This is for all those who delight in the design and form of the light box. This one has some wonderful lines. I shell put it down nice and easy, so you can Savor its lines.
Wednesday 15 April 2020
Camera candy, Agfa Isolette
Labels:
120 format,
6x6 negatives,
Agfa Isolette,
camera,
design classic,
film camera,
folder,
photomi7ch,
sexy lines,
vintage
Tuesday 25 December 2018
XP2 super is pulled in to the darkroom screaming
On
the frontier of a new discovery in the darkroom A bit dramatic I
know but that is how I felt. All rubbish, I'm not the first to travel
this route. It is new ground for me and this time I have left the
research alone.
Fotospeed RCVC paper |
With
no preconceived ideas as to what was going to happen. I'm free to
experiment. The first and most noticeable problem is the colour of
the film base. Will I be able to set the grade of paper I want?
Before
the film got anywhere near the darkroom I found my old Ilford
multigrade filters and looked through them to see if the film base
had a close relation. It is lighter in colour to filter number four
in the set but will it interfere? I did try to duplicate the filter
grade on my colour enlarger the closest I could get was what I set
for grade three and that was darker.
Multigrade filters with XP2s film |
To
stop the speculation I contact printed all the film using white light
at two seconds with the lens fully open. These are some of the best
contact prints I have had, nicely toned and detailed. I was not
expecting that!
The
next thing to do was to scale it up to a print size in this case 8
x 10. I would do a segmented test print using white light and then set
to grade three. I chose Fotospeeds RCVC to do the test on. (A much
under rated paper ). I did the first print F8 for 4 sec's using white
light and set grade three at F8 for seventeen sec's.
HC 110 processed XP2s |
Here
is a thought, if film base was the colour of a particular filter
would all the negative on the film print at that grade? And would you
need graded filters any more? There's something to ponder while you
develop your prints. If you have any thoughts please share.
Where
was I hum! Yes the results of course. The difference between the
white light and grade 3 print? In short not a lot if you did not know
which was which you would be hard pressed to tell but there is a
subtle one it shows as an increase in the strength of tone and a
slight uplift in contrast.
XP2s contact prints exposed with 2 sec white light |
I
was expecting a difficult time in getting good results because of the
colour of the film base. This is partly because of what others had
suggested when they had a go at printing. In fact I have found so far
it very easy to print the XP2s negatives. I think if anything the
tint of the film base has enhanced the results.
This was the first graded print the white light print was slightly brighter |
If
we go back to when the film was exposed it was a very bright day with
lots of contrast and if this had been a normal black and white film
the contrast would have lead to a grade zero when being printed.
Instead the prints have been at my normal grade three. Thinking on
what others have said it leads me to believe that XP2s under
represents contrast levels which would explain the flat looking
prints when used normally. To counter this I would suggest using a
harder filter grade and or Kentmere RC to lift the contrast to a
better level.
Printed on Ilford multigrade FB paper |
Back
in the darkroom getting sharp focus was difficult. The grain seen in
the focus finder is very fine and the window of sharpness is very
small unlike traditional film emulsions. What I mean by this is when
turning the focus wheel on the enlarger the grain of the film
sharpens If you keep turning it stays sharp for a few degrees of turn
and then go's soft. With the XP2s it go's out of focus almost as soon
as it is sharp.
I
did try other grades of filter to see if they worked they did but
made the picture look muddy and very dark. Under normal circumstances
I would interpret this as the wrong grade being selected and or
over exposed.
In
answer to my question Will I be able to set the grade of paper I
want?
No!
I am of the impression that the colour of the film base plays a part
in the amount of contrast the paper displays. I have not really
forced the issue because the level of contrast I'm getting is to my
liking. But you may know differently in which case please share.
You maybe interested in this The first part of this post:
Labels:
darkroom,
film photography,
printing,
results,
xp 2 super,
Zero pinhole camera
Monday 24 December 2018
Strobisam
This article was written a long time ago and is from another version of a blog by photomi7ch. The images that were part of this article have long disappeared.
