New York June NYC Meet-Up

Prest_400 said:
Out of rule of thumb I always shot HP5 at 250-320 and got it Developed in Dil.E. 7:30, 10s agitation each minute

Last weekend at the camera club a member told me the faucet thermometer is wrong so instead of 20C I had been cooking film at 24C.
Perfectly good negs anyways... Printed straight.

TriX was reengineered in 2004 IIRC so should be a bit modern vs HP5. I guess Ilford has only tuned imperceptible stuff, if they had to at all.

Went out for a daytrip to rural Scandinavia and many places seemed like the US south in aesthetic, corroborated by a film photo friend!

Because toy cameras began to chase me, I had to give a try Fomapan. Less than $4/120 roll. Fun film. That one is actually almost half box speed as they got the ISO tested in speed increasing developer.
The 100 in a holga on a sunny day worked great. I ordered a brick of the 200 to run at 125 and do more loose shooting stuff.

I will try some flash stuff as traded a thrift camera for a speedlight.
Click to expand...

Jorde,

Sounds like you are doing all the right stuff. Seems like you also have evoled with your own voice/style.

This requires digging in.

Also great that you make negatives that are easily straight printed. In college some of my peers never got that consistent or developed that level of control. Pretty much that was my training in art school.

Cal
 
I have my "cheap" Rolex (SS Sub "No-Date") back. Now I realize how heavy and huge the Panerai is. The Rolex is more comfortable.

So like my old Wetzlar M6 it is remarkable how time with an object can form a bond.

In a way because I have moved around so much these famiar objects carry a sense of home for me, somehow I have a secure sense of permanence, and a basic and primal need is met.

Today I carry the SL2-MOT again. The spot metering is a liability at times because it is different from my other cameras. Yesterday I found myself in the shadows, but the scene was sunlite, so I metered off the back of my hand in the shadows and subtracted two stops to compensate. Pretty much hope for the best.

The VF'er provides aperture and shutter speed, but because of M-bodies I have the habit of reading the speed off the dial and the aperture off the lens. I don't understand why I don't do this with my F3P, and I find it odd. So that is why I'm tending to the SL2-MOT.

"Strange is good," I say.

Cal
 
Oddly the Janet Guthrie documentary has been censored off of You Tube. Saturday when I first saw the film on ESPN was the first release.

Since I'm a smut queen I have been digging in. Pretty much this documentary conveys the events in a way Janet likes (a woman was the director). The Director of the film caught inspiration by a book written by Guthrie in 2005 who now is 81 years old.

Janet says in her life she would not change anything, but her only regret is not of having reached her true potential.

Tears. This breaks my heart. This is a very capable woman who defied all the odds. Men that were her competitors knew that given the chance that this woman would of been a champion, but that was denighed her.

It is a strange irony that these video's have been somehow removed, to be silenced. One records only 15 views before removed. WTF???

Cal
 
Free registration for PhotoPlusExpo 2019 on the separate thread I started.

Save the date October 24th-October 26th.

I'm number 1214.

Cal
 
Cal, I've noticed as we get older we like old familiar things. I've worn a Casio standard G-Shock most of the time since 1987. I've carried a Swiss Army Super Tinker the same length of time.

I guess as we get older, we want familiar things around us.




Calzone said:
I have my "cheap" Rolex (SS Sub "No-Date") back. Now I realize how heavy and huge the Panerai is. The Rolex is more comfortable.

So like my old Wetzlar M6 it is remarkable how time with an object can form a bond.

In a way because I have moved around so much these famiar objects carry a sense of home for me, somehow I have a secure sense of permanence, and a basic and primal need is met.

Today I carry the SL2-MOT again. The spot metering is a liability at times because it is different from my other cameras. Yesterday I found myself in the shadows, but the scene was sunlite, so I metered off the back of my hand in the shadows and subtracted two stops to compensate. Pretty much hope for the best.

The VF'er provides aperture and shutter speed, but because of M-bodies I have the habit of reading the speed off the dial and the aperture off the lens. I don't understand why I don't do this with my F3P, and I find it odd. So that is why I'm tending to the SL2-MOT.

