D/FW LF GROUP, SATURDAY, AUGUST 13th, AMON CARTER MUSEUM. . .
Since the heat is on here in North Texas, we have decided to move our next gathering indoors and enjoy photography under air conditioned comfort. “Masterworks of American Photography: Landscape” begins Saturday, August 13th at the Amon Carter Museum in Fort Worth.
Saturday morning we will meet for breakfast at Lucile’s, 4700 Camp Bowie Boulevard, when they open at 9:00 a.m. The museum opens at 10:00 a.m. and after coffee, breakfast, and I am sure, much discussion, we will head up the street to the exhibition. This is an open gathering and we invite everyone to join us for some more photography and fun.
D/FW LF GROUP, PILOT POINT GATHERING. . . ANOTHER HOT MEETING!
Despite the fact that I really detest the heat, especially when it gets into the 80’s, we gathered before sunrise on the square in 
downtown Pilot Point Saturday. Texas is now into 30 consecutive days of 100+ temperatures, so in order to get out and have some photo fun when it drops all the way to 80 you have to get up early.
We had a good gathering in the summer heat. We all made a hasty retreat by about 8:30 to the local eatery for breakfast and shelter inside where the A/C was cranking. We continued for a couple more hours of shop talk and tall stories.
Michael said, “Fifteen photographers in all, ranging in age from 28 to 82.” We had a great time, met some new LF shooters, a great breakfast, and discussed photography. What else could you ask for?
Next gathering will be Saturday August 20th in East Texas. We will head over to meet Ty Guillory on his ranch in Mineola, Texas to learn about wet plate photography.
Don’t let anyone tell you we are afraid of the Texas heat. . . we don’t like it, but we have to make the best of it.
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
EASILY FIND GRADE #2 AND GET YOUR FILM TEST CORRECT
So, here is the predicament; you are getting ready to do your film testing; you have decided to use the simple visual film testing technique. Visual film testing is a really simple way to determine your correct film EI and developing time. All you need to do is perform these tests on a grade #2 paper and you will know you are making the best possible negatives.
But, there is one nagging little problem. If you are using VC paper, how do you know what filter, or light source setting, that will produce a grade #2 contrast? Even if you are using filters, each filter set has different filters that will give different paper grades on different papers. Even the developer you choose can affect paper contrast. You really need to KNOW how to achieve a true grade #2, using your equipment and darkroom, in order to do a valid film test.
What if I could show you an easy, inexpensive, and quick method that will get you plenty close enough? Well, here you go. . . “FINDING VC PAPER GRADE #2; EYEBALL CALIBRATION.” This method should get you well within range to get you started on the right track.
Remember, that making a good negative is the first step in making a great print. Hope this helps you on your quest for photographic excellence! Download the PDF version from the Articles area of our web site.
“Simplicity is the ultimate sophistication.” -Leonardo da Vinci-
JB
D/FW LF GROUP, RAILROAD GATHERING. . . WE MET, DESPITE THE HEAT!
It is near impossible for me to get motivated in the heat. This Texas summer started early this year and we are in a period of above normal temperatures. The D/FW LF Group made the trek to The Dallas Museum of the American Railroad last Saturday. It was an incredible adventure just to look at all of the rail cars, and I found myself in complete fascination with the steam locomotives, especially the Big Boy.
The trouble was no matter how much I tried, I just could not get past the heat and bring myself to drag out even a 4×5 camera. In fact, I barely mustered the enthusiasm to use my digisnapper. All I can say is I certainly hope we get another opportunity to photograph at the museum. Hopefully by this winter they will have completed their move to their new location and we will try again. Lunch was a high point as usual.
I would like to thank everyone for an interesting day. Thanks Michael for making the arrangements, and Bob for lunch. Thanks to Robert and Mark for braving the heat with their cameras. Hope you guys made some good photographs!
Next outing will be Sat, 07/30/2011 in Pilot Point. This will be an early shoot so we can stay ahead of the oppressive Texas heat, and of course, we will conclude with brunch at the local greasy-spoon on the town square. Hope to see everyone there! In the mean time, keep your film cool!