Strobisam
A modern
way of describing off camera flash,
an art in itself. Those of you who know me well are aware that I
cannot abide camera flash and try to avoid it at all costs.
What I'm going to
tell you should be kept between us! I own a flash gun or two and will
use off camera flash to add punch to some of my pictures if I think
they need it. Shock, horror! remember keep it between us!
I realised the
potential of off camera flash before I purchased my first unit. So
researched which make and type met my requirements. Then there was no
stopping me I always had a flash in my bag, along with elastic bands,
cardboard, silver foil and anything else I could use to help achieve
the light I wanted. My camera bag looked like a waste site. Looking
back, I'm surprised I could get my cameras and lenses in the bag let
alone find them when I needed them or for that matter lift the bag
and hike the miles I did. Now days it is much easier, you can buy the
attachments needed to get the right lighting effects which means a
tidy lighter camera bag.
Not all of us can
afford to buy all these new ad Ons and part of the fun is making your
own to keep the cost down. Not only that, when an improvised
reflector or snoot works it adds a bit of kudos to the final picture.
Which brings me neatly on to the strobist
blog a great place to go if you are new or need ideas, there are
videos and articles that explain the basics. Also, a Flickr
group that allows you to ask questions and get advice.
The days of
toting around a camera bag with flash and goodies are long gone. You
don't need loads of kit to make great images.
Sunday 23 December 2018
XP2 super meets Zero pinhole camera and then mugged by Kodak HC110
All of this film is beyond it's best before date. |
They
say that fact is stranger than fiction - but
this is not fiction! I have processed XP2 super 400 in Kodak's HC 110.
It has produced some wonderfully smooth toned negatives with just the
right amount of contrast. I really will not know how good these
negatives are until they are darkroom printed.
This
adventure started with my pinhole camera and the crazy idea that I
would like to use the out of date XP2s sitting in my film cupboard. I
have used this film in the past and been completely under whelmed by
the flat looking photographs I received back from the lab. That is
why I think I am being crazy!
So
for the first time I am going to see what others have done and said
about this film. I started with a bit of research something I do not
usually do. When using a film product for the first time I like to
approach it fresh without all the hurly burly from other people.
HC 110 Not to be mistake for golden syrup. |
With
a quick search a number of references came up, the first one I went
to was the online photographer blog. Written by Mike Johnston. I took two things away
from this blog. First was how to get the best from the film in
different light if you are using the C41 process. He suggests
altering the ISO depending on the lighting conditions as the film can
become very contrasty. Not from my experience.
- For regular shooting in normal lighting ISO 200
- For shooting in extremely bright and or contrasty light ISO 100
- For shooting in low and low contrast lighting indoor or out ISO 400
- He does not recommend using it at ISO 800
The
other bit of information that took my eye but was not part of the
post was about cross processing using the monochrome chemicals. This
made me sit up and take note. I like the idea of using black and
white material to process and print the film because I could do it in
my darkroom without a costly upgrade.
I
found the write up about using black and white chemistry on the
Ilford photo web site. It is very informative and took some time to
read. The author Chris Moss has not only developed XP2s in HC 110 but has also
used Rodinal and Ilfotec HC. He has posted a lot of images to back
all his work up.
HC 110 in syringes |
It
became apparent that he preferred HC 110 as most of the work described
is devoted to this developer. It was at this point I decided to use
HC 110 myself so I could in part test his results and cut out a lot of
trial and error on my own account - a short cut so to speak. I was
however disappointed to find that all his negatives had been scanned
and not printed in the darkroom. The short cut in the beginning means
I will have more time to experiment in the darkroom.
Lastly
before I move onto my results it is worth mentioning Erik Gouldproject web site and in-particular his article on using HC 110 to
control contrast by varying the dilution of the developer. This is
mainly in response to Mike's assertion that XP2s can get very
contrasty in certain situations. Most of this he relates to the C41
processed negatives he has produced. This could be the case for
monochrome work.
