Film Photography

We shoot film. . . doesn’t everyone?

Dallas / Fort Worth LF Gathering, Saturday March 16, 2013

Amon Carter Museum We are heading to the Amon Carter on Saturday morning, March 16. There is a new exhibit, “Big Pictures“, that opened on last week Tuesday and runs through the 3rd week in April. We will meet at the museum at 10AM. Following our visit we’ll head over to Lucille’s for one of their wonderful lunches. I figure about 11:30 at the latest.

And, yes we need to firm up some Spring photography dates. Before we know it, it will be 100+ degrees again.

Please let me know if you can make it to Lucille’s;  I will call them Friday morning to reserve a table.  

Have a great week y’all

Michael

Drop us an e-mail or post to Michale’s thread on the LF Forum HERE.

 
 

Posted by JB Harlin in D/FW LF GROUP, Events

THE LEARNING WORKSHOP

School WORKSHOPLast summer at Yosemite I lent a boy my 4×5 camera.  He said, “what do I do with this now?”  and I said, “unscrew it and find out for yourself.”  Why shouldn’t he learn how to collapse a camera?  Why should I teach him that?   You mustn’t treat a child as if he’s a nitwit; tell him something and let him go to it.  I don’t believe we do enough self-education.

Interview, Imogen Cunningham, “Dialog with Photography”

I personally have always been one to learn on my own.  I have never been much to attend classes nor workshops.  I do enjoy meeting with other like-minded people and talking shop, and exchanging ideas and techniques, but serious learning for me is a very personal thing.  When I need to learn something new I find a book and start to read.  In this modern world of high-tech, I can also do an Internet search.   I have always been a self starter and learner, that is just how I think.  I do love the atmosphere of a workshop though.  A good workshop is short and sweet.  An intense few days of focused study.  But, it seems that the idea of the photography workshop has changed over the years.

What has happened to the old-fashion photography workshop?  It seems that most every workshop now days is more about the destination, than the art of photography.  For me, learning anything new, or honing the skills you already possess, can be accomplished just about anywhere you can find a comfortable, and appropriate place for learning.  I find it hard to understand why in order to attend a photography workshop you have to trek to some far and picturesque location.  This is expensive and if you believe you are going to bring back a portfolio of prize winning prints. . . well. . . I just don’t see it happening.

A workshop is a place to go to learn.  It is a place to expand your skills, learn new skills, interact with like-minded people, and learn from an experienced instructor.   You need to attend a workshop for the purpose of learning and this can be done anywhere.  Why not spare the expense of exotic travel and attend a local workshop?   All you really need is a classroom. . . most any classroom will do.   It would be nice to have an interesting place near by to go outside and get some hands-on field experience, but this need be nothing more than a small park.  The idea is to learn procedures that you can use when you do travel to some great place and find something interesting.

Once you have honed your technique in familiar territory, then you can head to the beautiful places.  I can never make meaningful images amidst the distraction of a group of people.   My concentration is continually interrupted and I find it difficult to stay focused.  Only when I am out alone with my subject can I think artistically.   The workshop environment is too cluttered and the distractions are far too great.  You need to be paying attention to the message, as Fred Picker said, “steal with your eyes.”   Watch others, especially the instructor, and note how they approach a particular situation.   Ask questions as to why he chose to work in this manner.  Watch intensely and make notes, both mentally and physically. . . yes carry a notebook and a pencil.    Take notes, make diagrams and sketches, whatever it takes so that you can remember and learn.  Do not expect to make meaningful images at a learning workshop.  Whatever images you make within the workshop atmosphere are for the purpose of learning.  Leave the really serious photography for when you are alone and are not distracted.  You will make images that are more meaningful and be more focused when you are able to concentrate on your subject.  This is when you put into practice those things you learned in the workshop.

I would love to see more local, small workshops that teach the basics through advanced photographic technique.  A classroom-type workshop, where those that are interested in learning the how-to, can learn the ins and outs.   Where one can hone those skills necessary for serious work when they do travel to those wonderful places and find things that inspire them to be creative. A learning experience, not a travel experience.  How about more workshops that are a learn now, travel later event?