JB
MEASURING PAPER FOG
I was recently asked to test some Kentmere paper for fogging. A friend had shut down his wet darkroom and had several packages of paper he wanted to sell, but wanted to know if it was still useable. I agreed to test for him and if you wonder how to check for paper fog, here is the process I use.
Begin by cutting off a strip of the paper to be tested in very subdued safelight to total darkness. Since the paper I was testing was 16×20, I cut off a strip across the short side about two inches wide. I then cut the strip in half. This gave me two pieces of paper 2×8 inches. On the back of the paper I mark one with the letter ‘F’ and the other with the letter ‘D’ and place the latter into a light-tight box.
The strip marked ‘F’ is placed into a tray of fresh fixer and agitated for five minutes. Then it is placed in a tray of running water. Next the strip marked ‘D’ is placed into a tray of developer, agitated for two minutes. . . stop for thirty seconds. . . and fixed for five minutes. I use my standard print developing chemicals and the normal times. If you use different materials, use your normal times. Once both strips are in the wash tray, turn on the lights and wash for thirty minutes. Remove the test strips and dry as usual.
What has happened here is I have cleared the test strip marked with the ‘F’ which stands for fixed only and I have developed the strip marked ‘D’ for developer as usual. All that is needed now is to measure the reflected difference. I used an X-Rite 810 densitometer to measure the difference and found it to only be about 0.003, which is nothing to worry about. Keep in mind that all light sensitive materials, film or paper, will have some amount of base fog when developed.
Fortunately I was able to report to my friend that his paper was in excellent condition and he was happy to be able to sell it to another photographer. Hopefully this batch of paper will live on to produce some beautiful prints.
Also keep in mind that you do not need a densitometer to run this test. If you cannot see any appreciable difference in the two test strips, you can assume the paper is in good condition. If you have some old paper that shows signs of fogging, you can experiment with adding a restrainer, like Benzotriazol, to your developer to see if it will help. Never throw out printing paper just because you have had it on the shelf for some time. Test it first. . . you may be surprised to find that it is in good condition and useable.
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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05/26/2012 – D/FW LF GROUP OUTING. . . Cedar Hill State Park 6am to 7am meet up
DFW LF GROUP, WET PLATE CAMERAS WITH TY GUILLORY, Saturday, August 20, 2011
On Saturday, August 20 we will head east to meet Ty Guillory on his ranch in Mineola, Texas. Ty is one of only two craftsmen still handcrafting traditional wet plate cameras. Although there will not be time to see him mix the chemicals and prepare the plates, we will see how the camera is used to capture a couple of images and how the plates are then developed and varnished.
Once the demo is done, we will spend time in the workshop learning about the wet plate camera, we will enjoy burgers and hot dogs, and then have an opportunity to photograph on Ty’s 25 acre property. Ty would love some of us to photograph his family on Large Format as this has never been done before. Consider this our contribution to a fun-filled outing.
Ty’s cameras are historically correct, built from plans from the George Eastman House Museum of Photography. Many of us saw the story a few months ago about Ty and his studio on Texas Country Reporter and this should be a very interesting trip.
Mineola is about 2-1/4 hours east of Fort Worth, 1-1/2 hours from Dallas on US 80. We are limited to 12 photographers due to the size of the studio where Ty builds his cameras. Please RSVP by e-mailing Michael directly at: michael@kan.com.
As soon as we reach 12 participants, he will place additional names on a waiting list in case there are any cancellations. Again, RSVP only through e-mail! Directions (and caravan point of departure for those who want to ride in a group) will be e-mailed to you closer to August 20th.
Here are some great videos of photographer Luther Gerlach practicing the art of wet plate photography:
http://www.youtube.com/watch?v=0JuuCDXR6-I
https://www.youtube.com/watch?v=u-d89SSKedA&feature=player_embedded
This gathering will fill quickly, so be sure to e-mail Michael at the address above to reserve your slot.
For more continuing information and discussion, drop by the Large Format Photography Forum.
Looking forward to another great outing!
JB
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
VIEW CAMERA LUBE
It is important that your view camera work and work smoothly without glitches in the field. Nothing is worse than having some issue when you are out working. I spend a lot of time maintaining our cameras. I feel it is better to do this before we go out, than to have problems that require work in the field. Nothing is worse than wasting time on repairs when you are out.