Lets just check those setting again. |
What
have I gotten myself into! this was going to be a straight forward
article about using XP2s and my pinhole camera. I'm pleased to say we
are now getting on with the photography. The good thing about it is
that I will be able to take part in world pinhole Day for the first
time.
I
was able to go out over a number of days with my Zero that included
world pinhole day to make the images. The sun was out which made a
change from the dullness we had been experiencing, but it still had a
bite.
I
used three rolls of XP2s that I rated at 100 ISO I did this because
it was a bright day and I wanted exposures that were seconds long
rather than part seconds that a faster ISO would have produced. It
also occurred to me after exposing a roll of delta 100 that I could
do a comparison between the two films. In most cases it took about
eight seconds for each exposure or round about as I can be quite
cavalier when it comes to closing the shutter. This does lead to over
exposing the film, something I should take in hand because I end up
with longer printing times in the darkroom due to the density of the negatives.
It
is the first time I have experienced scepticism and anticipation in
relation to the results. A bit of an April fool feeling, no matter
what happens I have a plan B or do I?
Right!
I loaded the first roll into the tank. Developed it for 5 mins as
suggested being a first for me, I develop one film at a time so I
can adjust the dev time if needed. I used the HC 110 at a dilution of
1+49. Woe! this stuff is so concentrated it is like syrup. I was
warned, which means using a normal graduated measure is out. You will
need to use syringe/s to get the right amount of HC 110 out of the
bottle if you are not going to end up with sticky fingers etc
everywhere. They should be marked out in mls and part mls as the 49
works out at 12.3 mls in 600 mls of water. I wanted it to be the exact
amount that was used.
Please note: that this article was written before Kodak changed the formulation of HC110 to make it easier to pour. This makes certain bit of this post superfluous but does not take away from the overall results.
Contact print. 2 sec using white light. |
When
it came to processing the film I kept to my standard method 12
inversion for the first 30 seconds and then four inversion every
minute there after. the stop was for two minutes with the same
inversion count as the developer. I did the same for the fix, fixing
for 5 mins and then checking to see if the film base had cleared. I
did this partly because there can be an issue with under fixing if
the fix is old which mine was having been used for five previous
film. When I looked the base appeared a little foggy so I put it back
in for a further two minutes.
While
I was checking the film base I was relieved and pleased to see the
tell tail squares that images were there. I now had the unspooled
dripping wet film in my hand. To be presented with some wonderfully
toned negatives on a pinkish magenta film base, was something I had
not been prepared for. What wonders are to be had in the darkroom!
Let the fun begin!?
I recently exposed and developed some XP2s that is ten years out of best before date. There is an issue with fixing, you may find that after ten minutes of fixing that the base is still quite white looking and has not cleared. It is a normal situation that will clear once the film has been washed and dried.
If you are interested The second part of this post:
If you are interested The second part of this post:
Labels:
cross processed,
darkroom,
film developer,
ilford,
Kodak HC110,
xp2 super,
Zero pinhole camera
Saturday 22 December 2018
Recall volume 2
There
is a commotion in the hallway as the dogs clammer to get traction
on the stone floor as they race to be first to the door. Ah! It must
be the postman. There he is waiting to hand me the package containing
my next copy of Recall. I thank him and head in.
With
the package in hand I make my way to the office. There is a tinge of
excitement as the packet is torn open. With bated breath I slowly
pull the magazine from it's cardboard surround. Will it or wont it be
as good as the last one. First impression suggest it is!
I
remove it from the rapper, wow! Again the reproduction is wonderful
it has caught the subtle reflections of light that were in the
original photographs of the high rise blocks. There is a slight
mistake that I missed, this was due to a software update that
unsettled the original layout of the images but really not worth
mentioning in detail.
