Kiwi held a photo swap meet yesterday, so I put out something our little local photo chat.
From across the parking lot, I spied a friend who’s also in that chat. He has a home studio and does nice work.
He wanted a film camera–and a point and shoot, too. Simple.
He bought a used Olympus plus a roll of film.
After grabbing lunch, a few of us walked around making photos.
He already got that roll published and seems hooked.
You can see some images on his Instagram.
Had a thought this morning: Where are those photos that I took while in Colorado for the Bridgestone Winter Driving School?
I remember making them but can’t recall seeing them.
Did I lose a roll of film? Miss a download from the lab?
I think I found the answer: Instead of dropping off that roll of film, someone left it in with the new rolls of film.
Will drop it off the next time I’m up that way.
Just got some scans back, and I’m happy.
Flic Film Elektra, which is respooled Kodak Aerocolor IV, with my Canon A-1.
What’s Aerocolor?
KODAK AEROCOLOR IV Negative Film 2460 is for general
use in medium- to high-altitude aerial-mapping and
aerial-reconnaissance photography. It is suited for
geological, pollution, archeological, crop and forestry
studies; traffic control; city planning; railway, highway, and
hydraulic engineering; oceanography; and remote sensing,
as well as other areas where photogrammetry is used. It is
also well suited and recommended for use in digital film
recorders.
And Kodak T-Max 400 with the Minolta CLE. I haven’t used this film before. It’s billed as finer grain than my usual Tri-X.
And while picking up my negs, I grabbed a new-to-me film stock: Wolfen NC500. 
I've been it saying for months but finally I HAVE FILM! Thanks David for showing me this place and getting me on track. Now it's time to clean up the Canon F-1 that my grandfather gave me and do some more research. I'm so excited!
In my last few darkroom sessions, I have found myself in a dark place, so to speak. Shunning the making of conventional images, I am drawn to the dark side. It is the negative image rather than the positive image that appeals to my eye. This image was shot with the Bronica etrs on TMax 400, which has been a constant companion since shortly after it's introduction in 1986. I generally favor the even finer grain and sharpness of TMax 100, but on this day I had the 400 loaded. This is a digital photo of an 8 x 10 print on Ilford Multigrade RC paper.
In reply to 1988RedT2 :
This reminds me of a scene out of the Twilight Zone, kind of spooky and eerie. I love it.
One of the things that bug me about printing landscapes is that panchromatic B & W film is very sensitive to blue light and therefore skies in the negatives tend to be quite dense and will print nearly white. Using a red or yellow filter can help mitigate this somewhat. After the fact, a bit of burning in during printing can add a little detail to a boring white sky, but it's never been one of my favorite techniques. Shooting landscapes with Infrared film can be great fun, since it renders skies and vegetation in ways that are very different from how we (and panchromatic films) see them.
The above image was made using a standard print as a "negative" and making a contact print from it.
In reply to 1988RedT2 :
FWIW, I’m currently using a yellow filter with b/w film. I’m still on the first roll with this setup. Eager to see how the photos look.
I've acquired a serious filter collection, and I've used them quite a lot; I rarely shoot B&W without a filter of some sort. While Yellow (2 stop) is the standard blue-correcting filter, I've always preferred Orange or Deep Yellow (both 3 stop filters) for skies. Red is often too much for my tastes. For general purpose use, I gravitate toward Yellow-Green in either a 1.5 or 2 stop rather than Yellow.
For SLRs, there's the option of a polarizer as well. I shoot mostly rangefinders, so these are basically a non-starter for me.
I have wondered about the other filter options, too. Which color will I prefer?
As I find deals, I’ll grab some.
Figure I’m just starting out. :)
David S. Wallens said:In reply to 1988RedT2 :
FWIW, I’m currently using a yellow filter with b/w film. I’m still on the first roll with this setup. Eager to see how the photos look.
That reminds me I should really order a yellow filter today. The filter factor on the #25 red I have is 3 or 5 or something. I'm guessing the yellow is somewhat less. Unless you're metering TTL, be sure to make the necessary adjustment in exposure.
It's also worth noting that different film stocks will respond differently to a given filter color. I basically shoot TriX, so this is minimized for me, but if you bounce around with different films, it may be an issue.
According to this article on Hoya’s site, the K2 yellow only loses half a stop. (I’m using TTL meeting, too. )
I do like the look of yellow-green on the same photo, too.
Speaking of different film stocks, I keep a spreadsheet so I can recall the film stock, camera used, ISO settings, etc. It’s helped me more than once.
It's easy if you're using TTL. Check the readings for the same scene with and without the filter. Obviously, it's somewhat dependent on the subject, but half a stop sounds very low for a regular Yellow filter.
02Pilot said:It's easy if you're using TTL. Check the readings for the same scene with and without the filter. Obviously, it's somewhat dependent on the subject, but half a stop sounds very low for a regular Yellow filter.
For my first roll with the yellow filter (Nikon Y52), I’m trusting the TTL meter although, like usual, I’m overexposing by one stop. Eager to see how the images look.
For the first roll with the Minolta CLE, I grabbed some Fuji 400. Nothing fancy. This is shot at box speed. I’m happy with the results.
Today, one of the Orlando film labs–Not Another Film Lab over in the Milk District–held a cars and coffee. Wide mix of cars, fun day.
Scans to come, but this is like the one phone photo I took today.
Well, and my lunch.
New gear day: 90mm f/4.0 M-Rokkor for the Minolta CLE. Figure that gives me a portrait lens.
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