"Strange is good," I say.

Cal
Click to expand...
 
MrFujicaman said:
Cal, I've noticed as we get older we like old familiar things. I've worn a Casio standard G-Shock most of the time since 1987. I've carried a Swiss Army Super Tinker the same length of time.

I guess as we get older, we want familiar things around us.
Click to expand...

MFM,

With all the displacement I have gone through my whole life and all the uncertainty, I think secure attachment is a big issue for me and is exaggerated. For the past 9 years I have lived in Spanish Harlem, and this is the longest period of time I have ever lived in one place, and that includes my childhood.

Looks like my friend Joe is right: buying or owning a home at this late part of my life does not really make any sense.

Funny thing though is I'm pretty financially secure. "Maggie" wants to stay in NYC for at least five more years to make the most of it and her youthfulness.

If I move to another country or to the left coast pretty much a further cull down would be required. Pretty much though the stuff that I now have I consider "treasure" that I want to keep.

Getting rid of some of these high dollar items I worked so hard to accumulate will be difficult, even though I bought them as "hard assets" as investments. Most of this gear are vintage guitar amplifiers, vintage guitars, and vintage bass's.

Cal
 
Lunchtime at the dead end of East 72d Street is a cliff overlooking the East River, Rose-A-velt Island, and the FDR below. There is this curvy railing that casts a high contrast shadow from a near noon sun, but there are clouds in the bright sky and a cobblestoned place where and arc of park benches echoes the landing.

I can see the Triborough Bridge, Hellgate Bridge, and in the other direction the 59th Street Bridge in the distances.

400 ISO 1/1000 at F5.6 metered off the back of my hand as a grey card.

I fell like Andre Kertez because of my compositions and the use of space and geometry. I blow through a fresh roll of Tri-X.

I shot with a 28/3.5 black Canon today. Tomorrow I'll bring more film and another camera to empty. I caught two barges and a tug in some of my shots. I believe these shots could be timeless because there is little to suggest 2019.

Monday "Maggie" will be in Saint Louis, and I took off the day to test films and developers. A photo vacation of sorts.

Cal
 
Nokton48 said:
5222 XX Darkroom print 1 by Nokton48, on Flickr

Minolta SRT101 Eastman XX 5222 ADOX Borax developer
85mm F1.7 MC Rokkor

Promaster VC RC paper developed in Multigrade developer
80mm F4 Rodagon laser aligned
Click to expand...

Dan,

Thanks for the inspiration. It seems like that Adox-PQ is a great match with 5222.

Hmmm... I have a triple beam scale and set of weights that were being X-S'ed from a lab. Pretty much have mucho 1 liter graduated bottles that I recycled from my lab. I already have all the printouts for cost evaluation to bulk up on supplies for ADOX-PQ.

Yesterday shot two rolls of Tri-X and today's goal is to shoot a roll of HP5 and Delta 400 both at 320 ISO for Monday's "mixed tank."

Pretty much these last few loose rolls of 135 are really testing and evaluation for 120. The only stockpile of 135 I have left is mucho FP4 and a hundred foot roll of Agfa 100 that Chris gifted me. After that it will be 5222 100%.

Diafine 4+4 ISO 400 for a dramatic compensating effect (only two inversions per minute). Ilford DDX 10 minutes 500 ISO (only three inversions per minute) mild compensating effect.

I'll be trying a more diluted DDX for 200 ISO, and ADOX-PQ for sure.

How do 11x14's look with ADOX-PQ? Pretty much this is where I want to go.

Thanks in advance.

Cal
 
MFM,

Yesterday I got the surprise of a book delivery. Many thanks.

Know that there are a lot of creative possibilities laid out, and that I will share this book as a resource with the dudes from the NYC Meet-Up.

Very cool the retro look. Funny how I could not find a copyright date, but it looks to be 1960's.

The "Vacuum Easel" is not what I need, although useful for other things. The "Vacuum Frame" I require is to compress a sandwich of photographic paper and negative to make contact prints.