A high-quality Microcrystalline Wax is one of your best friends when it comes to keeping your view camera clean and working smoothly. See my previous post titled “Wax On. . . Wax Off” for more information about waxing the camera.
But, waxing the camera is only part of keeping it functioning smoothly. You need lubrication for the metal parts. Metal rails, guides, and locking knobs need lubrication to keep them working freely. Nothing is worse than having a threaded part to seize up in the field. The best lubrication for metal parts is a dry lubricant. One that goes on wet but dries leaving a slick lubricant that does not get on your hands and possibly on your lenses or film. A dry lubricant also does not attract dust and dirt.
One of the best lubricants I have found is a product made for lubricating bicycles. Pedro’s Ice Wax 2.0 is a natural wax-based dry lube for use on bicycle chains. It is also an excellent choice for the metal-to-metal parts of the view camera. It works on brass, steel, and aluminum surfaces equally well. The manufacturer says it is a Hydrophobic wax coating that repels water and provides protection from wear and contaminants. It goes on wet and dries leaving a lubricating film that keeps parts moving freely.
Just a drop or two worked into the metal-on-metal surfaces is all you need. And it lasts for a long time. It is also good for all threaded locking knobs to keep them free and to prevent them from seizing up. A little Microcrystalline Wax plus some Ice Wax, and you should be good to go. . . go to the field that is, without any glitches to slow you down.
JB
WHAT PAPER DEVELOPER ARE YOU USING THESE DAYS?
So. . . everyone has their preferred brands, methods, techniques and such. I have mine for sure. As Fred Picker said, “if you have been around for twenty years or more and haven’t formed any opinions, what have you been doing?” I miss Fred!
There seems to be a lot of paper developer formulas floating around. My wife and I have tried our share of so-called ‘magic’ formulas. We have been down the Amidol road, and don’t get me wrong, Amidol is a great developer but it is far from magic. Amidol is about the best I have found for Azo. Yes we do print on Azo, in fact, we have a stock of it on hand. I would just like to go on the record as not being a person that subscribes to the idea there are magic bullet formulas. There is what works for you and that can be anything that suits your way of seeing. Anyone that has a one-size-fits-all attitude, usually has something to sell.
We have had our frustrations with Amidol developers. And I am not convinced that it is the best, certainly not the only, developer suitable for Azo or any other paper. In a side-by-side test my wife and I determined that Amidol was our developer of choice several years ago. There is a subtle edge there that is not something you can put into words, but there is a difference we decided worth exploring. But Amidol is expensive and can be frustrating to use at times. Yes, we have tried all of the popular formulas. I have just not been too impressed with the results I have obtained at times. What I was searching for was a cold-tone developer. Not only for Azo, but for the other printing papers we use. At times Amidol was still giving a green cast on Azo. Not bad but annoying and required lengthy toning in selenium to offset. I like a cold, neutral tone for most of what I print and the Amidol formulas just wasn’t consistent enough for me. I was not happy with how things were working. It was time to do some research.
I found a lot of interest on the Internet about a Pyro base paper developer formulated by Donald Miller. Mr. Miller named his developer Pyro Plus Paper Developer (PPPD) and after reading about this formulation I was inspired to give it a try. Believe me it takes some inspiration to get me to try something new, but I was frustrated with Amidol and I needed some good news for a change.
From all of the discussions about PPPD I found one thing was clear; there were numerous variations to the formula. The original published formula called for both Pyrogallol and Pyrocatechol. Now this is where things get a little confusing. I don’t recall where I found the particular variation that I tried, but there was a suggestion from somewhere to replace the Pyrogallol with Citric Acid. Not sure where I found that, but that was the formulation that I first tried.
From what I gathered, adding the Pyrogallol and changing the amount of Potassium Bromide makes a more warm-tone developer. I was not interested in warmer, I wanted a cold, neutral developer. To my surprise the variation I tried worked very well. It more than met my requirements, and so far, has yielded very neutral cold tone results on the Azo we have on hand. No more green tint, just what I wanted! It has also proven to be excellent with all other papers we use. And, for those that are economy minded, Pyrocatechol is much cheaper than Amidol.
