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Model
V Laroche
Posts: 2,746
New Orleans, Louisiana, US


-The Dave- wrote:
Same reason I sometimes shoot 120 or 35mm in my 4x5. To do something different.

Different from what?

Lots of people use 35mm in MF toy cameras (check those hipster "lomo" sites); I figured it was because perhaps they did not have money for or access to 120 film. This makes sense for kids playing around with a Holga or a Diana which you can buy for $12.

But it appears the OP uses 35mm in his Bronica fairly regularly, too. I just don't understand why. Wouldn't it be a lot easier, and have a better final product, to just use 120?

Oct 14 12 08:01 pm  Link  Quote 
Photographer
Flash N Burn
Posts: 417
Los Angeles, California, US


Sprocket holes look dope yo.
Oct 14 12 08:36 pm  Link  Quote 
Photographer
R Michael Walker
Posts: 11,976
Costa Mesa, California, US


annie lomowitz wrote:

hey, Twinka without Imogen /to those who know\


I've heard that she was a great model.

annie, way too young to know ...

She was...in fact I shot her again just last year when she was 66 I believe. And the shot I linked of her was shot around the same time Judy Dater did the one of her and Imogen Cunningham together. Same area too.

Oct 14 12 08:44 pm  Link  Quote 
Model
V Laroche
Posts: 2,746
New Orleans, Louisiana, US


Flash N Burn wrote:
Sprocket holes look dope yo.

Do Americans in the digital/instagram age now have a fetish for film, which film photographs themselves are not sufficient to satisfy unless it's patently obvious that they were shot with "OMG REAL FILM"? Serious question.

Oct 14 12 09:43 pm  Link  Quote 
Photographer
Roy Hubbard
Posts: 2,781
New York, New York, US


V Laroche wrote:
I have a ton of Kodak Ektar 100 in 120. Why are you putting 35mm in your MF camera? I don't understand the point...?

If no one ever put 35mm in their medium format camera, the world would never have known images like the one posted in the OP. Would the world be better off they didn't exist? Is it up to you to say?

Oct 14 12 10:00 pm  Link  Quote 
Photographer
-The Dave-
Posts: 8,614
Las Vegas, Nevada, US


V Laroche wrote:

Different from what?

Lots of people use 35mm in MF toy cameras (check those hipster "lomo" sites); I figured it was because perhaps they did not have money for or access to 120 film. This makes sense for kids playing around with a Holga or a Diana which you can buy for $12.

But it appears the OP uses 35mm in his Bronica fairly regularly, too. I just don't understand why. Wouldn't it be a lot easier, and have a better final product, to just use 120?

I shoot digital to make money, I shoot film to have fun.

And as a 49 year old kid, I still love using my Holga 120s too. smile

And just so ya know, I don't really care if the picture is perfect or not when shooting film. Film is imperfect by nature, that's one of the things that make it great.

Oct 14 12 10:47 pm  Link  Quote 
Photographer
AgX
Posts: 1,215
Philadelphia, Pennsylvania, US


AgX wrote:
Are you using bulk C-41 chemicals, or one of the prepackaged kits? If the latter, which one, and how have you found it?
Roy Hubbard wrote:
I'm using the Tetenal C-41 1 liter kit. It's more or less as simple as black and white, and I've found the results pleasing. The chemicals can knock you for a bit of a loop if you don't have decent ventilation and keep at it for an extended period.

I bought a few boxes of Velvia 50 in 4x5 the day Fuji announced they were discontinuing it, going to try Tetenal's E6 kit at some point soon.

I've tried the Tetenal C-41 kit just once and got a lot of grain. I shoot so little color that it's often just easier to take it to a pro lab several blocks away to have them process and scan. I do have a slew of Portra and Fuji 400H in the freezer, so maybe I'll do some autumn foliage and buy another kit.

