Help Choosing What Film to Take on Year-Long Trip

<p>Wow, this has been such a fantastic response and discussion. Thank you all for your tips, advice, suggestions. Ultimately I will probably end up taking 100 and 400, either Ilford or Kodak. Either way I am taking the advice of focusing on one or two films only so that when I return I can get more consistent results and improve via trial and error.</p>

<p>A few things:</p>

<p>Again, thank you. I am very appreciative.</p>

<p>I think initially I undersold my own understanding of photography. I've studied and taken classes (not darkroom but digital) and have a full understanding of histograms, equivalent exposures, spot metering, compensating for backlighting or high-key subjects that might trick the meter. So while I absolutely agree a DSLR is a great option for learning as you go (i.e. checking histograms, adjusting exposures) for me I don't think the pros outweigh the cons. DSLRs are large, loud and require batteries. My first stop is Siberia for two months, where it could be negative 40 degrees, so batteries are not an option. That is why I purchased the MP. Fully mechanical at all shutter speeds, needs battery only for metering and I can meter quickly before the battery fails outdoors, and adjust based on experience and intuition as the light changes.</p>

<p>My concern is less about the operation of the camera — for starters, the Leica is absurdly easy to use — and more about the unknown variables of developing. I guess my initial question could be summed up with: Is developing more like cooking or more like baking? How much room do you have to play with? Are some films more finicky than others? These questions have been answered very well, so thank you again.</p>

<p>I basically wanted to avoid a situation where I chose, for example, really high quality film, wanting to maximize my results, but then I return home and learn it is not practical to develop said brand/style of film because it requires X/Y/Z and/or years of experience before you'd even want to mess with it. Based on what I've heard, yeah, some films are more finicky than others, but if you choose one or two films and stick with those films, you will learn more about the developing process.</p>

<p>As for unrealistic expectations, yes, I know there will be failures, but I suspect most of those will occur in the darkroom. I'm not expecting every photo to be fantastic, but I'm not really worried about obtaining proper exposures. I know how to achieve a proper exposure, but in situations where there simply is not enough light, I was curious about the ability to purposely shoot one stop, two stops, or even three stops underexposed, knowing there is some latitude. I still am a bit unsure about how push/pulling works, and how to practically handle shooting 125 film, at say, 400 — do you simply adjust the ISO rating on the camera to 400 or do you keep the ISO at the true film speed, and make these adjustments in the darkroom?</p>

<p>I also very much appreciate the reminder about X-ray machines! I plan to ship using only international carriers (UPS, DHL, etc) because Russian mail is terribly unreliable, but I very likely would have forgotten to tell them it's film!</p>

<p>My best guess is that I'll end up with the FP4 and HP5 because I do enjoy a bit of grain to my photos. I sold all my digital equipment because I didn't enjoy the oversaturated, oversharpened look of digital. I also plan to make prints using an englarger in the darkroom. I'm sure I'll buy a scanner for the 99% of photos I don't care about printing, but ultimately I think I want to be as analog as possible. I've wasted so many hours with Lightroom, and it helped me learn plenty about exposures and adjustments, all of which helped me become a better photographer, but I also couldn't stop tinkering with photos that already looked fine. </p>

<p>And I need some more interesting subject matter. I'm tired of shooting roll upon roll of my dog in my brother's backyard... but damn it is just too cold to be outside ( and yes, I realize Siberia will be much colder, but I'll also be dressed properly for the weather, and right now I am too lazy to get bundled up just to shoot test rolls).</p>

<p>Everybody, thank you. I still have some questions and uncertainties, but I feel those would probably be better addressed in a separate thread after I get some of these test rolls back. Primarily I'm interested in learning more about shooting films at speeds rated differently than what it says on the box, and logistically how you deal with this — does it occur before shooting or is it in the darkroom, or maybe a mixture of both. </p>

<p>I'm looking forward to the mistakes, the learning process, and the challenge. That's why I'm going to Siberia in the middle of winter in the first place. To push myself out of my comfort zone. I want to make mistakes. If I wanted it to be easy, I would've stuck with my digital and prime lenses.</p>

