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jrileystewart

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  1. Scanner focus is one of my most-asked-about problems from film shooters. Usually, the asker is new to film scanning, having recently delved into film after shooting digital for a long time. Here's a way to check to see if the film holder is placing the film at the best distance from the lens: Easily verify the focus on your flatbed scanner Every other way I've used is too subjective; comparing an scanned image to "..what I think is a sharp picture.." Keep this in mind: 1) Film will rarely give you those razor-sharp edges you're accustomed to seeing from your digital camera. In fact, that's what many of us film shooters LIKE about film. It's more organic; less 'plastic' If you are hoping to get razor-edged images from a 35mm film, I think you may be disappointed. 2) Looking at a scanned image at 1:1 and comparing it to a digital image at 1:1 ? Be sure to compare apples to apples. A scanned 35 mm can have much greater pixel dimensions, so 1:1 view of an image that is 6000x4000 is not the same as a digital image that is half that. You need to compare such a scanned image at 1:2 while viewing the digital image at 1:1 in order to compare them. 3) By far, most scanners are set to the appropriate focal distance; they're engineered that way. But return to 1) above and check it if you think you need to. 4) Most 'scanner out of focus' issues are due to 2) above and 'out of focus shooting' in camera. Final tip: Before spending hours and hours fretting over that damned scanner, evaluate your prints, not just the digital image. Are they great? (probably so). If not, focus your attention on camera skills. (believe me... I've been there). I'd be glad to entertain your questions on scanning. I've scanned (and printed) thousands of negatives on flatbed and drum scanners and have seen just about every scenario. jim@jrileystewart.com www.jrileystewart.com
  2. The "Hippocratic Oath..." ends with (paraphrased here for simplicity): "I won't take any more pictures" I don't think that's where any of us want to go. I know first hand that getting too wrapped up with being uniquely original, or bound to "the higher order of art" or even an obsessive obedience to someone's definition of ethics is a real creativity killer. Reject such BS and be happy doing what you're doing. What we know is that when people push the envelope, magic happens. J. Riley Stewart
  3. jrileystewart

    Assimilation

    Thanks for your comments, Mike. I hadn't thought about the 'cycle of life' aspect, but equally interesting. As you can tell, this scene was taken in very early spring when the crowds are lower. I did need to pick my moment,however, to let the wanderers go on their way.
  4. This picture is all about composition; only two elements visible: water and rock. My intent was to amplify the contrasts between the two, in terms of hardness, tone, and motion. I wanted the picture to be about the relationship between the water and the rock. Critique appreciated!
  5. jrileystewart

    Spring reveal!

    Good choice it seems to pull out the CPL to bring out the lines in the sky; great how they lead to the dune subject. I love B&W, but I wonder if some color might help separate and help me identify what is that white stuff behind the dune? Surf? More sand? Snow? In my colorized imagination, I see warm dune and cool sky, which I bet was really pretty. One of the most difficult aspects of B&W photography is avoiding convergence of tones, which can ruin the best intentions. That didn't happen here, but I think it is causing some of my confusion.
  6. Appreciate your thoughts about this scene. When I found this situation, it held no great philosophical meaning to me. Just a really pretty scene. Only later, after developing the negative and interpreting it, living with it, learning from it, I realized the conundrum.
  7. Thanks for your thoughts on this image.
  8. <p>Some may not understand the full effects of front tilt and swing. Depending on the lens circle of coverage, you can (and will) defocus the image on the ground glass. Excessive tilt will defocus everything (subject or not) beginning at the left and right edges of the frame. The more tilt, the more of the frame affected. Front swing has the same effect, but defocus comes in starting at the top and bottom of the frame. Commercial photographers shooting LF used this effect to completely isolate a subject in its field, regardless of its orientation in the field. So, don't get too heavy handed with front swings or tilts if you want everything in focus. </p>
  9. jrileystewart

    Assimilation

    This scene made me immediately think of ways that nature has of assimilating with structures man has made. It was late in the day, and the strong evening sunlight cast clean shadows on the white facade of this quaint church in the Smoky Mountains. The forest had become one with the church. In addition, the church itself seemed to have become part of the surrounding woods. It's a concept that became the hallmark of the famous architect Frank Lloyd Wright, and it really seemed to fit this scene. What does this scene say to you? Do you share my vision of the concept of assimilation in this photograph?
  10. jrileystewart

    Lake Baikal

    Love the light on this. Great composition, with the frozen lines of the ice leading me right to the rock formation. Makes me want to explore the rocks in detail. Thanks for sharing.
  11. <p>Would still like to hear thoughts about my original post, i.e., the developing capacity of PC-TEA, especially 1:75. How many 4x5 sheets of TMY or FP4 should I expect to get out of a liter of this mix? Thanks in advance. I have some experience under my belt, and it suggests about 10 or so sheets, then I should toss it. I'm wondering though if this is what others are seeing. Thoughts?</p>
  12. jrileystewart

    Rock face 6340

    I'm not usually drawn to abstractions, but when it's a photograph, it stops me and makes me want to explore. Nice colors here; interesting lines and textures.
  13. jrileystewart

    IMGP3300

    I like this image, the story, the setting. But the blocked whites in the subject's dress totally distracts me. The background lighting, while giving the impression of warmth and brightness, seems to me to be overdone...again it distracts me from the story. Would love to see this image toned way down in the background. I think it would lead my eye more to the model and her reflection, which is, I suppose, what you want my eye to focus on. I really like these idyllic scenes. Have you ever thought about shooting them using film? The extended latitude of film and the wonderful way it captures fine subtleties of tones and hues is perfect for these types of subjects. IMO.
  14. I like hanging out under shade trees that hang out by ponds. The delicate leaves, reflecting in the still water, with bugs and fish that tap the surface and leave their own signatures. Simple compositions, but lots to explore.
  15. <p>Reference Gainer's phenidone:asc acid: triethanolamine developer diluted at 1:75 (or other).<br> Does anyone know what the capacity of this final solution is? I tray develop 4x5 films and tank develope 120 rolls. Wondering if it has weak capacity, making me use it as a one-time developer, or can I reuse it for over 4-5 120 rolls / liter without worry?<br> Thanks!<br> J. Riley Stewart</p>
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