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Photography DiscussionWould You, Or Do you, Or Have You Returned to (Or Never Left) FILM?

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Charles Haacker
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Re: Would You, Or Do you, Or Have You Returned to (Or Never Left) FILM?

Post by Charles Haacker » Thu Jul 20, 2017 2:51 pm

rmalarz wrote:Never left.
--Bob

Terrific, Bob! Would you be willing to give more detail? Are you still doing B&W? Are you doing color, slides or negs? Are you shooting digital as well? Do you have a preference? Are you still doing wet darkroom work? :thumbup:
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All the great photographers use cameras! No, really. :|

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Post by rmalarz » Thu Jul 20, 2017 3:15 pm

Charles, I still shoot 35mm, 120, and 4x5 black and white negatives. Ilford Delta 400 in the 35mm, Ilford FP4+ for 120 and 4x5 formats. I still get my fingers wet. The processing is done in one of two Jobo processors I use. The smaller is relegated to the 35mm and 120 films, the larger to the 4x5.

For color work, I rely on either my D700 or D800e, the latter being used more frequently. Even with these, I still prefer black and white. Color when the scene really calls for it, or it's requested. My preference is still film. However, sometimes time constraints demand digital.
--Bob
Charles Haacker wrote:
rmalarz wrote:Never left.
--Bob

Terrific, Bob! Would you be willing to give more detail? Are you still doing B&W? Are you doing color, slides or negs? Are you shooting digital as well? Do you have a preference? Are you still doing wet darkroom work? :thumbup:
There is no CTRL-Z in the wet.

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Post by Charles Haacker » Thu Jul 20, 2017 3:19 pm

Duck wrote:In regards to burst mode... a burst is a series of consecutive shots taken in short durations.
There is no difference, in my opinion, between a mechanical (camera set) burst mode and a manually created (fast finger press) burst mode other than control.
I would much rather control where and when I take a shot than let the camera guess at it. Aside from that, definition-wise, they're both the same.

Just my two bits.

I don't disagree, mostly. To some extent I think it depends on a number of factors, such as, is the camera motor-driven as opposed to thumb wind? Absolutely you can crack off many shots one-at-a-time with a motor, and of course you can crack off many shots with a thumb wind, but the motor has the speed advantage. For one thing you can hold the camera steadier (I'm still a hand-held freak, often leaving the tripod in the car and walking too far to go back and get it). I still remember trying to thumb off several shots as fast as I could and ended up jamming the transport, not to mention the frame being all over the place. It had something in common with "fanning" a six-shooter; impressive but unlikely to actually hit anything. :D

Years of shooting weddings with a 12-shot Hasselblad (I had 6 backs but still, it was really one careful shot at a time) made me intensely aware of timing. I like to imagine I got really good at just knowing when -- l'instant décisif. You had to. There was no spray'n'pray possible. So I still like to imagine that, even when firing my assault camera in precise 3-round bursts, the first shot is often the best, the one I waited for and therefore started with. The other 2 are insurance. Maybe. Maybe not. Sometimes it's the second, or the third. If I'm trying to track my granddaughter I'm inclined to think bursts are essential. She moves so fast, her expressions change in microseconds; no way could I keep up with, say, my old wedding cameras.

I have gotten into the habit of leaving my Sony RX10 camera in burst mode all the time. It has two, one slower, the other faster. I use only the Continuous (slower) mode, which cranks about 2-fps. I am shooting only raw with the highest speed card available. I have never noticed any lag uploading to the card, but I am also usually never shooting more than 3 or 4. If I am not firing burst it's very easy to squeeze off just one, but I like to leave it in burst so that if I feel I need it, it's already there and I don't have to switch.The higher speed is about 10-fps, and I really cannot imagine a situation where I would need that since I don't shoot sports or anything faster moving that little-bottled-lightning AndiGail! :D
Friends call me Chuck. :photo: This link takes you to my Flickr albums. Please click on any album to scroll through it.
(I prefer to present pictures in albums because I can put them in specific order.)