<p>And I figure if it doesn't work out, I won't really lose any money, or at least not that much (assuming I can avoid getting my equipment stolen, my biggest concern). If anything, Leica equipment seems to appreciate in value, not depreciate, so I looked at the purchase as an investment, and the entire trip as a learning experience, both with photography and otherwise.</p>

<p>Thank you all so much.</p>

<p>PS: One final question: How many rolls of film did you develop before you felt like you were starting to get the hang of it, and you worried less and less about ruining the film because you were still on the wrong side of the learning curve?</p>

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<p>My first stop is Siberia for two months, where it could be negative 40 degrees ...</p>

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<p>That's challenging. You'll want to keep your camera warm. It's bad idea if you're bundled up and warm but the camera is left in the freezing temps for the same hours.</p>

<p>How old is your MP? You might talk to Leica service about winterization. The camera may behave badly if it's really kept at those temperatures for long. The problem is with lubricants that congeal up and gums up the works.</p>

<p>The other problem is with the film itself. Again, if it's really left to soak at those kind of temperatures it may become brittle. It'll strip off the sprockets and crack when winding.</p>

<p>I learned to develope film using Kodak Plus-X and Tri-X. However, I prefer digital when traveling since in many occasions I won't have a second chance to capture. I use a program call Alien Skin by Exposure to convert to what ever kind of film look I want. If I were you I would take 2 camera's one Digital one Film to make sure you get the shot. As a beginner to developing film you will eventually loose a few rolls to developement errors.</p>

<p>I think my MP is an older model (serial starting 292...) but it was in demo condition and like new (e.g. it still has the baseplate, um, what's that thing called, not a sticker but whatever the factory puts on electronics to keep them from scratching).</p>

<p>I thought about getting it winterized but I made the decision to do my trip six weeks before my departure date, and the process takes apparently two months. Also even though it may be negative 40 degrees, the camera will only be exposed to those conditions as long as I am able to tolerate them. It will unlikely be for hours at a time. It is more likely to be an hour or two max. I will be going indoors and outdoors, e.g. into churches, museums, etc. </p>

<p>I'm not sure I'll have room for a second digital camera. Can anyone recommend the tiniest one they can think of? Tiny including the battery size, charger, etc. Ideally perhaps one with throwaway batteries that I can buy and dispose of as needed. Carrying a charger is unnecessary bulk. I'm taking a 50L pack (traditional that's considered a weekend pack, not a long-trip pack) for the entire year. I'm traveling ultralight (e.g. two pairs of boxers, three pairs of socks, one t-shirt, etc). I want to keep it simple. If it means I lose out on pictures, so be it.</p>

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<p>PS: One final question: How many rolls of film did you develop before you felt like you were starting to get the hang of it, and you worried less and less about ruining the film because you were still on the wrong side of the learning curve?</p>

 

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<p>You compared it to baking. If you follow the basic recipe to the letter, you will do well after few first films. If you start deviate and experiment (temperature, agitation, special developers etc.), the odds will likely change.</p>

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<p>I'm not sure I'll have room for a second digital camera. Can anyone recommend the tiniest one they can think of? Tiny including the battery size, charger, etc. Ideally perhaps one with throwaway batteries that I can buy and dispose of as needed. Carrying a charger is unnecessary bulk. I'm taking a 50L pack (traditional that's considered a weekend pack, not a long-trip pack) for the entire year. I'm traveling ultralight (e.g. two pairs of boxers, three pairs of socks, one t-shirt, etc). I want to keep it simple. If it means I lose out on pictures, so be it.</p>

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<p>If you take second camera, you don't have to take so many films with you. 5 less films and you have room for the digital camera... One disadvantage of film, unless you shoot several rolls a day is that you can't change the speed in the middle of the roll (not easily, anyways). So you will have ISO 100 film in your camera and you will need to shoot something that requires really high ISO. Or you will have an ISO 400 film that is shot to be pushed to 1600 because you needed it yesterday and now you need really clean picture. This is where the digital camera may become handy, especially if it has good high ISO performance. Some digital cameras like the Sony NEX can even take Leica M lenses.</p>

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<p>I'm not sure I'll have room for a second digital camera. Can anyone recommend the tiniest one they can think of? Tiny including the battery size, charger, etc. Ideally perhaps one with throwaway batteries that I can buy and dispose of as needed. Carrying a charger is unnecessary bulk. I'm taking a 50L pack (traditional that's considered a weekend pack, not a long-trip pack) for the entire year. I'm traveling ultralight (e.g. two pairs of boxers, three pairs of socks, one t-shirt, etc). I want to keep it simple. If it means I lose out on pictures, so be it.</p>

