://www.tccd.edu/Campuses_and_Centers/Northeast_Campus/Directions_NE.html
There are quite a few photo opportunities including flowers, trees, shrubs, architectural, and there is a giant chess board to photograph. Michael Kan will bring a bar stool and some diffusers in case anyone wants to shoot any portraits. We will have an assortment of LF and ULF cameras available for some hands-on time. JB & Susan Harlin will have ULF cameras setup and there will be several other local LF photographers in attendance. Everyone will be available to answer questions. If you are interested, this will be your opportunity to meet and talk with those that work with large cameras and film. We will also bring a few photographs to boot.
We would like to thank Larry Hart, President of the TCC Exposure Photo Club, for arranging for us to meet on the campus. Larry will be joining us along with some of his fellow students.
Following our shoot, we will head over to North Main BBQ for lunch and fellowship.
Thanks to Bob McCarthy for finding us a great spot for some BBQ, and Michael Kan for planning and logistics.
For more continuing information, drop by the Large Format Photography Forum.
JB & Susan
MY POINT EXACTLY
In my last post here titled “ORIGINALLY POSTED ON OUR OLD BLOG; Saturday, January 17, 2009; WHERE HAVE ALL THE PHOTOGRAPHY CLUBS GONE?” I tried to make the point that the failure to promote and teach ultimately leads to the loss of knowledge and processes that need to be preserved. In that post I was particularly hard on the photography clubs and their failure to promote and maintain the many facets of the art of photography. Photography clubs have become, for the most part, computer clubs. They ignore the other facets of the craft and even tout the lie that digital is all there is in the entire universe. This to me short changes everyone and leads to a loss of other beautiful and useful photographic processes. It also leads to pure ignorance among those that are interested in entering into the art form.
Below is a review sent to me from a photographer friend of a Nikon F6 camera that someone purchased through Amazon. At first this was funny to me, then I thought it was a joke, and finally the hard and sad truth began to sink in. This represents the sad state of affairs today. Read this review;
“This review is from: Nikon F 6 – SLR camera – 35mm – body only (Electronics)
Camera will not work with CompactFlash or other digital media. You must buy a cartridge of tape, which allows for just 24 shots. No LCD screen with image playback. Very disappointed and returned.”
HERE is the link to the original review on the Amazon web site.
Read some of the comments to this supposed “Review.” At this writing there are eleven pages of comments. Guess I will go find a roll of that tape. I don’t know whether to laugh or cry???
JB
ORIGINALLY POSTED ON OUR OLD BLOG; Saturday, January 17, 2009
NOTE: This post originally appeared on our first BLOG that is no longer active. I am resurrecting it here because it is something I feel needs to be repeated. Just another one of my little rants about the state of affairs pertaining to my favorite subject. . . Photography. To be even more specific. . . Film Photography. Take my comments with a grain of salt. . . or. . . maybe more like rubbing salt in your eyes????
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WHERE HAVE ALL THE PHOTOGRAPHY CLUBS GONE?
To answer that question, they have turned into Computer Clubs! Why? I really do not know why, but I have an idea.
People in general are consumer driven by what the large manufacturers say and do. Certain large, should I say behemoth, manufacturers have taken the initiative to try and influence the photographic market place. Corporate bean counters are forever trying to enhance the bottom line. These so called Harvard MBA’s have little to no experience in reality, they just look to their book learning and spread sheets for bigger, better, faster. They are paid to find pie-in-the-sky schemes that look good for the bottom line. They know little about the product nor its users. And, they really don’t care about anything beyond the quarterly report to the board and share holders. This mindset has filtered into the film photography industry. They don’t care about their product nor their customers beyond what they can get from either or both. Hence the battle cry “Film Is Dead” has gone out through the photography world because someone thinks that is where they can make the most money. And, people, sadly most people, follow like sheep. Repeating the call and believing it is true.
How many times have I been asked, “where do you get film for that camera?” This gets really old in a hurry, but the reality is, people are just misinformed. Way too much TV, radio, magazine ads, billboards, newspapers, Internet, etc, for anyone’s good. We, as a society, are pounded day and night with endless advertising. And, sadly, we believe it! “We couldn’t say it on TV if is wasn’t true” is something I hear on some infomercial. Remember, advertisers will tell you anything to get your money!
OK, so what does this have to do with the Camera/Computer Club? It seems that they have become one of the sources for the misconception of the Film Is Dead hoax. Go to most any club, bring up film, and you will be instantly told there is no such thing. It is not that they are trying to intentionally mislead, they are just misinformed. They have bought into the hoax, because it is what they have heard somewhere. And what ticks me off is the fact that they continue to spread false information.
