tony_p4

Yep I'm Mike on this one and at the end of the day lets see the main points.<br>

<br>

1. Troy was doing a job for the gallery owner.<br>

2. The employee didn't want to be photographed so she should have taken that up with the owner.<br>

3. She kept getting in the way and is in some of the shots.<br>

4. Where's the real problem here? Publish and be dammed your within your rights.<br>

5. Ouch some people are upset by my comments, well any of you going to go up to a TV camera crew and tell them to stop filming cause you don't want to be on the tea-time news?<br>

<br>

Tony

Troy, Show her the pictures and tell her (in a nice way) she kept getting in the way. As far as I'm concerned a person in the picture is not the same as photographing that person. If she is only furniture as far as the image is concerned I'm sure there will be no problems. Also if I have read this correctly your friend asked you to shoot the pictures who's gallery it is, so technically that friend has the final say on what is published and what isn't. Tony

I like the facility that emailing the address back to my server makes it instantly available for me to contact that person and I like being notified of those who have requested my Email Addy. So a big thank you guys ;-)

 

Makes it interesting when I'm told my Email Addy has been requested but I don't get an Email from them though. lol

Hi Jessica, Must admit I do it with pictures that IMHO are worthy of the time and effort as I feel an example is easier to see than loads of text and leaving it to perception. I have also had it applied to my own pictures and have been very greatful as again seeing what the other person is suggesting is easier. Of course it doesn't mean that the other person or myself agree on the changes though and it does bug me if there is no response either positive or negative from the photographer lol Tony

Hi Tonghang, I guess the most important thing with the way I work is I nearly always use natural light and with models ....... a reflector. Other than that I'm not sure as scary as it is I develop by feel and only pay passing notice of the timer.

 

Scanning is always done to produce A4 prints and reducing the image to the 600x400 jpegs does slam the grain together. Sometimes I do crop a small area and enlarge to something around 600x400 and that really shows the grain off, which is why I sometimes do this.

 

Again nearly all images I post are only changed with software to reflect the actual wet-prints I get from a darkroom, which other than actually shooting is where I really love to play. Tony

Hi Tonghang - The difference in grain is there and once you get use to seeing it they really stand out. HP5+ is much grainier going down to XP2 which is very smooth. DDX has a lot to do with keeping the grain down on traditional b&w films and I vary the agitation and times I use guestimated from what I remember when I shot the film.

 

In the street folder they are all filmed scanned, but for my model shoots they are a mixture or flatbed scans from wet prints or film scans if I'm in a hurry to post. Most toned images are flatbed scanned from wet prints.

 

The main thing is that the final image is almost full frame, or if I need a crop then I crop down the size of the image and not try to get them the same size as an un-cropped one.

 

Hope that helps Tony

Stunningly beautiful and very unique. Tony

Well it wasn't the intention but after loading some street shots, I now have a folder containing FP4+, HP5+ and XP2. I can't comment on other makes as Ilford fits in with my style and what I like.<br>

<br>

They can be found <a href="http://www.photo.net/photodb/folder?folder_id=401987">HERE</a> if anyone wants to see the 3 films all together. Tony

It looks like a traditional B&W film as there's grain there. But other than that, there's not much point in knowing what the film was unless you also know what developer was used, etc. etc.

 

IMHO The best way to learn is to choose a couple of films and go out shooting loads of it and develop it yourself. There's plenty of suggestions for film / developer combinations on the threads in this forum. Good luck and happy shooting. Tony

Hi Andrea and Mark.

 

Many thanks for your advice and kind comments.

 

Andrea - I had a slight typo above as the lens I was using was a 28-80mm F2.8 lens. I chose that lens as although it's a 2 day weekly market it gets very busy, especially when we have the tourists here and I knew I'd have to work to get clear shots. I'm aching to get the negs into a darkroom as looking at them the contrast will be even better wet printed. These here I have film scanned but I much prefer the richness of wet prints.

 

Mark - With a F100 and that lens the only way to be discreet is to be obvious if that makes sense. I just wondered around the market for 3 to 4 hours, camera and myself in full view. I've found that trying to stand where people can't see you fully makes them more anxious. So I just stood in the middle of where everyone was walking and let them go around me when I was taking the shots. I lost about 10% of the shots due to people walking into frame as I hit the shutter, but it was worth it.