</blockquote>

<p>If you take second camera, you don't have to take so many films with you. 5 less films and you have room for the digital camera... One disadvantage of film, unless you shoot several rolls a day is that you can't change the speed in the middle of the roll (not easily, anyways). So you will have ISO 100 film in your camera and you will need to shoot something that requires really high ISO. Or you will have an ISO 400 film that is shot to be pushed to 1600 because you needed it yesterday and now you need really clean picture. This is where the digital camera may become handy, especially if it has good high ISO performance. Some digital cameras like the Sony NEX can even take Leica M lenses.</p>

<blockquote>

<p>I'm not sure I'll have room for a second digital camera. Can anyone recommend the tiniest one they can think of? Tiny including the battery size, charger, etc. Ideally perhaps one with throwaway batteries that I can buy and dispose of as needed. Carrying a charger is unnecessary bulk. I'm taking a 50L pack (traditional that's considered a weekend pack, not a long-trip pack) for the entire year. I'm traveling ultralight (e.g. two pairs of boxers, three pairs of socks, one t-shirt, etc). I want to keep it simple. If it means I lose out on pictures, so be it.</p>

</blockquote>

<p>If you take second camera, you don't have to take so many films with you. 5 less films and you have room for the digital camera... One disadvantage of film, unless you shoot several rolls a day is that you can't change the speed in the middle of the roll (not easily, anyways). So you will have ISO 100 film in your camera and you will need to shoot something that requires really high ISO. Or you will have an ISO 400 film that is shot to be pushed to 1600 because you needed it yesterday and now you need really clean picture. This is where the digital camera may become handy, especially if it has good high ISO performance. Some digital cameras like the Sony NEX can even take Leica M lenses.</p>

<p>Ken A. said it so well!<br>

Me too, I cannot help but think you want too much too fast. You've already covered some ground about bw films and everything, but you have really no clue how far you are from 'safely' going on a analog-bw trip around the world without messing up big time. You'd need a travel-seasoned pro photog on your side for several weeks (before and into the trip) to only avoid the 50 biggest mistakes you can (and probably will) make. This is not to keep you from taking as many bw photos as you can! By all means go on that trip and photograph your a... off! Just don’t expect Salgado/Depardon-like results regarding hit rate and technical quality, breadth/depth/adequacy of coverage.</p>

<p>After so many pieces of advice. I feel like coming up with a few questions.<br>

1) Have you figured out (also literally) how much film you will shoot and which kind of subjects for every week of your trip?<br>

1a) Do you want to carry that much film at once?<br>

1b)Have you found brick-and-mortar stores in stop-over cities that carry for sure the amount and type film you need (when you'll be there)?<br>

2) Are you mentally and time-schedule-wise prepared to have your film hand-inspected <strong>every time</strong> you want to board a plane? Otherwise forget about 400ASA-and-up film and pushing!<br>

3) Do you have a small light meter in case your MP has a meter faillure? (Guaranteed to happen in below-zero environments.)<br>

4) Do you know how long do you batteries last in your camera/hand meter at which average temperature?<br>

5) Do you have a sturdy see-through plastic bag for rewarming your camera as you step into the warm again from the Siberian freeze? (You cannot have your MP winterized in a short time. Germany takes at least 6 weeks to do it - without shipping. And a winterized camera used for 10 months in normal temperatures will suffer, so will exposure accuracy.)<br>

6) In Siberia, when photographing outside, you need to keep your gear below-zero but only a bit. Do you have the kind of clothing that allows you to carry your gear and the day's film reserve safely right under your outerwear?<br>

7) Do you have finger gloves to safely and reliably/swiftly handle your camera in sub-zero environment?<br>

8) Can you change film with those gloves on?<br>

9) Are you prepared/willing to change from high-ASA to 100ASA film and back *every day*? And then load a half-exposed film...<br>

Using exclusively Neopan 400 or Tmax400 shot only at an E.I. of either 200 or 1600ASA (and dev'd accordingly) could simplify everything a <strong>great</strong> deal.<br>