Oct 15 12 07:10 am  Link  Quote 
Photographer
Roy Hubbard
Posts: 2,781
New York, New York, US


AgX wrote:

AgX wrote:
Are you using bulk C-41 chemicals, or one of the prepackaged kits? If the latter, which one, and how have you found it?

I've tried the Tetenal C-41 kit just once and got a lot of grain. I shoot so little color that it's often just easier to take it to a pro lab several blocks away to have them process and scan. I do have a slew of Portra and Fuji 400H in the freezer, so maybe I'll do some autumn foliage and buy another kit.

I'd definitely recommend playing around with it some more. The first few rolls I did were less than stellar, also, though I'm still not exactly sure why. After a color spree the past few weeks, I'm really happy with the results I've been getting.

This is a scan from Portra 160, 15 second exposure:

http://www.royhubbard.com/stuff/train_portra.jpg

And a crop:

http://www.royhubbard.com/stuff/train_portra-crop.jpg

Oct 15 12 07:39 am  Link  Quote 
Photographer
Tony-S
Posts: 1,350
Fort Collins, Colorado, US


V Laroche wrote:
But it appears the OP uses 35mm in his Bronica fairly regularly, too. I just don't understand why. Wouldn't it be a lot easier, and have a better final product, to just use 120?

They are almost always landscape shots. No sense in wasting film that's going to get cropped down anyway. And the sprocket holes aren't always there - they are sometimes cropped out as well.

V Laroche wrote:
Do Americans in the digital/instagram age now have a fetish for film, which film photographs themselves are not sufficient to satisfy unless it's patently obvious that they were shot with "OMG REAL FILM"? Serious question.

I don't know about the instagrammers (I never left film entirely), but for me its the superior dynamic range, exposure latitude and size of the film that sets it apart from digital.

Oct 16 12 10:53 am  Link  Quote 
Photographer
Tony-S
Posts: 1,350
Fort Collins, Colorado, US


From the Bronica RF645, an exceptional medium format rangefinder.

http://farm9.staticflickr.com/8152/7389159224_ab7d9af153_b.jpg
65mm f/4, Delta 400, XTOL 1+2 @68F for 12 min.
Dec 05 12 09:53 am  Link  Quote 
Photographer
PhillipM
Posts: 6,358
Martin, Tennessee, US


RB67 w/50mm, Arista 100 iso. 
Arista Developer
Printing in my new darkroom on Ilford MGIV FB paper +2.5 Filter

Yes, I'm in heaven.

http://www.keepsakephotography.us/NashvilleMan.jpg
Dec 05 12 10:09 am  Link  Quote 
Photographer
AgX
Posts: 1,215
Philadelphia, Pennsylvania, US


Roy Hubbard wrote:

I'd definitely recommend playing around with it some more. The first few rolls I did were less than stellar, also, though I'm still not exactly sure why. After a color spree the past few weeks, I'm really happy with the results I've been getting.

This is a scan from Portra 160, 15 second exposure:

http://www.royhubbard.com/stuff/train_portra.jpg

And a crop:

http://www.royhubbard.com/stuff/train_portra-crop.jpg

Those are a lot finer grained than what I was getting with my first couple of iterations. Maybe you're right though, I should give it another shot.

Dec 05 12 10:16 am  Link  Quote 
Photographer
Click Click Click
Posts: 12
Batavia, New York, US


Mamiya 67RZ Kodak Ektar100


http://farm8.staticflickr.com/7073/7165881381_deeb19f60a_c.jpg
Dec 05 12 10:17 am  Link  Quote 
Photographer
Tony-S
Posts: 1,350
Fort Collins, Colorado, US


PhillipM wrote:
RB67 w/50mm, Arista 100 iso. 
Arista Developer
Printing in my new darkroom on Ilford MGIV FB paper +2.5 Filter

Yes, I'm in heaven.

Now that daylight savings is done, I can start printing again. I have to lug my Beseler 23C XL Dual Dichro upstairs to the bathroom to make prints. It's a real pain in the backside.