PPPD keeps very well in an open tray once mixed, but should be dumped at the end of a printing session. I have never had it to die in the tray from oxidation. It does die from exhaustion, just like most any other developer. I would estimate that after about twenty 8×10 prints per liter, you should start looking to mix some fresh developer.
This particular formula also keeps well as a premixed two-part stock solution. Part ‘A’ is mixed 1:1 with part ‘B’ for use. I found that by mixing one liter of both part ‘A’ and part ‘B’ and storing it in full brown glass bottles it keeps at least six months. At least at this point in my experiments that is as long as I have stored the stock solutions. I keep three to four one liter bottles mixed and on the shelf in the darkroom. When we go to print, you just dump a bottle of part ‘A’ and part ‘B’ into a tray and away you go.
I really like this developer and my wife is using it also. So if I am asked what developer I am using, I say now days it is my variation of Donald Miller’s PPPD. My bottles are marked PPPD-JBH for my personal favorite formula.
Oh. . . almost forgot. . . I guess if you have read this far you are interested in the version of PPPD we are using. Here is the formula that we have found to work very well with every paper we use, including Azo. Maybe it will work for you. . . maybe not. The only way to find out is to, as Fred Picker would say, “TRY IT!”
Please note that this developer contains chemicals that could be hazardous. Practice safe handling procedures when mixing chemicals. Wear gloves or use tongs when working with PPPD. In fact, it is a good idea to wear gloves when using any print or film developer.
Keep in mind this is a cold-tone developer. If you search the Internet you will find more information on other variations of the PPPD formula. Supposedly adding Pyrogallol and varying the amount of Potassium Bromide makes this a warm-tone developer, but I have not tried it, since I was not interested in warmer print tone.
I would like to personally thank Donald Miller, and all the others involved for laying the groundwork and publishing this formula, and its numerous variations, for Pyro Plus Paper Developer. Anyone wishing to experiment with PPPD, or seeking more information, try an Internet search for Pyro Plus Paper Developer.
Here you will find the original Pyro Plus Paper Developer formulated by Donald Miller;
http://unblinkingeye.com/Articles/PyroPlus/pyroplus.html
JB
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
THE VIEW OUT MY WINDOW SYNDROME
I have struggled for years to understand the concept of what is visually stimulating. Just exactly what does it take to strike a nerve that leads to the successful completion of an expressive photograph? Specifically, why is it that I cannot easily find something in my immediate environment that I find worthy of photographing? There was a time when I really thought there was something wrong with my perception of my surroundings. Edward Weston said something to the effect that, you should be able to look down at your feet and find something interesting to photograph. Doesn’t always work for me.
The trouble is, I have a difficult time finding anything within my local surroundings that excites me very much. Some of this has to do with the fact that I live on a flat coastal plane at 600 feet above sea level and what I like the most is mountains and snow. I just can’t seem to find barb wire fences to the horizon, hay rolls, or wind mills that interesting.
I used to think this was only a personal mental issue that I alone suffered from, and that I was in some way creatively impaired. I thought that all I needed to do was find some magic somewhere that would allow me to visually connect to what I see every day. There were those times that I was able to find visual stimulation. Such as dense fog, or really interesting clouds, or maybe a rare snow storm. But most of the time I found that I was forcing myself to just get out and that what I created was not something I really cared for. So, why bother?
As I began to associate with other photographers, many living in other areas of the country, what I found was surprising. I met and talked with people that live in some of what I feel are the most visually stimulating places on the earth. To my dismay some of them have no interest whatsoever in even visiting, let alone photographing what I would give near anything to have unlimited access to. I have talked to people that have grown up within a few hours drive of these places and have never visited, let alone ever had even considered to take a look, let alone make a serious photograph of what lay literally in their back yard.
I began to realize that I was not alone when it came to finding inspiration and visual excitement within my immediate environment. I began to think more in terms that this is a normal ‘thing’. . . a ‘syndrome’. . . a ‘phobia’. . . or whatever, that many other suffer from, or in some way deal with, also.