10) Do you have a similar or otherwise proven-reliable back-up camera?<br>

11) Do you want the grainiest film 400 ASA film? Take HP5+. Similarly for 100ASA: FP4+.<br>

12) Are you prepared to send home film every time you got some 10-20 films exposed? (That’s expensive...)<br>

13) Are the recipients willing to store all these films in their fridge until you will be back?<br>

14) Forget about bulkloading while travelling, pure nonsense. At home/in preparation for a trip it's *the* cost-saver. </p>

<p>I'm getting tired... So, 14 times a firm yes? Better be!</p>

 

<p >Some answers and facts to finish this off:</p>

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<p >How many rolls of film did you develop before you felt like you were starting to get the hang of it, and you worried less and less about ruining the film because you were still on the wrong side of the learning curve?</p>

</blockquote>

<p>The "learning curve" is not the problem. Your 3rd or 4th film will probably be nearly perfectly developed. So it's never ever taking years. Reliability is the problem: you need to develop a routine for yourself so you can work/develop/enlarge very reliably and time-efficiently in the darkroom (with chemicals, timers; inevitable boredom). That's why I'd say: 200 films – until I had designed myself such a routine and had it internalized well enough.</p>

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<p>...finicky films...</p>

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<p>There are no 'finicky' films by Kodak/Ilford/Fuji. Simply not. You need to find out the "correct" dev time for your film/dev combo by trial-and-error, no matter which film. This takes about the same amount of time no matter which film.</p>

 

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<p>Holes burnt into your front curtain</p>

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<p>Learn to protect you camera from the sun without using a lens cover. Start by always carrying the camera with the lens pointing towards you.</p>

 

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<p>Film trials</p>

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<p>Get some Neopan 100 Acros and Neopan 400 (Presto) too, or you will kick yourself for not having them included in your “test run“, believe me. They got the "cheap beginner's film" tag on them in the U.S. – and very undeservedly so! And, well, it will be very hard to compare your films. Because for any comparison procedure to produce telling results one needs multiple camera bodies. In your case: 10. Moreover your lab will most certainly misdevelop some of the films. And finally, only wet printing will show for sure which film you/your paper likes. As Ken said: way too many variables.</p>

<p>Your film was scratched most probably during development. Certainly not during (dry) scanning. Probably not in-camera. Nevertheless: make it a habit to brush all kinds of fluff/sand/dust/bread crumbs out of your camera evertime you got a chance to (a.k.a. very often).</p>

<p>No carrier x-rays their parcels (except maybe the Army/Air Force?). Better write "exposed high-speed film" and reel in all those film ends! A film retriever belongs into your bag anyway.</p>

<p>You cannot print color film onto today's variety of wet darkroom b&w paper.</p>

<p>Cheers, Pete</p>

<p>Do yourself a big favour and take a monopod along for dim interiors and the like. I gives you two stops for free. You will learn to love those two stops!</p>

<p><strong>1) Have you figured out (also literally) how much film you will shoot and which kind of subjects for every week of your trip?</strong></p>

<p>I will shoot what I see and find interesting. In terms of quantity — shrug — who knows. Some days maybe half a roll. Other days maybe five rolls. I don't see any advantage to planning in advance what exactly I'll shoot or how much per day, at least within reason. Yeah, I know I'll be shooting snow, so I know I need to consider that with regard to metering, etc, but otherwise I'll shoot what I see and find interesting. Photography can be difficult but it can also be refreshingly simple. I'll carry as much film as I can possibly carry, shoot at whatever pace I like, and buy film on the road. I would be very surprised if 35mm film is not available in major cities, even in Siberia, where despite its reputation as middle of nowhere, millions of people live. The largest city in Siberia has about 35% more people than San Francisco. Sure, I might not be able to get the exact film I want, but what is available is what is available. There is no need to overplan, I don't think.</p>

<p>Sorry, I probably sounded like a jerk with that answer. I appreciate the questions — sincerely, all of them. It helps me to think this out. But I'm not too concerned about quantity or subjects.</p>

