b.d.trabitz___

<p>Where in CT are you located? <a href="mailto:zonedoc@aol.com">zonedoc@aol.com</a></p>

Just spent a weekend in Vermont using type 55. Used two boxes. The lots varied. One box gave me very nice prints at EI80. The negatives were very printable at an EI40. The second box was much more erratic. Starting at EI80 I found that one scene gave me a good print 2/3 stops wider(EI50). Another yielded a nice print closed down a 1/3

(EI100). The negatives proofed nicely on my scanner at EI40.

 

My results indicated that the print needs an exact exposure, much like transparency film, and their is variation from box to box. The longest exposer I used was a half second.

Does anyone have any experiance developing 4x5 Fuji Acros. I would

appreciate advice regarding time, temp, and agitation. I could use

help in selecting a starting point for my own testing. I have D76 and

HC110 on hand.

 

The usual reference sources do not have information for sheet film

only 35mm and 120

Hogarth:

 

There is a book titled "Drawing On The Left Side Of The Brain"(as near as I can remember)that may just be what you are looking for.

 

Good luck,

 

Barry.

An interesting discussion.I wish to add a few comments. Criticism does not necessarily have to be negative. An artist (photogographer) is experiancing an emotion upon viewing a scene and is attempting to communicate this to the viewer. The viewer, if the art is succesful might experiance an emotion. It may not be the same emotion as the artist but is nevertheless just as valid. It is also possible that the art fails to generate anything for that viewer. Then the artist "failed" with that particular piece with that particular viewer.

Just because a photograph hangs in a museum does not necessarily mean it is a work of art.

All of this is of course just my opinion.

I will be 69 in October. Using LF since I attended Ansel Adams

workshop in 80 with a 35mm slr. I bought my 4x5 on returning home.

David,

Wasn't it Fred Picker who advocated " expose for the highlights and

the other values including the shadows will fall into place. "

Jay,

Wouldn't this apply to ANY film developer combination?

Barry

Kevin,

For what it is worth I am a retired Oral and Maxillofacial Surgeon. I

don't really see this as germaine to this discussion. What I do

believe is germaine is the fact that the warranties you seem to feel

are so valuable become terribly overpriced insurance policies(often

with a lot of fine print). Doesn't it make more sense to pay half the

amount that "official' importers are asking and send defective or

broken equipment back to the factory or to a qualified repair shop

here. Postage or Fed ex or UPS rates are not that expensive.

Who repairs equipment after the warrantee expires?

As for dealing with a local shop I too would rather, but problems do

arise. I am still waiting for my local shop to notify me that the

Schneider lens that I ordered two years ago has come in. I now get

the feeling that the salesperson really didn't understand that this

lens was for a 4x5 view camera and not a 35mm slr.

We are not talking about fifty cents more for a roll of film but a

thousand dollars for a lens or a body.My insurance company charges

$1.12/$100 for full coverage insurance. If the impact of not buying

stuff locally and by paying more for film locally why is Kodak

cutting more and more of its production?

Please lets get back to the issue of where these bodies and lenses

are made and where the employees of these manufacturers pay taxes.

Respectfully

Barry Trabitz

Kevin,

If all of the photographic equipment we are talking about is NOT

manufactured in this country do not those workers pay taxes in their

country. How then does paying for middleman markups help employ

workers in this country so that they can pay taxes. I imagine that

the staff of the middlemen sellers to retailers is not terribly large

nation wide. Frankly , it would seem to me that since we are

supporting the tax base of other countries by purchasing their

manufactured goods it behooves us as good citizens to save as much as

we can so that we can pay taxes here.

Seriously, every one is obligated to pay a FAIR share of the cost of

government, but not more than a fair share. I see no problem in

paying a FAIR price for an item but I would be a fool to pay more

than that just to support the greed of a seller.

Maybe they are out ceating images instead of bsing on the computer.

Chris:

Several points:

The landscapes I create are mine. The light, the time of year, the

decision when to press the cable release, the particular scene, and

the impulse to set up are my personal decisions.

 

<p>

 

I also have a wonderful reason to place myself in areas I consider

beautiful(with all the definitions that can be ascribed to the word)

 

<p>

 

Whats wrong with pretty?

 

<p>

 

Barry.

Do we photograph a scene or do we create our emotion that we

experiance upon viewing a scene. If a viewer of the photograph

experiances an emotion ( not necessarily the same emotion as the

photographer) then the photograph is a work of art. IMO. I dont know

if it was Westons intention in his peppers and shells to express the

emotions these images create in me as the viewer, but these are among

the most erotic works of art I have ever seen. His nudes to me are

representations of the landscape.

 

<p>

 

Adams has created a body of work that interprets the grandeur of the

SW. His later prints have been described as Wagnerian. I would

perhaps use Beethovans (th as a better example. Some of the earlier

prints aare more reminiscent of the 6th symphony.

 

<p>

 

Some of us photograph our feelings aroused by the scene before us and

not the postcard image.(At least this is what we try to do- and on

occassion, succeed.

It looks as if I am a majority of one. The eye level prism works for me both hand held and on a tripod. It gives the appearance of the scene as I view it standing erect. The waist level finder is at its most useful for portraits. My opinion FWIW

Steve,

I would enjoy a retrospective of Paul Caponegro's work.

Could someone advise me of the correct filter size for the black 180

mm tlr lens? My other two lenses (a 55 mm and a 105 mm ) both use 46

mm filters. These are too small for the 180, and a 49 mm is too big.

Any advice will be most appreciated.

The October issue of PCPhoto had a "puff" piece about the AcerScan

PrisPrisa 620PT scanner. The article made this inexpensive scanner

sound like the answer to my needs. That is a scanner that would

enable me to put my art on the net,scan prints, and scan 6x6 and 4x5

negatives.

Has anyone had experiance with this scanner?

Barry

zonedoc@aol.com

I use a 1 degree spot meter ( an old reliable Soligor ) and have been

happy with the Zone System in Black and White with my 4x5. I recently

purchased a 6x6 ( Mamayaflex C330S ) with which to use color , both

slide and negative.

My question is how does one meter for color? I realize the film range

is narrower than B&W. Does one still place skin tones ( caucasion )

on zone VI? Will zone III yield Shadow detail. Where is the

threshold for highlight detail?

Any help to get me started will be appreciated. Many thanks to all in

advance.

Barry Trabitz

I use a 4x5 Wista Field for B&W landscapes. I would like to

experiment with color but 4x5 color is prohibitavely expensive. TLR

seems like a good way to start in MF. I am confused by the various

models of Rolliflex TLR's mentioned in the past postings.

Could anyone explain these to me, or better yet, reccomend any

available literature on this subject.

I am also interested in advice regarding reasonable costs of aquiring

one of these cameras in good condition.