chris_autio

yep that WAS it. Seemed to be such a better tool than available sharpening tools.

I forgot how I was sharpening motion blur images within Photoshop or Raw that was so easy. None of the 3 help within Smart Sharpen (gaussian, motion or lens) are aligning the pixels to my content. I somewhat recall it was a right click... selecting an area (or several).

I have no experience with kraken plastic 3-D cameras but am thinking of getting one. The website says to either send lens to the maker or give them enough detail about your 4 x 5 lens, if indeed you have one. I shoot with Pentax 67 and Fuji 69. The Fuji is sharp!

45" x 38" gelatin silver

There have been so many years that I have rushed a prints through the trays or tube, only to witness in a few hours or days or ... that they begin to yellow. I wash well and give them a bath of wash aid, known otherwise as Hypo Clearing agent. I enjoy spotting prints if my caffeine level is low. I no longer use glass or Plex for presentation as I believe it hinders the viewer from the whole feel of the print, creating unwanted reflections. I sometimes paint on a Golden UV Polymer Varnish with a very wide brush. It dries quickly, expresses the print as if were wet, or satin. I know this is an unusual step.

While not familiar to Speed-lights, I would guess the bathroom photo has some extended exposure (such as 1 second) bathed (pardon expression) in warm tungsten interior lighting...filling the lower part of room, and that your speedlight is of course lighting the ceiling with its cooler temp. I have used White Lightning monolights my entire career and found that using a UV gel on lights eliminate a bluish quality. It is not that the strobe flash is blue but that there is a very narrow but prominent spike of UV (edging into purple) spectrum. I can see the difference when I set up two monolights at 45 degree to a white wall (one being unfiltered). I do not notice it with tents that are baffled. But if you are shooting a bathroom with ceiling reflection, I would recommend somehow attaching a warming gel such as Rosco Cinegel 3409. But I wouldn't use ceiling reflecting, I would use available lights. At one time I was hell bent on bringing a lot of lighting to an architecture job when available lighting is just fine. When in the days of film I had a wedding to shoot inside a brilliantly windowed ski lodge, I DID need all my lighting, pointing it to the ceiling, 6 high powered monolights straight up. But as Rodeo says, the public are not color conscious. (In movie production, people are much more accepting of color being out of whack compared to a glitch in audio). A note on Rodeo's display of the the 1/128 image: I would hazard the guess the shutter curtain is moving just a smidge faster than it takes for the combined time of shutter release, transmitter, lightsource, flash operation. My Pentax 6 x 7 has to be set at 1/30 or slower in order to use flash or strobe to get an evenly lit image. Tungsten bulbs warm as they age. Grey cards change! where does it all end? I know a color blind photographer who shoots artwork with a medium format camera. All his worry is satisfied with color balancing in RAW program.

I know most shutter speeds are not exact because I had them tested, but the aforementioned 1/4,1/2 and 1 sec are now about 1/60. 1/8 sounds like 1/8

My lens quit exposing properly for 1/4, 1/2, and 1 sec. But all other shutter times seem ok. Is it a timing spring that needs work?

I have two loupes, 8x and 10x, neither of which focus on 4x5 glass nor light table. I have to pull loupe back about an inch to focus. what's the deal?

I'd follow Alan Marcas' advice with the glycerine bath. Give them a long bath, and in my experience, a double bath of clearing solution (washaids, clearing baths). This may help archive these wedding photos. And, though I cannot articulate it plainly, enlivens the photographs, especially matte surfaces.

Titled Apollo only because it looks kind of like the lunar orbiter.

My experience with ID 11 and Ilford films is that it provides a better separation of values in your shot. Another way to say this is that it is less contrasty than kodak 110 developer. Bare in mind Ilford developers have a shorter shelf life, and the smart way to handle your prized film is make new batch each time.

Record all the steps to do so with “action” key. I have one set up for horizontal and one vertical. This way, you can choose a batch, and voila, the images are set up for printing. I set mine up for 5.25 doubled x 6.75, print on 13x19. Once cut and folded, they fit in a 5x7 envelope. It’s not a money maker, so I consider it advertising.

These are similar across each neg, which suggests it is the exposure, not the processing causing these streaks. Look carefully at lens. Yes, and why the handprint so small on the negative? Were you shooting through a glass pane? ... which could cause a change of exposure like these. Try a polarizer and see if it is magnified or lessened after processing.