andrew_osterlund

I always shoot color chromes with my Holga (well, with anything), and velvia is the most fun. Make sure you have a lot of light. Just remember that the Holga is F8 or 11 for 1/100 of a second +/-. So, imagine if you had 100 ISO in your automatic camera - is the light right for F8 at 1/100?

With chromes, you can't be off by much, lightwise, and you'll get darker vignetting.

But, slow transparency film is my favorite - if you get the light right, the colors are very rich.<div></div>

This isn't so much of a question, since I'm mostly resolved on the

issues. It's more a statement of a moment.

I would have liked to have learned to make my own ilfochrome prints

in my own home. It would have been fun, and it would have helped me

understand photography a little better.

I talked to the guys at the local photo gear store recently, and the

concensus was that there's not much point in building a darkroom for

chromes now. Among other reasons, the chemicals are too hard to

get. A younger guy (say, 5 years younger) piped in to begin the

digital conversation . . . film scanner . . . printer . . .

epson . . . yours-is-too-old-to-do-what-you-want . . .

I'm too busy to do things that I know I don't like doing. I quickly

thought of three reasons why I don't want to "go digital": 1) money,

2) computers are boring, and 3) I like chromes and chrome prints

better.

There's a great local printer that does beautiful ilfochromes, so I

can still get the prints I like, but I'm missing out on the training

and experience of the print.

If I was a few years older, I would likely already have a darkroom.

If I was a few years younger, digital would be my language. So,

here's to the inbetween.

Maybe the local printer will let me in on Saturday afternoons.

aho

I went around town this week looking for scenes with red and green

for a company Christmas card. Much fun.<div></div>

Thanks so much everyone - great answers. I've done more looking now, and understand that a Sinar monorail or similar is the way to go over the field cameras. I've seen several great used examples in our price range too.

Thanks for the confirmation on the proposal idea too. The boss may go for it, especially since times are a little tight.

Renting one is a good idea too. He does need to see the difference. There's a shop in town, but most of what they have are speedgraphic types. I'll check in there again though.

Thanks again.

Two perspectives:

1. I work in an architecture firm. We'd like to do more of our own

photography, and we have some good experience. The boss wants a PC

lens for a 35mm camera, but is open to considering a large format

camera instead.

2. I am an experienced amateur architecture photographer and would

love to move to large format, but can't afford it.

If the boss buys the camera, I won't get enough experience with it.

I could afford to buy one if my boss paid me to use it. Does anyone

have ideas about how to negotiate this? Thanks.

The price range we're looking at is around $1200 - I'm considering a

TOYO field camera.

Slides put the light back into photography - for me, that's how it recreates the experience of the moment like print film can't do. Looking through a loupe really looks like you're in the photograph again, miraculously. Even cibachrome prints have that stirring feel to them, like the light is somehow captured on paper. Prints always feel static in that way. Digital has some of that -light- feel too, though it's so heavily processed.

A lot of labs make good, cheap (digitized) prints from slides now, and they do scan great. It is a drag that cibachromes are so expensive, but so are a lot of exciting things.

Slides are convenient to store and organize.

All those other things are true too: you'll learn more about photography in your first roll of slides than a dozen rolls of print.

I'd say you should move to slides if your photography is a little more about experience than strictly image, though a photojournalist would probably disagree. Prints can be crafted more into what you want through developing etc., but slides are more about a moment.

There's much more to this than just the performer. I love the depth and texture

of the stores and street beyond. The performer seems to want to be hidden

anyway, and I think you've responded to that. It's a very "big" photo in content/

context, and that's exciting. Thanks for showing.