The size of this frame in my case would be rather large because my Epson 7800 is a 24 inch wide printer, and the purpose of this contact printing would be to make/create limited editions.

As you can tell the studio I am planning would have to be rather large to do all this. Making a print washer for say a 24x36 inch print is likely.

Cal
 
Calzone said:
How do 11x14's look with ADOX-PQ? Pretty much this is where I want to go.
Click to expand...



Haven't printed any yet, starting with 8x10 250 sheet box and 100 sheet 5x7.

I suspect you will start to see some grain. After all it's film from the late 1950s. I like the grain pattern and rendition (as you know)

Glen Helen Yellow Springs 1 by Nokton48, on Flickr

Enlarged onto 8x10 Arista Ultra EDU #2 graded paper, using Modern Enlarging Systems Model II LED head as light source.
Uber bright LED light source, blue LEDS only (for graded paper use). Which I happen to prefer right now.

5 seconds at F32 enlarging time. development in Ilford Multigrade developer. Using vintage Omega Omegalite circuline bulb exposure time same height 35 secs at F16.

Glen Helen Yellow Springs waterfall
Sinar Norma 4x5 HP5 D76
 
Nokton48 said:
Haven't printed any yet, starting with 8x10 250 sheet box and 100 sheet 5x7.

I suspect you will start to see some grain. After all it's film from the late 1950s. I like the grain pattern and rendition (as you know)

Glen Helen Yellow Springs 1 by Nokton48, on Flickr

Enlarged onto 8x10 Arista Ultra EDU #2 graded paper, using Modern Enlarging Systems Model II LED head as light source.
Uber bright LED light source, blue LEDS only (for graded paper use). Which I happen to prefer right now.

5 seconds at F32 enlarging time. development in Ilford Multigrade developer. Using vintage Omega Omegalite circuline bulb exposure time same height 35 secs at F16.

Glen Helen Yellow Springs waterfall
Sinar Norma 4x5 HP5 D76
Click to expand...

Dan,

Any grain I see is mucho pleasing.

I do think that Diafine and DDX might do better than ADOX-PQ though for minimizing grain. Both are very active developers. With Diafine the development time is kinda like only 4 minutes because the Part "A" soak is just that, and development really only gets "activated" during the 4 minutes with part "B."

I think the DDX has reduced alkalinity for smaller grain, while ADOX-PQ gets its alkalinity from the Borax. In other words the Borax likely brings out or promotes the grain, although mucho pleasing and pretty.

I just don't see the grain as much that I saw when using D-76 with DDX and Diafine. The bump in speed (400 ISO Diafine and 500 ISO DDX) also is a bonus. The tonality I see is better than with Tri-X.

I just wonder how this all will balance out. Kodak 5222 has its own look that is "silver rich," old school, and retro. Pretty much isn't that what B&W film is really about?

Please keep me informed about your printing bigger when you get around to it.

Cal
 
I've seen the copyright date-1973.


Calzone said:
MFM,

Yesterday I got the surprise of a book delivery. Many thanks.

Know that there are a lot of creative possibilities laid out, and that I will share this book as a resource with the dudes from the NYC Meet-Up.

Very cool the retro look. Funny how I could not find a copyright date, but it looks to be 1960's.

The "Vacuum Easel" is not what I need, although useful for other things. The "Vacuum Frame" I require is to compress a sandwich of photographic paper and negative to make contact prints.

The size of this frame in my case would be rather large because my Epson 7800 is a 24 inch wide printer, and the purpose of this contact printing would be to make/create limited editions.

As you can tell the studio I am planning would have to be rather large to do all this. Making a print washer for say a 24x36 inch print is likely.

Cal
Click to expand...
 
Cal, tell the guy's I've scanned several of the projects from that book and the Blueprint Volume 2 book. All the need to do is ask and if I have it scanned, I'll email it to them

On the print washer....frankly, I feel that Perry Yob had a bad habit of over complicating things. I've been around somebody fibreglassing stuff and NEVER AGAIN! The stink is just awful.