<p><strong>1a) Do you want to carry that much film at once?</strong></p>

<p>50 rolls of film probably weighs less than most DSLRs, the body alone. So yeah, I'm fine carrying that. My pack and all of its contents weighs 23-24 pounds without the film. And that's with EVERYTHING, even the clothes that will be on my body, because obviously not all of them can be in the bag at any one time. The only thing that wasn't in the bag when I weighed it was my boots, which will be on my feet at all times when I'm carrying the bag.</p>

<p><br /><strong>1b)Have you found brick-and-mortar stores in stop-over cities that carry for sure the amount and type film you need (when you'll be there)?</strong></p>

<p>I will deal with what is available. If I can't find film for three weeks, then so be it. I'm in no hurry. That having been said, I think it will be relatively easy to find 35mm film. Finding quality film that's not expired might be more difficult, but with an open-ended itinerary there is no point in over-researching things because I don't know if in three months I'll be in China, Thailand, Germany, Norway, Panama or South Africa. </p>

<p><strong>2) Are you mentally and time-schedule-wise prepared to have your film hand-inspected every time you want to board a plane? Otherwise forget about 400ASA-and-up film and pushing!</strong></p>

<p>I am taking a plane to South Korea, my first destination, and then a ferry to Russia. From there I will travel exclusively by land or sea whenever possible. When I have to be in an airport, then sure, if they want to hand-inspect the bags, that is fine. Also keep in mind some foreign airports they do not X-ray every bag, and in some cases, any bags. Either way I doubt I'll take more than six flights in a year, so I can prepare myself for those hassles. What I expect will be a bigger hassle is reliably mailing the film home every few weeks.</p>

<p><br /><strong>3) Do you have a small light meter in case your MP has a meter faillure? (Guaranteed to happen in below-zero environments.)</strong></p>

<p>Nope but I do have the sunny 16 rule, and you also don't need to meter every shot. Meter once when you walk out the door and the battery still works, and more often than not you'll be good until the light changes. If the meter fails, the meter fails, and I'm prepared for that to happen. I've been shooting regularly and long enough with a DSLR that I'd say 1/3 of the time I can do a pretty decent job guessing the exposure from scratch, and probably closer to 2/3 of the time if I've been shooting with a meter recently that day. (I just realized they sell meters that don't require batteries; I still won't buy one but I'm curious how they work... not how WELL they work but literally how they function).</p>

<p><strong>4) Do you know how long do you batteries last in your camera/hand meter at which average temperature?</strong></p>

<p>Below freezing I have been told the MP battery will last seven or eight minutes (I believe Tony Rose from Popflash told me that). I've also been told if you keep it close to your body, that can be extended, which makes sense. When the meter fails, I'll duck inside a church, drop a few coins in the poor box, and wait until it warms up again.</p>

<p><br /><strong>5) Do you have a sturdy see-through plastic bag for rewarming your camera as you step into the warm again from the Siberian freeze? (You cannot have your MP winterized in a short time. Germany takes at least 6 weeks to do it - without shipping. And a winterized camera used for 10 months in normal temperatures will suffer, so will exposure accuracy.)</strong></p>

<p>I can certainly get a sturdy see-through plastic bag easily, but I'm not sure I understand the question. Does that prevent the camera from changing temperatures too rapidly or something? </p>

<p>Also, thank you very very much for the tip about using a winterized camera in normal temps. I will be in Russia for a couple of months and will also in time be in hot climates, humid climates, I imagine a bit of everything.</p>

<p><strong>6) In Siberia, when photographing outside, you need to keep your gear below-zero but only a bit. Do you have the kind of clothing that allows you to carry your gear and the day's film reserve safely right under your outerwear?</strong></p>

<p>What do you mean by "only a bit" — and why do I need to keep it below zero? Ideally I want the camera above freezing temp, yes? Or did you mean to say it needs to only be a few degrees above freezing to work properly? The clothing I have will allow me to keep the film close to my body, and also remain relatively accessible. I put dozens of hours into researching the right clothing and gear (hopefully I made decent choices — we shall see).</p>

<p><strong>7) Do you have finger gloves to safely and reliably/swiftly handle your camera in sub-zero environment?</strong></p>