All the great photographers use cameras! No, really. :|

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Post by Charles Haacker » Thu Jul 20, 2017 3:28 pm

rmalarz wrote:Charles, I still shoot 35mm, 120, and 4x5 black and white negatives. Ilford Delta 400 in the 35mm, Ilford FP4+ for 120 and 4x5 formats. I still get my fingers wet. The processing is done in one of two Jobo processors I use. The smaller is relegated to the 35mm and 120 films, the larger to the 4x5.

For color work, I rely on either my D700 or D800e, the latter being used more frequently. Even with these, I still prefer black and white. Color when the scene really calls for it, or it's requested. My preference is still film. However, sometimes time constraints demand digital.
--Bob

Thanks, Bob! I think that's terrific, although I could never go back, actually even if I wanted to. I have no working film cameras any more, but even if I did I would not have space to set up a darkroom, even with Jobos. I did 100% of my B&W myself, but I inherited a spacious print darkroom plus a dedicated negative room from the previous owner. I had the big rubber deep tanks and hangers for up to 5x7 because my primary B&W portrait camera was an old school camera with a 5x7 split back -- 2 3x5 on one sheet. I could actually make 16x20 prints. I had the trays and the space. The fixer tank was a 24x30 stainless steel.
Friends call me Chuck. :photo: This link takes you to my Flickr albums. Please click on any album to scroll through it.
(I prefer to present pictures in albums because I can put them in specific order.)

All the great photographers use cameras! No, really. :|

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Post by rmalarz » Thu Jul 20, 2017 4:06 pm

I regularly printed 16x20 prints. I still have my 4 enlargers, but don't use them, as of late. Coupled with a move to smaller surroundings, I've found less and less need to print. The few prints I do make don't warrant the expense of setting up another complete darkroom and chemicals for printing. The prints I do make are done at a local print lab, with whom I've done business for years. All, but one, of my film cameras are functional and used regularly.
--Bob
Charles Haacker wrote:
rmalarz wrote:Charles, I still shoot 35mm, 120, and 4x5 black and white negatives. Ilford Delta 400 in the 35mm, Ilford FP4+ for 120 and 4x5 formats. I still get my fingers wet. The processing is done in one of two Jobo processors I use. The smaller is relegated to the 35mm and 120 films, the larger to the 4x5.

For color work, I rely on either my D700 or D800e, the latter being used more frequently. Even with these, I still prefer black and white. Color when the scene really calls for it, or it's requested. My preference is still film. However, sometimes time constraints demand digital.
--Bob

Thanks, Bob! I think that's terrific, although I could never go back, actually even if I wanted to. I have no working film cameras any more, but even if I did I would not have space to set up a darkroom, even with Jobos. I did 100% of my B&W myself, but I inherited a spacious print darkroom plus a dedicated negative room from the previous owner. I had the big rubber deep tanks and hangers for up to 5x7 because my primary B&W portrait camera was an old school camera with a 5x7 split back -- 2 3x5 on one sheet. I could actually make 16x20 prints. I had the trays and the space. The fixer tank was a 24x30 stainless steel.
There is no CTRL-Z in the wet.

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Post by Duck » Thu Jul 20, 2017 4:51 pm

Charles Haacker wrote:I don't disagree, mostly. To some extent I think it depends on a number of factors, such as, is the camera motor-driven as opposed to thumb wind? Absolutely you can crack off many shots one-at-a-time with a motor, and of course you can crack off many shots with a thumb wind, but the motor has the speed advantage. [...]

Oh... I wasn't thinking film camera so, yes, in that case, a motor drive has the definite advantage. My mind was in the modern digital cameras with the super fast continuous modes that give very little time between each shot for any real change in the action. I also agree a slower speed works best in any continuous mode and that's why I prefer the manual method. ;)
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