Dec 05 12 10:20 am  Link  Quote 
Photographer
AgX
Posts: 1,215
Philadelphia, Pennsylvania, US


Tony-S wrote:
Now that daylight savings is done, I can start printing again. I have to lug my Beseler 23C XL Dual Dichro upstairs to the bathroom to make prints. It's a real pain in the backside.

What you need to do is sell your place and buy something with an extra bathroom that you can subvert permanently.
Priorities man, priorities. wink

Dec 05 12 10:23 am  Link  Quote 
Photographer
PhillipM
Posts: 6,358
Martin, Tennessee, US


Tony-S wrote:
Now that daylight savings is done, I can start printing again. I have to lug my Beseler 23C XL Dual Dichro upstairs to the bathroom to make prints. It's a real pain in the backside.

Yeah, Tony, that would be a bitch to deal with off and on.  I converted a storage room at the west end of the studio into a DR.  I don't have running water in it yet, but that will come. 

It's hard for me to continue to edit my day to day stuff, because I want to get in there and print.  What a kewl feeling to dodge and burn, and see that image come up on the paper in the soup.. wink 

I've only printed (1) 8x10 so far, the rest are 5x7's, because I wanted to get a good work flow and process grooved first before moving to larger prints.

Dec 05 12 10:26 am  Link  Quote 
guide forum
Photographer
Giacomo Cirrincioni
Posts: 21,074
New York, New York, US


PhillipM wrote:
Yeah, Tony, that would be a bitch to deal with off and on.  I converted a storage room at the west end of the studio into a DR.  I don't have running water in it yet, but that will come. 

It's hard for me to continue to edit my day to day stuff, because I want to get in there and print.  What a kewl feeling to dodge and burn, and see that image come up on the paper in the soup.. wink 

I've only printed (1) 8x10 so far, the rest are 5x7's, because I wanted to get a good work flow and process grooved first before moving to larger prints.

As you get into more refined, complicated printing techniques, you will find that, to a point at least, larger prints will be easier to make.  This is especially true when it comes to selective dodging and burning of smaller details.  I printed some 8x10 for the first time in forever for a friend of mine and was continually frustrated by the lack of room, where as an 11x14 seems just right.  Also, as the head is further away, your exposure times are longer.  If doing split grade printing (especially if combined with a dodge or burn move) it's easier to divide up the longer time into sub exposures during which time you will be completing a secondary task. 

For example, if your base exposure is 40s but you want to lighten the faces on two people by one stop, then you would have to dodge each of their faces for 20s.  So you set your timer for 20 instead of 40 and do each move independently.  The 20s exposure allows you to to move your dodge tool around enough, long enough, that you don't leave any tell tale traces of the move (unless of course someone is familiar with darkroom printing).  On the other hand, if your base exposure is 10s, you now have to split that up into two 5s intervals.  This can also be done well if you have a bit of practice under your belt.

But what if you don't want to lighten the faces by a whole stop.  What if you want them a half stop brighter?  Or a quarter stop?  Well, now you're dealing in increments of 2.5s or less.  I don't care who you are, that becomes difficult.  A 1.25 second dodge is VERY difficult to do well.

Dec 05 12 11:28 am  Link  Quote 
Photographer
The F-Stop
Posts: 1,455
New York, New York, US


PhillipM wrote:
RB67 w/50mm, Arista 100 iso. 
Arista Developer
Printing in my new darkroom on Ilford MGIV FB paper +2.5 Filter

Yes, I'm in heaven.

http://www.keepsakephotography.us/NashvilleMan.jpg

I'm loving the hell out of my RBs. I like a 180mm for portraits n that 50 is just so sweet.. focusing from 4" to infinity.. yum! Beautiful razor sharp images.. count the hairs on a fly's ass!

I see you are all setled in Phill.. soon they'll have to crow bar you out of the darkroom?

Nice work!