My wife and myself in the past were involved with camera clubs. Why? Because it was a place to meet like-minded individuals and share our interests. Several years ago we found that more and more we had little in common with the other members. They were speaking in tongues, discussing materials and equipment we knew nothing about and had no interest in learning. You can say we lost that ‘like mindedness.’ We cease to be interested and are no longer members.
So, why should this bother me? Because misinformation is detrimental to creativity and the art of photography. I really don’t care if you shoot digital. It is simple; Digital Is Its Own Art Form! Acrylic paint did not replace oil for the painter. In this modern age, people still use candles, hand write letters, ride horses, and who knows what else that has evolved into some more up-to-the-minute technology. Why this all-out move to kill film photography and to try and convince anyone interested that digital is the only choice?
What bothers me is the fact that clubs preach from the rafters the falsehood that film is gone. What if someone wanting to express their artistic vision joins a camera club to learn the craft? They are told film is no longer manufactured, not available, don’t bother. Then they spend their time and money working with digital only to learn later that film is still alive and possibly more important, the direction more suitable to their vision. Film is another medium for their expression. They have now wasted valuable time and resources exploring a medium that is not suitable to their creativity.
A good club, at least for me, would foster all forms of photography, from digital, to the most extreme alternative processes. That way those interested in the medium could see what is really available and make the choice as to which process is right for them. The world is not a one-size-fits-all society. Creative people have something to say. They may write, sculpt, paint or photograph. What is important to the beginner is that they see what their options are, so they can make an intelligent choice. No one should be funneled down the wrong path just because the local Computer Club feeds them a line of BS based on a hoax. If you are just starting out in photography, be very careful if you choose to start with a Camera Club! It could just cost you the most valuable commodity you have. . . TIME!!!
And, to those that are in charge of the local camera clubs, pull your head out of the sand and look around. There is an entire world of photographic imaging, from digital to exotic alternative processes where you create your own emulsions. You just have to look for it somewhere beyond the narrow minded Hoax of Film Is Dead. Please, don’t tell the next new person that comes to a meeting that digital is the only game in town!!!
Posted by JB and Susan Harlin at 1:53 PM Saturday, January 17, 2009
FILM DIAGONAL
Sometimes it is necessary to know the diagonal dimension of a particular film format. This is especially true when trying to determine if a lens has a large enough image circle in order to adequately cover a certain film format. Modern lens manufacturers publish specifications that will tell you the maximum format the lens is designed for. But, with older lenses this information is sometimes not available. If you can determine the image circle of the lens, then you can determine which film sizes will work with the lens.
For example, say you are contemplating buying a lens and you know the image circle is 325mm. Looking at the table below you will immediately see that 325mm is the exact diagonal of a sheet of 8×10 film. This lens would probably work. But, you would have absolutely no movement available when using the camera. This lens would adequately cover 4×10 and would have generous coverage for 5×7 and 4×5 formats.
Here are a few common film sizes and their diagonal dimension;
If you need to calculate the film diagonal of any format, here is the formula.
A = Film Height
B = Film Width
C = Film Diagonal
Keep in mind that the actual image area is slightly less than the film dimension due to the hold-down guides that keep the film held in place in the holder. This calculated diagonal measurement is plenty close enough to determine adequate image circle of any lens.
Hope you find this information helpful!
JB
SPOTTING MICROSCOPE
If you are like me, you really hate having to spot prints. You especially do not like spotting negatives. I struggled for years trying to come up with a good way to spot prints. The problem is getting a good look at what you are working on, with enough detail to accurately guide that hair-fine spotting brush to just the right spot. I used a loop. . . tried magnifying glasses. . . used
a magnifying viewer for some time, but nothing gave me a really good view of what I was working with.
Somewhere along the way someone suggested using a stereo microscope. What a stroke of genius!
After doing some research it became clear that a high-quality inspection microscope, with magnification in the 8x to 10x range was prefect for spotting both prints and negatives. A good stereo microscope with zoom was exactly what is needed. The ideal setup would have a long boom stand so you can swing the head out over the work area, and for spotting prints you need an illuminator. I was able to find an entire microscope package including a zoom stereo head, eyepieces, long boom stand with heavy base, and illuminator on eBay.
The microscope head that I have has a zoom range of 0.70 to 3.00 x. Using a set of eyepieces that are 10x, I have a zoom range of 7.0 to 30.0 x. This is perfect! Most of the time 7x is fine, but if I have a really tiny pinhole I can zoom in even more. The microscope illuminator is necessary for working with prints, while you will need a light box for working on negatives. This is why you need a good, adjustable, boom with a heavy base.