JB

Posted by JB Harlin in Commentary, Photography

MORE SPOTTING MICROSCOPE INFORMATION

Spotting Microscope Since I had posted my original piece titled “SPOTTING MICROSCOPE” I  have received numerous additional questions.  Seems everyone is looking for an easier way to spot prints, and I will tell you one thing;  there is nothing better for print spotting than a good stereo microscope!  There just is no better way that I have found to see and eliminate those pesky spots we all have to deal with.

First a little information on what to look for.  The microscope is a modular device and you can configure it to suit your needs.  There are five main items you will need.

  1. POD:  this is the main body of the microscope
  2. EYE PIECES:  these are where you look into the unit and their design sets view and magnification (I use the Wide Field 10x)h4>
  3. FOCUS MOUNT:  this holds the POD and allows you to move it up and down in order to focus the unit (like focusing a view camera)
  4. g>STAND:  the stand holds the entire microscope assembly
  • ILLUMINATOR:  a concentrated light source you will need for spotting prints

Most of the questions I have received pertain to what microscope I use.  I had to do a little research as to the exact model I have.   What I use is not the latest model and is probably at least 30 years old.  The good news is quality microscopes are well-made and will last a lifetime if taken care of properly.

The unit I have is made by Bausch & Lomb and is the StereoZoom 4.   Here is a brief description;  “One of the most popular stereo microscopes of all time is the Bausch & Lomb StereoZoom 4 (SZ4), later taken over by Leica and also marketed under the Cambridge Instruments name. It was introduced in 1959 and made until 2000.”

They must have made many thousands of these units in many configurations.  They are plentiful on the used market.   Another question I get is how much do they cost?  That depends on condition and where you find the unit.  We have had ours for some time now and it seems we paid about $450.00 from a seller on eBay including shipping.
reconditioned and fully guaranteed unit from a specialty company will be more expensive.  Keep in mind that the stand is very heavy and adds to shipping cost.    My best recommendation is to purchase a unit with a good return policy if possible.JBH Spotting Microscope

Here is a great site with instructions on how to service and adjust the StereoZoom 4:

http://www.covingtoninnovations.com/stereozoom

I will add a few more comments that might be helpful.  When it comes to the Illuminator there are numerous choices.  The unit we use is an incandescent-type that uses lenses to focus the light into a concentrated beam that illuminates the print surface.   It mounts in the Focus Mount and works very well.  You can also use a Ring Light mounted to the bottom of the Pod.   There are numerous illuminators and some even use LEDs.  I am going to try a Ring Light that I have to see how well, and evenly, it lights the print surface.  Another thing I have not tried so far.

Another thing to consider is the Stand.  There are times I wish the arm of the stand was longer when working on larger prints.  I have been seriously looking at an Articulating Boom mount that attaches to the wall.  Wall mounting will free up work table area and the boom has a reach of about two feet.  Just something else to consider.

Hope this helps to clear up some of the questions.  As I said in my PREVIOUS POST, “. . . a stereo microscope is the Rolls Royce of spotting magnifiers.”

JB

Posted by JB Harlin in Darkroom, How-To, Photography

TALKING ABOUT FILM PHOTOGRAPHY

TALKING ABOUT FILM PHOTOGRAPHY

We would like to thank Larry and the TCC Exposure Club for inviting us to speak to their group last Wednesday.  We had an enthusiastic crowd, with plenty of questions and discussion about big cameras and black & white film.

JB

Posted by JB Harlin in Events, Photography, Presentation

A B&W INTERPRETATION OF NATURE

We would like to invite everyone to drop by and see some of our latest work on display in Dallas.  We are traditional B&W photographers working exclusively in the wet darkroom.  We work with LF and ULF cameras shooting film sizes of 8×10, 11×14, 4×10 and 8×20 inches.  We work exclusively in the wet darkroom; our finished prints are all traditional silver gelatin.  We will be at the gallery for the reception Sunday, March 3rd, 12:00pm to 2:00pm, we would love to see you there.

A B&W INTERPRETATION OF NATURE

“A B&W INTERPRETATION OF NATURE”

Traditional B&W Photography by JB & Susan Harlin
Goodrich Gallery
1928 Ross Ave
Dallas,Texas 75201
March 1st through 31st, 2013
Reception: Sunday, March 3rd, 12:00pm to 2:00pm

 

You will find a map HERE.