Dec 05 12 02:57 pm  Link  Quote 
Photographer
PhillipM
Posts: 6,358
Martin, Tennessee, US


Para: Thanks for the info.  Insightful as usual...  Baby steps for me right now, but I'm chomping at the bit to print larger.  Waiting for that special image to do so though.

Fstop: Love my RB too.  I have to get another 120 back.  Mine is Fubar'd, but I love that 50mm.  I have a 180mm, but damn it's heavy when thrown on that RB.
Dec 06 12 04:00 am  Link  Quote 
Photographer
Kaouthia
Posts: 3,152
Lancaster, England, United Kingdom


Just received this in the mail yesterday.  First of it I've seen for sale in at least the last 6 months, as they quit making it.  And it's still got a couple of months left on the clock! big_smile

https://fbcdn-sphotos-c-a.akamaihd.net/hphotos-ak-ash3/44879_483694475007116_332578108_n.jpg
Dec 06 12 04:22 am  Link  Quote 
Photographer
Gabby57
Posts: 394
Coppell, Texas, US


1935 Netter Ikon 6x9, Ektachrome:

http://photocamel.com/gallery/data/500/Carrollton_Pharow_0001_.jpg
Dec 06 12 04:36 am  Link  Quote 
Photographer
Madcrow Photographics
Posts: 7,802
Boston, Massachusetts, US


When I first got into photography in a serious way, a film SLR was all I could afford, so that's what I went with. The step up in quality from my little mid-2000s digital point and shoot to high-res scans of good film from a well-run Fuji Frontier machine was amazing and the money I saved by going analog rather than buying a DSLR meant that I could get a few nice lenses. Sadly, film prices just kept going up and it got to the point where I just couldn't afford to shoot film any more, but it was certainly fun while it lasted.
Dec 06 12 06:34 am  Link  Quote 
Photographer
Jason Haven
Posts: 38,287
Washington, District of Columbia, US


Love this thread. smile

I'm not a film shooter myself, I have no desire to go back to that, but I really enjoy seeing everyone else's use of it.
Dec 06 12 02:13 pm  Link  Quote 
Photographer
PhillipM
Posts: 6,358
Martin, Tennessee, US


My shoes...

Shot with Fomapan b/w on a Graplex Graphic View, developed in Arista 1:9, printed on Kodak Polycontrast III RC paper.  Shot in the studio for a possible candidate for a print exchange later in 2013.

http://www.keepsakephotography.us/4x5/BabyShoes.jpg
-
Arista Film

http://www.keepsakephotography.us/4x5/Dials.jpg
-
http://www.keepsakephotography.us/4x5/ReelfootTrees.jpg
Dec 31 12 03:43 am  Link  Quote 
Photographer
Joey
Posts: 452
Orange, California, US


Click Click Click wrote:
Mamiya 67RZ Kodak Ektar100


http://farm8.staticflickr.com/7073/7165881381_deeb19f60a_c.jpg

Damn that's NICE!!

Dec 31 12 08:47 pm  Link  Quote 
Photographer
PhillipM
Posts: 6,358
Martin, Tennessee, US


Pulled out my RB67 yesterday.  Got a WLF on it, and was test driving it.
Shot in Nashville.
Ilford 100, Arista Developer


http://www.keepsakephotography.us/4x5/NashvilleGuitar.jpg
-
http://www.keepsakephotography.us/4x5/NashvilleShelter1.jpg
-
http://www.keepsakephotography.us/4x5/NashvilleShelter3.jpg
Jan 20 13 08:34 am  Link  Quote 
Photographer
Patrick Walberg
Posts: 42,551
Salinas, California, US


I have entire folder of images I shot on film titled "Classic Shots"

Jan 20 13 12:21 pm  Link  Quote 
Photographer
PhillipM
Posts: 6,358
Martin, Tennessee, US


Mamiya RB67 / Fomapan BW

http://www.keepsakephotography.us/TaylorFilm.jpg
Jan 23 13 02:51 pm  Link  Quote 
Photographer
Brandon L Ingram
Posts: 40
Eugene, Oregon, US