I spoke to B-9 (sent him a copy of the book) and he showed it to a buddy that does PVC work-his buddy thinks it'd be pretty easy to weld one up from sheet PVC.

Cal, just remember when you build the print washer-water is 62.4 pound per cubic foot.
I ran the math on a 24 x 36 x 8 inside size print washer-250 pounds of water.
 
MrFujicaman said:
Cal, tell the guy's I've scanned several of the projects from that book and the Blueprint Volume 2 book. All the need to do is ask and if I have it scanned, I'll email it to them

On the print washer....frankly, I feel that Perry Yob had a bad habit of over complicating things. I've been around somebody fibreglassing stuff and NEVER AGAIN! The stink is just awful.

I spoke to B-9 (sent him a copy of the book) and she showed it to a buddy that does PVC work-his buddy thinks it'd be pretty easy to weld one up from sheet PVC.

Cal, just remember when you build the print washer-water is 62.4 pound per cubic foot.
I ran the math on a 24 x 36 x 8 inside size print washer-250 pounds of water.
Click to expand...

MFM,

I intend on using the book as a source of ideas/inspiration. Rarely do I follow directions, and pretty much I do things in clever ways.

Using sheet PVC is a great idea.

Also I'm well aware that water weighs about 8 pounds a gallon.

About 20 years ago I found this place on Long Island that sold these Chinese earthen ware gigantic bowls. The largest size held about 50 gallons which I used as an aquarium for Koi. I figure the weight of the water alone was about 400 pounds and the oversized urn about 80 pounds.

Some people have an infinity with animals. Walking around dogs kinda go nutz wanting to play with me. Koi are very intelliegent and I had 5 in my aquarium.

Koi live to eat and my biggest fish I named "Shaq" because he would jump and splash as if he was a Killer Whale at SeaWorld. Inderstand that Shaq grew to be an eight pound fish and he was about the size of my calf ankle to knee. I trained him to eat out of my hand.

Another Koi I named "Ali" short for Alligator. He was golden orange, but he had metallic scale pattern that made him like a reptile. He also kinda hovered near the surface like a gator. Ali was not as fat as Shaq, and perhaps he was only 6 pounds.

Pretty remarkable how big I was able to grow these Koi. I had a German filter (Eihiem) that pumped 350 gallons per hour. On top of that I ran a big airstone to airate the water.

Koi are pig like fish and on top of all that I did frequent water exchanges. Once a week would be a 45 gallon exchange and during the week 5 gallons each day.

So my fish were kind of a circus attraction. Whenever I had guests Shaq would come out of the water and surprise people who thought they were being attacked. Pretty much he was just a food processor and an eating machine.

Another thing is that I fed my Koi this boutique/expensive food that was engineered for them.

During a NYC black out I used a 5 gallon bucket to airate the water every half hour, but when night came I would drink a quart of cold water. Pretty much I would wake in 30 minutes on cue to airate the water because I had to pee.

I killed my whole school of Koi when I experienced an airpump failure. Pretty much the loss airation killed them. I buried the bodies in my garden.

Cal
 
Nokton48 said:
Haven't printed any yet, starting with 8x10 250 sheet box and 100 sheet 5x7.

I suspect you will start to see some grain. After all it's film from the late 1950s. I like the grain pattern and rendition (as you know)

Glen Helen Yellow Springs 1 by Nokton48, on Flickr

Enlarged onto 8x10 Arista Ultra EDU #2 graded paper, using Modern Enlarging Systems Model II LED head as light source.
Uber bright LED light source, blue LEDS only (for graded paper use). Which I happen to prefer right now.

5 seconds at F32 enlarging time. development in Ilford Multigrade developer. Using vintage Omega Omegalite circuline bulb exposure time same height 35 secs at F16.

Glen Helen Yellow Springs waterfall
Sinar Norma 4x5 HP5 D76
Click to expand...

Why not put some neutral density filters in the filter drawer to increase the exposure time in order to have extra time to do dodging + burning?
 
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