For those of you coming to see our exhibit, or attending the reception this Sunday, March 3rd 12-2pm, (Note: we will be in the gallery till closing time Sunday) here are directions to find the gallery.  Enter the building through the glass doors on Harwood St.  Go up the stairs, past the receptionist desk and the gallery will be on your left as you walk toward the Sanctuary.

Posted by JB Harlin in Events, Photography

EDGE B&D CARD

Edge Bruning CardI keep harping on the same old line, but it is true that everyone has their own way of doing things and I am no different.  But it seems that I continue to get questions about how we work.  There seems to be a misconception that when you contact print that Burning and Dodging (B&D) are not possible.  That is 100% malarkey!   Whether you use a spring back or vacuum frame, the image on the negative is visible against the white printing paper.   Burning and dodging is exactly the same as enlarging.

Now having dispelled the myth about contact printing, and understanding things work the same, I find there are two B&D tools I use all the time.  Yes, there are times you will have to cut strange shapes to make a particular B&D tool for a certain image.  No matter what special shapes I may need, I find two shapes that are universally used most of the time.

By far my most used B&D shape is a rectangular piece of mat board.  I use this for edges, sides and most any other large areas.  The second most used B&D shape is a specially modified rectangle for edge burning.    I seem to forever need to burn all four edges of most prints and why burn each edge one at a time?  I cut a piece of mat board smaller in both dimensions than the print I am making.  Then I cut off all four corners at a 45 degree angle.  This is my Edge B&D tool and it sees a lot of use.  I can burn all four sides of a print in one exposure.  The farther you hold the tool from the print, the larger the area that is held back.  Moving the Edge B&D card either in a slow circular motion, or moving slowly up and down, yields a nice even edge burning all the way around the print.

I mostly print 8×10 and 11×14 negatives, and I mostly contact print, so I have two Edge B&D cards for those size prints.   I use a custom handle to hold dodging shapes fashioned after Fred Picker’s Lawton Dodger.  Most of the time, I have my Edge B&D card taped to my dodger.

This is something to think about and may work as well for you as it has for me.  And, this is not just for contact printing.  It works equally well for enlarging.  Try making your own Edge B&D card, you may like using it!

JB

Posted by JB Harlin in Darkroom, How-To, Photography

CALIFORNIA & UTAH 2012-2013 TRIP

Mine ShaftWe went on another December and early January expedition to the Southwest again this year.  This time we trekked to California and the Eastern Sierra, then backtracked to Utah to visit some of our favorite places to photograph.  We saw mild weather and very cold weather on our journey.  We had blue skies, cloudy skies, rain and snow.  Susan and I shot a lot of film, and now it is time to get the notes in order and begin the darkroom work.

We photographed 20 days of the 30 days we were out.  We drove 4,102 miles and made a lot of snapshots.  HERE is our latest trip album. . . enjoy!

JB

Posted by JB Harlin in Film, Photography, Travel

CONTROL IS SIMPLE

Transfer GraphLet me begin by qualifying what I am about to discuss by saying that I am a traditional B&W photographer.  I shoot film and print in a wet darkroom using traditional materials and techniques.  Whenever I talk about photography, I am talking about traditional B&W.  I know little about color photography and even less about digital.

I have often heard the argument that traditional B&W is so complicated.  I actually heard that from several old-time wet darkroom color photographers.  The truth is, working with traditional B&W, wet darkroom materials is very simple.  But, there is sometimes a complex deception in simplicity.  Keep in mind that the most complex machine, or procedure ever devised is little more than a lot of simple things all working together to create a seemingly complex outcome.  True, as you add more steps, each step can interact with the others, but if you break each piece of the greater puzzle into less complex, bite-size pieces, it is understandable and controllable.

When it comes to traditional B&W photography, you only have four basic controls to worry about.  There are only four simple things that have power over the major aspects of the end product. . . the B&W photograph.

  1. Film Exposure

  2. Film Development

  3. Print Exposure

  4. Print Development

1.  Film Exposure:  This is the first, and is a very important aspect of photography.  You can manipulate how a scene is captured through the way you meter and expose the film.  There are numerous manipulations you can employ, including zone placements and filters. 

2.  Film Development:  The tonal range captured on the film at the time of exposure can be further manipulated by development.  Different developers and times will yield different results, but so far as the film goes, this is all you can do.