It takes a little getting used to, but a stereo microscope is the Rolls Royce of spotting magnifiers. Well worth the expense. This type of microscope setup is used in manufacturing quality control to inspect small parts and comes up in the used market frequently. Searching out a good microscope will save you a lot of headaches and make that unpleasant chore of spotting a little more tolerable.
JB
THE B&W VIEWING FILTER
Susan and I have used a Zone VI B&W viewing filter for years. This nifty little round device not only shows you the relative tonal relationship between different areas of a scene, it also acts as a framing device.
Zone VI 4x5 Viewing Filter
So, what is a B&W viewing filter? In reality it is a Wratten #90 monochromatic filter. The gel version of these filters are available from the usual photographic suppliers. They are a gelatin filter and fragile. Several companies manufacture monochromatic viewing filters. Tiffin has a version for B&W, but we prefer the Zone VI filter. It is rugged, mine is over 15 years old and still going strong. The fragile filter is mounted between glass and encapsulated in a round molded plastic enclosure. The filter comes with a cord so it can hang around your neck ready for use at any time.
So, what does the B&W filter really do? What it does not do is turn a scene to B&W. The filter shows you the approximate tonal relationship between different areas of a scene as recorded by B&W film. It will show you if there are any mergers of tone within a scene. For example, the filter will show you if a building will tonally merge with the sky, thus indicating the use of a filter to darken the sky for separation. It will also give you a good idea of how different colors will look in B&W. I have found that nice little green moss on a tree trunk will merge with the bark and disappear. The viewing filter will show you this with just a glance. Once you get used to using this handy, yet simple little device, you will not want to be without it.
The Zone VI version also serves as a framing device. The 4×5 version has the same proportions as a 4×5 or 8×10 negative. By learning to hold the filter at the correct distance from your eye, you will soon be able to approximate what focal length lens is required on your camera for a specific framing.
One other thing, the filter forces you to close one eye to use. Remember, the camera has only one lens, one view, one perspective. You may be surprised, but try closing one eye while you are looking at a possible photograph. You just may quickly learn that once you remove the 3-D effect of using both eyes, the photo just may not work. Try it!
This is just another tool. It may work for you, maybe not. The only way to really know is to try it. The Zone VI B&W Viewing Filter is no longer manufactured, but you see them used all the time. Check the Internet. This just could become a regular part of your equipment complement.
JB
TRAVELING WITH FILM
I have received several inquiries as to how we handle film when traveling. Our photographic outings typically last anywhere from two weeks to well over a month. We each shoot several different formats and we usually shoot a lot of film. We do not process film on the road since it is not practical to work with LF and ULF film anywhere but in our darkroom. So the question comes up, how do you handle several hundred sheets of exposed film when traveling?
First I have to say we keep meticulous notes on every negative we make. Everything from exposure, to location, to time of day is recorded on a small digital voice recorder. Every sheet of film gets an entry detailing all pertinent information. Search here on the jbhphoto.com BLOG for previous posts about our record keeping in these entries; “KEEPING NOTES” and “PRINTING NOTES & CATALOG.”
We only have room to haul just so many film holders in each format. So it is always necessary to carry fresh film and to reload holders on the road. Depending on how much we shoot on any particular day, we may reload every evening, or we could go several days before having to reload. Obviously we carry fresh film and empty boxes. How much film? The rule of thumb is to carry twice what you think you will shoot in any format. How do you know? Experience is the only answer to that question. If in doubt, throw in another box just in case. All I can say is we have never ran out of film on any trip. We always come home with unexposed film.
When reloading becomes necessary it is important to be able to sort the exposed film into groups that require the same developing time. We have printed sheets for unloading film. When it comes time to reload, we go through our audio notes and record the film holder numbers into columns that denote the development of each sheet of film. Once we have the sheet filled out, it is just a matter of locating the holders and arranging them in piles before unloading.
We do not practice anything very exotic when it comes to film development. We expose with the intention of one of three development times for any particular situation. Each sheet of film is exposed to be processed either Normal, Normal +1 ½, or Normal -1 ½. That is it. . . we need three sets of empty film boxes for each format, each labeled for the appropriate developing time. As we load more film we empty more boxes that are then used to unload more exposed film. We carry labels that we print off before we leave and affix them to the boxes as needed. The labels denote film developing time and that the box contains exposed film.
THE DAY KODAK DIED. . .
Is it over for Kodak? Who knows for sure?
January 19, 2012 | Categories: Commentary, Film, Photography | Leave A Comment »