<p>I'm not sure. I don't think operating any camera with any type of glove is particularly easy, but I do have thick liners that are warm enough to manage cold but not extreme cold temps, and I have a pair of legit winter gloves that allow for a high amount of dexterity, all things considered. But a true winter glove will make it always difficult to operate quickly and efficiently. It will be slow and clumsy, I'm sure, but there is no getting around the fact that I need to wear gloves and that it will make life more difficult. In cold but not extreme cold temperatures (e.g. 35-40 Fahrenheit) I will simply go without gloves or perhaps wear some skintight merino wool liners, which actually would probably do me well down to 30 degrees F, and they allow for almost full mobility.</p>

<p><strong>8) Can you change film with those gloves on?</strong></p>

<p>I doubt it. Realistically I'll probably have to be indoors to change film. Otherwise I'll do it without gloves if I can tolerate the pain. It's tough for me to even conceptualize what 40 below will feel like, but realistically 40 below is the exception, not the rule, even in Siberia. More likely I'll be dealing with temps ranging from negative 20 Celsius (negative 4 Fahrenheit) to perhaps 10 degrees Fahrenheit (I forget what that is Celsius but I do remember that negative 40 is the same on each scale).</p>

<p><strong>9) Are you prepared/willing to change from high-ASA to 100ASA film and back *every day*? And then load a half-exposed film...</strong><br>

Using exclusively Neopan 400 or Tmax400 shot only at an E.I. of either 200 or 1600ASA (and dev'd accordingly) could simplify everything a <strong>great</strong> deal.</p>

<p>I don't understand this question. But yes I am willing to change film speeds every day. What is hard about that? That's not a rhetorical question. I'm wondering if there is something I'm not understanding.</p>

<p><br /><strong>10) Do you have a similar or otherwise proven-reliable back-up camera?</strong><br>

Yes, the Internet. I will buy a new one online and have a family member ship it to me. If I have to live without a camera for two weeks, then I'll go ahead and still enjoy myself. I don't need to document every single minute. I'd rather go two weeks without a camera in the event my Leica fails miserably (not likely) or if it's stolen than carry around a backup body I won't be using unless my Leica fails, or is stolen, in which case there is a decent chance my backup camera got stolen too.</p>

<p><br /><strong>11) Do you want the grainiest film 400 ASA film? Take HP5+. Similarly for 100ASA: FP4+.</strong></p>

<p>This is what I am leaning toward. Those two films keep coming highly recommended, and I like the pics of what I find on Flickr in groups dedicated to those films. I also think the Tri-X looks very nice.<br>

<br /><strong>12) Are you prepared to send home film every time you got some 10-20 films exposed? (That’s expensive...</strong>)</p>

<p>Yes, and I know it'll be bone-crushingly expensive in some cases; that having been said I just mailed a 1.25lb box to Korea for less than 13 dollars first class. Granted it was USPS and that's not an option in other countries, but I'm guessing it'll cost me about three bucks per roll in shipping charges. </p>

<p><strong>13) Are the recipients willing to store all these films in their fridge until you will be back?</strong></p>

<p>I think my odds are pretty good at getting fridge or even freezer space. Maybe not when the # of rolls reaches triple digits, but if they can't be refrigerated, I'm not overly concerned about it. It's my understanding that exposed film is more stable than unexposed film (but I very well could be wrong). Either way if they can't store it, they can't store it, and I suppose if that's the case I could buy a mini-fridge for like a hundred bucks and put it in my family's garage.<br>

<br /><strong>14) Forget about bulkloading while travelling, pure nonsense. At home/in preparation for a trip it's *the* cost-saver</strong></p>

<p>I don't know how to bulk-load but I want to learn because it seems like it makes a lot of sense, but yes that seems like it would be a pain in the arse on the road. </p>

<p>PS: Thank you for the monopod advice.</p>

<p>I think it's way too complicated having two film stocks and trying to expose half a roll and then change just because you stepped inside into low light and then change back etc etc.</p>

<p>As mentioned above I shoot HP5 for everything with no exposure meter and I push as much as I need to get the shot.</p>

<p>Wasn't that how all Leicas where shot for 40 years before they got light meters in the 70s?</p>

<p>Just to show what it looks like - below are <strong>all</strong> the frames from one of many rolls that I've shot with no exposure meter. It's a mixture of indoor and outdoor, properly exposed and pushed shots <strong>on the same roll</strong>. These are scanned at 4000dpi and while they are too small here to see the grain one can hopefully see that there is still plenty of tonality.</p>