Although
I have set up a number of custom templates, do not take it for
granted that there will render identical to the last issue without
being carefully checked. Something I will do for the next volume. It
is a case of getting used to the software and getting to grips with a
method that allows things to flow. Once this happens then I think the
mistakes will disappear.
I
have decided not to release a digital copy as it defeats the idea of
the magazine. Which is to share nicely printed pictures that could be
framed and put on the wall.
I have a very small number of signed and numbed copies for anyone who maybe interested. You can only purchase them from me direct. If not you can buy direct from the site.
These links go straight to a blurb link that shows more of the content:
Labels:
architecture,
art of photography,
brutalism,
magazine,
photmi7ch,
recall,
zine
Friday 21 December 2018
Conversations
I
have just finished reading the interview with Josef Koudelka. The
only Czech person to document the soviet invasion of Czechoslovakia
and Prague in particular. A defining moment in his life and career.
A fitting point to introduce to you Apertures volume on their
collection of published conversations.
Like
many of you I am familiar with Josef Koudelka's images of this period
but do not know much, if anything, about the man behind the lens. Of
the sixty nine names that appear on the cover very few of them jump
off the page as people I have read about and know well. There are
some who I have heard of from others but a greater portion I have no
knowledge of at all.
I
read a very small review of this book in black and white photography
mag that peaked my interest and the fact that it was a collection of
interviews - a format that I have enjoyed reading in the past and
prefer to televised versions. To be able to kick back with a cup of
tea in a free moment and allow what is being discussed fully occupy
your attention is a great way to understand fully what is going on.
There
are no images in this book to distract you from what is being said. A
bold move by Aperture. I sometimes feel that when I'm reading
articles that are interspersed with pictures that they tend to take a
back seat to the point of not being noticed. I know this is true in
my case as I can revisit books and magazines and have no recollection
of the accompanying images it is as though I am coming to them again
for the first time.
I
have discovered I do not like pre views of anything. I like to have
an open mind on what is about to pass in front of my eyes and lodge
in my brain - a bit like life it's self! Likewise, this book has
introduced me to a lot of things and opinions I had not considered.
I have no doubt that at some point in my photograph making some of
the things I have read will show themselves in my images.
I
am methodical in the way I read -I start at the front and work
through. I am about two thirds through this five hundred odd page
book which gives you some idea of it's size - not an easy book to
stuff in your pocket to read on the train, bus or plane.
The
conversations vary in length, some more fascinating than others, all
based on visual expression. I am enjoying the odd moments of time I
have spent with this book this year. I will go as far as to say if
you are a photographer you should have a copy of this on your shelf
and if a person from Aperture reads this you should do an
companioning volume on all the images that went with the interviews.
Labels:
aperture foundation,
book,
conversations,
good read,
interviews,
photographer,
review
Sunday 9 September 2018
Delta 100 and the lens-less camera
This
is not the first time I have mentioned sharpness when it comes to
pinhole photography. I know! not something you associate with the
dream like quality of the images it produces. It is part of the
reason that draws me to using a pinhole camera but it does not stop
me speculating whether a T grain film would enhance the detail and
therefore increase the sharpness.
I have already informally checked out the idea that Rodinal/RO9 could go some way to increasing sharpness which was done some time ago. (if your interested in that article I'll post a link at the end) The results did confirm that there was something in my observations. I will reiterate that the sharpness increase will not rival that of a lensed camera.
Delta 100 @100iso developed in RO9 |
Contact print on Fotospeed RCVC |
What
do I mean by an increase of sharpness - it shows it's self with a
better defining of the details across all areas but still maintains
that softness you expect from lens-less images.
All the above were printed on Fotospeed RCVC paper developed in Ilford multigrade
Labels:
camera,
darkroom,
delta film,
developing,
lens-less,
pinhole,
sharpness,
zero multi format camera
Saturday 25 August 2018
Cartier Bresson collected interviews
This
is a wonderful pocket size book that you can dip into anytime.