 

Thank you both once again Tony

Hi Everyone,

<br>

<br>

Although I'm perfectly happy working with models it's been quite a

while since I did street shoots. I have posted some <a

href="http://www.photo.net/photodb/folder?folder_id=401987">Street

Market Samples</a> I shot recently and would welcome any advice,

hint's tips, etc.

<br>

<br>

They were shot using FP4+, HP5+ and XP2 using a 24-80mm lens.

<br>

<br>

Kind regards Tony

Although I'm a lover of HP5+ if I have to work in conditions where there is going to be problems with latitude, then XP2 is my number one choice rated at either 320 or more often these days 250. XP2 is very efficient for street shoots or even the odd wedding as I know that I don't need to worry about blowing the highlights and as such can concentrate on the shadows for my exposures.

Hi Andrew,

 

Thanks for the input.

 

I'm planning to use a range of 28-35mm so it should work quite well. Sometimes in quieter markets I will choose a 105mm prime but with lots of people that can make the hunt more difficult rather than exciting.

 

Photographing the photographer is something I have been unable to resist myself at times lol

 

Tony

Thanks guys,

 

I'm planning to get up there by train and lots of idea's already forming lol Should be a good day if the weather holds.

Hi Everyone,

 

I'm planning to visit Camden Market on Sunday 16th May to do a

street shoot around the market. Any suggestions, recommendations or

experience from anyone who has done it before would be very welcome.

 

Also if anyone is interested in joining me just let me know.

 

Many thanks Tony

Hi Lex, Thank you - You are of right of course but I just get a little touchy when statements are made as if they are gospel and not subjective preferences. I'll get off me soap box again now and have a calming cuppa ;)

Where does all this crap that "HP5+ is very nice if you don't have to push it" come from? It's an industry standard and I push it 95% of the time and get pictures sold and published. 1600 in my view is it's limit before going onto faster film, but I also know many people who push it further and still get pictures published.

Mark, Its good to see that the practice of any film reportage is not dead! All pictures editors over here seem to want is digital and that preferably contributed free instead of buying the pics ;) Sad but true on both counts. Good luck and look forward to seeing / hearing about your results.

I always use DD-X with HP5+ as I usually push my film to 800 or 1600. Nearly everything in my portfolio is HP5+ @ 1600 in DD-X, although there are a couple of other ones in there.

Hi Anthony, Well whatever the motives you have prevented that person from doing it via PN, so well spotted ;)

I frequently push HP5+ to 1600 and develop it in DD-X, in fact thinking about it I nearly always use it at either 800 or 1600.

 

I'm also happy with Delta 3200 if I have to go beyond 1600, this I also develop in DD-X.

 

Good luck at the show and all that traffic at the NEC ;)

Alas other than recognizing the work I can't offer any suggestions for detection.

 

The most worrying part is why the guy ripped-off the pictures, as I've heard of it happening in order to get models and using the work to show they are "reputable photographers".

Sorry for the typo, that should say "I can shoot between 10 and 15 rolls of 36 expo film in a single session".

Hans, Yes I can see your point, but pushing the speed I find for me allows me to change the tonal range and textures whilst using the same batch of developer. This is useful as I can shoot between 10 and 15 rolls of 36 rolls of film in a single session. Using either DD-X or ID-11 means one batch of solution to work my way through all the developing, very useful as I do not have much space here.

 

Also pushing means that I can shoot in the types of light and shadow I like without normally resulting to studio lighting, although I use studio modeling lamps (not the flash) when I really have little choice.

Hans, Sorry but that is all too mechanical to me. Based on what I see when I shoot the film and how I want it to look, I will choose the film speed at that point. So HP5+ could be shot at 400; 800 or 1600. Only the chemicals; dilution and times remain constant when developing for each speed.

 

I print on Ilford MGIV Multigrade IV RC De-Luxe. A test strip from one picture usually gives me the feel for how long to expose and if I need a filter. After that I go with the flow and print those I want straight. If needed I reprint with dodging and burning to get the final results.