<p>PS. Photo.net shrinks the image so you need to right click and do "show image" to be able to see it in full res. Or just take it directly from http://3dcontrast.com/complete_roll_hp5_no_meter.jpg</p>

<p><img src="http://3dcontrast.com/complete_roll_hp5_no_meter.jpg" alt="" /></p>

<p>This is definitely sounding over-complicated to me. Get some HP5 and go shoot. Job done.</p>

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<p>Can anyone recommend the tiniest one they can think of? Tiny including the battery size, charger, etc.</p>

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<p>Get a quad-band GSM mobile phone with a camera. You'll want one for safety sake anyways. When you're in a new population center, pick up a SIM card from a local vendor. </p>

<p>While you're at it, get a phone that charges over USB. If need be, chances are that you can bum a charge off a fellow backpacker's laptop, PV panel, or whatever. Just be real friendly like.</p>

 

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<p>I can certainly get a sturdy see-through plastic bag easily, but I'm not sure I understand the question.</p>

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<p>It has to do with condensation. It kills electronics and isn't kind to any camera's internals - fully mechanical MP or not.</p>

<p>When you've been outside awhile, put the camera in the zip lock bag before coming into a warm room. This way, the air in the bag is the dry outside air rather than the humid stuff inside the building. </p>

<p>Water will condense on the bag. That's good, because it's <em>not</em> condensing inside your camera. You can unlock the bag once the camera equalizes to room temperature.</p>

<p>Pete S, can you please clarify what you meant when you wrote, "properly exposed and pushed shots <strong>on the same roll"</strong>? I'm aware that negative film, provided its default speed is accurate, can be rated at up to 3 or 4 stops under without changing development (see new <a href="http://www.twinlenslife.com/2010/12/its-our-favorite-time-of-light-new.html">Portra 400</a>).</p>

<p>EDIT: It seems that ISO can be changed on the fly after all, just like digital. So you don't have to feel stuck with the film's default ISO rating. Obviously this won't work with slide film.</p>

<p>But did you actually push that roll of HP-5 or not? If so, by how many stops? And how did you come to that figure? <strong><br /></strong></p>

<p><em>When you've been outside awhile, put the camera in the zip lock bag before coming into a warm room. This way, the air in the bag is the dry outside air rather than the humid stuff inside the building.</em></p>

<p><em>Water will condense on the bag. That's good, because it's not condensing inside your camera. You can unlock the bag once the camera equalizes to room temperature.</em></p>

<p>Typically how long does it take for a camera to warm up once it's gotten cold? What if you're going inside and outside with frequency, or is that simply a very bad idea? Thank you for this tip.</p>

 

<blockquote>

<p>Pete S, can you please clarify what you meant when you wrote, "properly exposed and pushed shots <strong>on the same roll"</strong>?</p>

</blockquote>

<p>Sorry if I was being unclear but I use "push" in a very wide meaning.</p>

<p>If I was using the camera meter I would change the ISO on the fly. Then I develop the roll as per box speed and push the exposure of the high ISO shots in the scanning/post process.</p>

<p>On the roll I showed some of the shots are two to three stops under (ISO1600-ISO3200). I can see it on the negatives as well as how much pushing is required in the scanning/post process and how the histograms look.</p>

<p>My usual setup is HP5 and a 35mm f/2 lens. If I want to keep 1/30s shutter speed I can only properly expose down to 5 LV/EV. Darker than that and I need to push the film or take my chances on camera shake and/or motion blur. Usually the low light shots indoor or at night are the ones that are pushed.</p>

<p> </p>

<blockquote>

<p><strong>Holes burnt into your front curtain</strong></p>

</blockquote>

<p><em>Learn to protect you camera from the sun without using a lens cover. Start by always carrying the camera with the lens pointing towards you.</em></p>

<p>With the Leica strap I have (I think it's a standard Leica strap; not positive, though) if you twist the strap backward, i.e. the metal tabs connecting the strap to the camera, it'll point the camera straight down, which is a little easier on the fly than having it point toward your chest. Basically just twist the camera strap once (both sides) and BOOM you're set.</p>

<p>If you're stopped down a few stops, do you have to worry about the sun if it's in your frame and you're focusing for three or four seconds? What if you're wide open? I've heard that it's both very easy to burn a hole in the curtain, and also that it's nearly impossible (with normal everyday usage). </p>