Here's a link to one of my film images. Sorry, don't know how to upload the actual image..

http://www.modelmayhem.com/portfolio/pic/30566048
Jan 23 13 03:05 pm  Link  Quote 
Photographer
Mcary
Posts: 1,803
Fredericksburg, Virginia, US


http://photos.modelmayhem.com/photos/130123/15/51006deebaef1.jpg

Crown Graphic
HP5+
Rodinal 1-100
Jan 23 13 03:15 pm  Link  Quote 
Photographer
Hector Fernandez
Posts: 1,152
Mexico City, Distrito Federal, Mexico


http://photos.modelmayhem.com/photos/121029/16/508f157dbe7d5.jpg
Jan 23 13 05:43 pm  Link  Quote 
Photographer
edltphoto
Posts: 280
Los Angeles, California, US


Last roll of film I shot in 2000. Sat in a humid garage for a decade undeveloped 'till I found them by accident. "Universal 200" was the film they sold us at school (High School). It was actually the last time I visited Mexico, going back in 2 weeks just 13 years after this photo was taken.

https://dl.dropbox.com/u/247552/774729_10100646568288828_1664708359_o.jpg
Jan 23 13 05:46 pm  Link  Quote 
Photographer
Hector Fernandez
Posts: 1,152
Mexico City, Distrito Federal, Mexico


PhillipM wrote:
My shoes...

http://www.keepsakephotography.us/4x5/BabyShoes.jpg

Very expressive, loved it.

Jan 23 13 06:02 pm  Link  Quote 
Photographer
sunn fotography
Posts: 263
Hong Kong, Hong Kong, China


Jan 23 13 07:06 pm  Link  Quote 
Photographer
Legacys 7
Posts: 33,787
San Francisco, California, US


Not the best, but one that I was able to find. 4x5 negative film. Shot back in 2003.

http://farm4.staticflickr.com/3453/4554883481_827ee20523_z.jpg
Jan 23 13 07:57 pm  Link  Quote 
Photographer
CDP Photo
Posts: 2,094
Brooklyn, New York, US


Carioca wrote:
Linhof 4x5, through a barrel lens built in 1905, shot on TXP, developped in X-tol.

http://bit.ly/KzZ6Gi

This is beautiful. It needs nothing else.

Jan 24 13 02:30 pm  Link  Quote 
Photographer
PANHEAD PHOTOGRAPHY
Posts: 1,626
San Francisco, California, US


http://farm9.staticflickr.com/8471/8407273484_a66ebcb231_b.jpg


Leica R6.2 Leica 180mm f2 APO Kodak ektar
Jan 24 13 03:27 pm  Link  Quote 
Photographer
Tony-S
Posts: 1,350
Fort Collins, Colorado, US


Mission Mountains, Montana. Bronica GS-1, PG 200mm f/4.5 at f/11 and 1/2", Ilford SFX film, #89B (Cokin 007) near-IR filter, Perceptol 1+1 for 20 min at 68 F. It's too bad real IR film is tough to come by these days, with Efke gone.

http://farm7.staticflickr.com/6081/6118648465_565a568f18_b.jpg
Mission Mountains, Montana 2
Feb 13 13 07:15 pm  Link  Quote 
Photographer
Tony-S
Posts: 1,350
Fort Collins, Colorado, US


Mmm. Velvia 50 and reciprocity effect! Bronica GS-1, 50mm lens, 2 minute exposure.

http://farm7.staticflickr.com/6182/6084037797_b2f8b4608d_b.jpg
St. Mary Falls, Glacier National Park, USA
Feb 13 13 07:16 pm  Link  Quote 
Photographer
AgX
Posts: 1,215
Philadelphia, Pennsylvania, US


Both of the above examples are very cool. I've never shot IR or Velvia. The former, I'm not likely to, the latter perhaps someday (I have some Sensia in one body now; my first chromes).
Feb 14 13 12:39 pm  Link  Quote 
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