I am a big fan of the late Bill Jay. His writing on photography is classic. I found this excerpt from one of his most popular pieces and it seemed to connect to my thoughts about this perplexing condition;
“. . . in order to photograph with any degree of continuous passion, you must have a fascination for the subject, otherwise you cannot sustain an interest in the act of creation for a long enough period of time in which to make any insightful or original statement about it.” 1
Thank you Bill Jay!
I have now accepted my condition and even dredged up a name for this phenomenon. I call it, “The View Out My Window Syndrome.” There seems to be something about what you have seen every day of your life and how visually exciting that view becomes over your lifetime. At least for some of us, this is some sort of syndrome. The question is, what can you do about it?
I have come to believe that there is little you can do about The View Out My Window Syndrome. . . so you just live with it. Maybe it is more important to accept it and not obsess over something you have little control over. Make it your goal to find and photograph whatever excites you and do not bother with what lay outside your window, especially if it does not excite you!
I started working on this post some time back and have now returned to complete my thoughts. We have had an unusual winter storm here in Texas. We are on the fourth day of cold, ice, and snow. Today we just had another 2-3 inches of new snow. This is the kind of weather we love when we are out in our favorite areas. . . in the mountains or the visually stunning S/W. Yet with all of this nice cold and snow I have little to no interest in dragging a camera out. The back yard is as boring as the back of my hand. I cannot think of any place near by that I would risk driving to that would be visually exciting, even with a gorgeous coating of snow. Maybe if I did get out I could find something, but I really have no inclination to risk being ran over by some idiot driving on ice. When in the mountains or the desert S/W I don’t mind driving 40-50 miles on solid ice to shoot some film. Here, I don’t even want to walk to the mail box. Why? Good question, but this is an example of a bad case of “The View Out My Window Syndrome.”
JB
1 “The Thing Itself; The fundamental principle of photography” First published in Newsletter, Daytona Beach Community College, 1988
http://www.billjayonphotography.com
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
UTAH 2010-2011 TRIP SNAPSHOT ALBUM
ONLY A LIGHT-TIGHT BOX
-Fred Picker- Discussing his experience with the Ansel Adams Workshops.
Zone VI Newsletter, Number 39, June, 1984, p. 5
A camera is just a tool. . . a thing. It is only a light-tight box that holds the lens and film. It is no different than a carpenter’s saw, a painter’s brush, a pianist’s piano, or a sculptor’s mallet and chisel. Any of these tools in the hands of the inexperienced will create little more than noise or a mess. Likewise, in the hands of a beginner, the camera is no more than a thing. In the hands of an experienced photographer is becomes a tool for creating art.
If you want to become a photographic artist the first goal is to become an accomplished master of the equipment. But, how do you get there from here? It starts with ambition and drive. Like any skill, you will only learn, and become a master, if you are dedicated. The mechanics of photography are not difficult to learn. It does take time and determination to get there, but it is not an unachievable task. You just have to have the desire and drive to work through the process of learning how best to use the tools.
Think of when you were a kid and you thought that taking piano lessons was a great thing to do, since some of your friends were already enrolled. Then after a while you get the usual threats from your parents to get in there and practice! You get the customary, we bought you that expensive piano and are paying for lessons, so get to work. Truth is, you really didn’t want to learn the piano in the first place. It was just something you thought would be neat. If you really wanted to learn, your parents would have to be lecturing you about spending too much time with the piano and limiting your keyboard time.
It is that drive. . . that obsession with learning that makes for the great artist. You have to eat, sleep and breathe photography to be really successful. Just a casual interest will lead to little more than a few casual photographs. Or, maybe you are just obsessed with the hardware. Maybe you would be better off collecting and trading equipment. There is always that possibility that the light-tight box is your obsession and not the photograph. Only you can make that determination.
That Light-Tight Box is just the camera. . . a tool to be used in the creation of your art. I hope that you learn to use your tools to your best advantage! Invest your time wisely. Learn the tools of your chosen craft well. Do not stumble around in the dark, it belongs inside the camera.
JB
March 31, 2011 | Categories: Commentary, Photography | Leave A Comment »