<p>One way to save money while avoiding bulk-loading your film is to get Arista Premium from Freestyle. It's widely reported that their 400 is relabeled Tri-X and 100 Plus-X. My experiences with them bear that out. Both are around $2 per roll.</p>

<p>Tri-X can be exposed anywhere from 400 to 800 without special processing. Nice to avoid having to keep track of what rolls need pushed.</p>

<p>As for your tiny digital camera, I'd get a Canon SD-series with lithium-ion battery. The battery lasts far longer than AA's, and the tiny charger works anywhere in the world with a simple plug-adapter. Charger and adapters weigh no more than a couple sets of disposable AA's. Much better IQ than a cell phone. Probably better than your Leica in many situations.</p>

<blockquote>

<p>Typically how long does it take for a camera to warm up once it's gotten cold?</p>

</blockquote>

<p>It depends on how cold the camera is and how warm the room.</p>

<p>After you're toasty enough yourself, hold the camera (through the zip lock.) If it feels like a box of ice cream from the freezer, go have a another round of vodka with your buds. Do this until the camera feels warm enough, or until you pass out.</p>

<blockquote>

<p>What if you're going inside and outside with frequency, or is that simply a very bad idea?</p>

</blockquote>

<p>Nah, I really wouldn't obsess over this; just be somewhat mindful. If for example, you're going outside to take pictures between rounds of vodka inside, the camera wouldn't get a chance to get all that frozen in the first place.</p>

<p>By the way, did you qualify for the Leica Passport warranty program? I haven't considered new Leica cameras in ages so I'm not current on what they're offering anymore. However, the Passport warranty was without peer in coverage.</p>

<p>You might look into third party equipment insurance as well.</p>

<p>It's good to carry a hankerchief sized piece of pure chamois with you when working in different temps, IMO it's the most effective way to handle humidity on the camera cold or warm. I use chamois for everything, bigger pieces for the bodies, smaller cut and sealed pieces for the glass. I have been using it close to 30 years on Bronicas, Hasselblads and Nikons and I feel there is nothing better. Also search "lens fog" there were several threads about this and someone had very good results with an anti fog solution for optical glass that sounded quality. BTW, film leaders will quickly fog too if different temps from ambient, so it's sometimes good to switch film inside a medium plastic bag if its "weathery" out. You can even fold the chamois around two fingers and give a quick wipe to the film leader if need be rather than putting a moisture fogged film leader to start your roll. If quite cold out, breath through your nose when changing film, air goes down toward your body, from your mouth comes warmer humid air and it will quickly fog the film with humidity as well as even back plate and shutter. This may sound a little obsessive but it seems you're serious about getting it right, and these tips work. In dry cold static becomes an issue as well as brittle film that can just snap half roll, so keep your thumb wind on the Leica smooth and steady. You can get a good sized sheet of high quality pure lamb chamois in most good auto stores. Cheers</p>

<p>Nobody has really covered it yet, but I was wondering if you've scanned any of the film that you are planning to take. Not all film scans equally well. I would strongly encourage you to burn 10 rolls and work through the entire workflow before you go and tweak now. </p>

<p>Take pictures, develop pictures, scan pictures, print pictures. or if optically printing</p>

<p>Take pictures, develop pictures, print pictures.</p>

<p>Scanning brings it's own set of issues and you don't want to find out you have major problems with any part of your proposed workflow after taking 50 - 60 rolls.</p>

<p>Isaac</p>

<p>I process delta at home. The one thing about Delta is the fixer time needs to be tripled not doubled as in regular film<br>

otherwise you will get a "fog" in your pics. I would bring all different types of film. Tri-x, Delta, efke... There is a massive developing chart online to help with processing times:<br>

http://www.digitaltruth.com/devchart.php?Film=TMax+400&Developer=D-76&mdc=Search</p>

<p>I usually Pull my film, for I like less contrast and to be able to see into my dark areas:</p>

<p>examples may be seen here:<br>

http://www.kellydaughertyphotography.com/Photography/Black-and-White-in-San-2/10439480_Sm66m#678050378_pqgjo</p>

<p>Have fun and try out a lot of new films and angles.</p>