The page colour is not the standard bright white but a gentle off
white which is quite resting for the eyes while you read it.
It
is laid out in interview/ conversation style, each chapter is a
discussion with questions in bold type and answers. Making it easy
to put down and pick up without loosing the thread. I have read this
book three times in a row it is that interesting.
This
is the first time since the interviews were first published that they
have been translated from French and put into one book. The book
covers twelve interviews from 1951 – 1998. He talks about his
passion for books and art about being a prisoner of war, travelling
to the far east and setting up Magnum.
I
have really enjoyed reading the interviews I was not sure of the format before hand but have discovered you take in far more and
analyse what has been said far better than if I had listened.
Published
by Aperture.
Friday 24 August 2018
Zone System really
Love it or hate it Ansel Adams zone system has become the cornerstone of film exposure and printing that a lot of people cannot get their head round. I was one of those people until I made a point of sitting down many years back with a copy of what he actually wrote.
It is important to stress that when reading his method on the zone system that it comes from the source and that now a days is his volume on the Negative. This is the best place to start your understanding of the process. How do I know this? I read an abridged version of The Camera, The Negative and The Print. To my amazement some of the important parts of the method were left out which made it impossible to understand.
It was a friends encouragement that I obtain all three volumes and if I did It would improve my understanding of the relationship between the camera and the final print. He was not wrong. I ended up reading all three from cover to cover. I must admit reading the bit on the zone system left me cold. I was none the wiser from this first read. I speculated that I was producing nicely exposed negatives so what was the point.
A
year or so later I started to see a number of references to the Zone
system on the internet. Some condoning it and other condemning it.
This reignited my curiosity in trying to understand it; so I made a
loose leaf copy that I carried around with me so I could read it
whenever I got the chance and make notes.
I
cannot remember how many times I re read it or how many notes I made
to remind me what I did not understand and how that fitted in with
the rest but all of a sudden it made sense. I could work out how it
related to what the light meter was telling me.
It
made a difference to the way I metered and exposed the film it also
settled down my sometimes erratic results. I noticed that the
negatives started to be more consistent in there density which
transferred to the darkroom. The number of segmented test prints
reduced across a series of images on the same film.
It
has been more than a decade since I set out to understand the Zone
system. It will always be there in the background of my mind jumping
to the fore when I have a particularly difficultly scene to meter. In
the main, I use a sort of high bred method that gives me the style of
negatives I'm looking for.
All
I'm saying is a better understanding of where different tones and
textures appear on the tonal scale in relation to the exposure data
can only lead to better more consistent results.
Labels:
ansel adams,
books,
understanding the zone system,
zone system
Tuesday 14 August 2018
Be noticed
How
often do you review your images before you edit and or print
them? There is a well kept secret among film photographers. The photo
board or should I say the noticeboard - and yes they do get noticed.
On
it I put all my new contact sheets and recently printed images. It is
placed across the room from my computer and put there on purpose,
allowing me to view the sheets and prints often, in those moments
where I need a break from looking at the screen. It is a good reviver
and helps to formulate how and which images to print. So when I take
the negatives into the darkroom, things run more smoothly.
I
test whether or not the way it is printed and the paper used is right
by putting the photograph on the board. Leaving it there for about
three weeks or more. It also gives the print time to mature
especially if I have used an FB paper. I have found that some of the
fainter details show themselves when the print completely dries out.
Along with any spotting that maybe needed. If at the end of this time
I'm not compelled to reprint it. It becomes a print I'm happy to
reproduce for sale.
I
also use the noticeboard for editing sets of prints. This is a
collaborative thing where anyone can move the order about or remove
an image if they do not think it works. When this happens a
discussion about the way the story should be told ensues, this a
great way of getting the run of the pictures right.
Labels:
editing,
film photography,
magazine,
noticeboard,
pictures,
running order,
story
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