3.  Print Exposure:  Next comes the process of printing.  You can vary the way in which the paper is exposed.  Matters not whether you are enlarging or contact printing.  You can further manipulate print exposure by dodging and/or burning, and you can adjust the paper contrast, either by paper grades or by using VC papers. 

4.  Print Development:  The only other control you have during printing is the choice of developer, dilution, time, and maybe some additives.   But in reality, these are the only two fundamental controls available for making prints.

Certainly there are numerous smaller adjustments and techniques that can be employed in B&W photography, but these four major areas are where you start.  Anyone that tells you traditional B&W photography is difficult, simply does not have a good understanding of the process.   If you are interested in delving into traditional photography, do not be intimidated.  It is not that difficult.  What is difficult is learning the subtleties that make the process beautiful.  

You need to begin with the fundamental steps.  You can only learn by doing.  Fred Picker said, “ you can learn to talk about something by talking about it, but you can only learn to do something by doing it.”  These four basic areas are where you start.  Then proceed to fine-tune your technique as necessary.  You will soon find that you can easily control the basic processes and develop a photographic approach that suits your vision.

JB

Posted by JB Harlin in Commentary, How-To, Photography

ZONE LANGUAGE

ZONE LANGUAGEThe Zone System is always a controversial subject among serious B&W photographers.   Seems there are numerous versions and sub-versions of the system devised by Ansel Adams and Fred Archer.  Each artist must choose what works best for them.  Like most everything in photography, it is a very personal choice.

In the Zone System, the tonal scale from black to white is divided into even steps that are either twice or one half of the previous value.  This allows the photographer to translate, or visualize, meter readings into finished print values, or Zones. 

Zones

Certain elements of the scene to be photographed are sometimes used as a standard reference.  Here is how Ansel described Zones;

ZONE LANGUAGE

No matter whether you practice the pure AA Zone System, or any of its variations, there is one aspect that I believe is an invaluable tool for everyone.  Speaking in Zones is a universal language, much like math or music.  Speaking in Zones allows everyone to find a common way of communicating what they see, what they feel,  what they want their interpretation of a subject to be, or what they wish to say.

I am not a Zone System purist in any way.  I practice what I have found works best for me.  But, I do use Zones, and use the Zone language in everything I do photographically.  I prefer its simplicity and ease of expression.  I know that if I am discussing an image with a fellow photographer and I say that I placed this area on a particular Zone and this other area fell on another, we are communicating in a common language.

So, whether you are a true-blue ‘Zonie’ or not, I believe everyone should be well acquainted with the language of Zones.  In photography, it is a universal language.

 JB

Posted by JB Harlin in Commentary, Film, Photography

MY FIRST CAMERA

MY FIRST CAMERABeen some discussion lately about getting started in photography.   We seem to have a lot of people interested in film photography.  Everyone started somewhere and everyone has a story.  I had written earlier in another BLOG post about the book that got me started doing my own darkroom work, but I never mentioned my first camera.  I used my Mother’s Kodak No. 2A Hawk-Eye folder for my very first photographs.  My Mother always had to break out the camera and make a quick snapshot when anything interesting was happening, mostly family gatherings, maybe a trip or school event.  She always said, “now let me get back a little farther so I don’t cut your head off.”  I have many snapshots of the great scene with these little tiny people in there somewhere.  I never could break her of that habit.
 
But when I was somewhere around eight or nine years old I received my first camera as a Christmas gift.  My very own Kodak Brownie Starflash that came in a presentation box, with a roll of B&W film, flash bulbs (remember those?) and batteries.  I was only allowed to use B&W film, since it was so much cheaper than shooting color.  I never did get the hang of color for anything but casual snapshots anyway.
 
There was a major train derailment just outside of the town where I grew up and I have two rolls of that.  When I was in the fourth grade we got to bring our cameras to school.  It was the annual school Easter Egg Hunt and I have photos of that and even some in the classroom.  I made the usual snapshots you would expect from a very young beginner.
 
So, that is where I started camera wise.  I have to credit my Mother for getting me hooked on photography.  I have had numerous cameras since my first.  Don’t know what happened to my original camera.  I suspect it was sold in one of my Mother’s garage sales.  But,  I was able to find an identical Brownie Starflash at a local camera show, and it hangs on the wall in our darkroom as a reminder of where I started.
 
JB

Posted by JB Harlin in Commentary, Photography