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profhlynnjones

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Posts posted by profhlynnjones

    Photography school

    in Education & Resource

    Posted

    <p>Hi Clare,<br>

    Hallmark is a good school, however at the cost for 10 months, you could probably cover the half the cost of either Brooks or Art Center. There are 6 or 8 CC's that teach photography as a profession fro Fl to Ca. I'll dig out some of the names if you are interested.<br>

    Lynn</p>

     

    Online Photography Course

    in Education & Resource

    Posted

    <p>Hi Chiu Mei,<br>

    I think based on 6 decades of experience that NYI is the best photographic correspondence school of all time. I'm a graduate of 3 schools (2 resident and 1 correspondence) and have paid to have some of my employees trained with them.<br>

    Lynn</p>

    Photo technique as taught in art school

    in Education & Resource

    Posted

    <p>Hi Barry, get her out of there, your TA is too stupid to be permitted to teach. I've been a photographer for 65 years and a professor of professional photography full time for 22 years, not to mention 450 magazine articles puplished.</p>

    <p>Just because you have lots of memory and a digital camera, that doesn't mean that repeating the same mistakes 72 time will help. What she needs is a skilled teacher. I graduated from Brooks Inst.of Photography, was a frequent lecturer and advisor at the Art Center School (now the Art Center College of Design). Other than those, I heartilly recommend the Southern Illinois University of the dozens of universities I have been acquainted with. There are 6 or 8 community colleges teaching photography as a profession including mine. These CC's teach the realities of photography together with the amount of art that is needed, more of which, the student can decide what more to deal with.<br>

    Lynn<br>

    </p>

    How to Photograph Everyone Master Class

    in Education & Resource

    Posted

    <p>Any program that lists only 1 type of people photography lighting is missing most of the business and all of the art.<br>

    There are four classical lighting patterns. 1. Butterfly (also called hollywood glamour), 2. Loop (also called Paramount), 3. 45 degree (also called Rembrandt), 4., Split (sometimes called hatchet).<br>

    The differences are "Short", "Broad", and what I call "Double Broad". This relates to the the key light placement and the head position.<br>

    Next our concern is contrast: 1:1 is absolutely flat and when used, it is usually by a large soft box only.<br>

    First: A fill light is positioned so that there is no shadow on the face, that is "1" in lighting ratios.<br>

    Second: A Key or Main light illuminates for one of the classical lighting patterns. 2:1 The Key is 1 stop brighter than the fill this is common in high key kids photos and often in formal bridals. 3:1 The key is 1.5 stops brighter than the fill, this is the most common for classical portraiture. 4:1 The key is 2 stops brighter than the fill and is often used for male portraiture. 5 or 6:1 is used for special effects or theatrical portraiture and there is very little shadow detail. Spot light with no fill is very theatrical and seldom used (however that was virtually all that George Hurrell used).<br>

    Lynn<br>

    <br>

    </p>

     

    Best film for enlargement

    in Black & White Practice

    Posted

    <p>I'm with Lex,</p>

    <p>Of the remaining b/w films my first choice is TMX with Rodinal, or Microphen, or D76 1:1. My experience with TMX is that I'll never need enough enlargement to get grain or lack of sharpness. </p>

    <p>My second choice would be Delta 100 (ASA 64) in Rodinal, or Microphen, or D76 1:1, however, D100 will start to show grain with these developers after about 19X enlargement. For certain applications I like D100 due to tonal differences.<br>

    How are you doing, Lex, OK I hope, I'm not getting any younger.<br>

    Lynn</p>

    Medium format recommendations, specifically Mamiya c330/c220

    in Classic Manual Film Cameras

    Posted

    <p>Hi Andrew,<br>

    I've used Mamiya TLR's for over 50 years and still own a C330. The lenses are superb and for the most part the cameras are excellent. The C2 and C3 had some transport problems but never before or since. The primary difference between the 220 and 330 weight is because of the slight automation. My first one was the Mamiya Pro C which I acquired in late 1957, it was so great that I've never been without one even though I still have a dozen film cameras (8x10 to 35mm) and 3 digis.</p>

    <p>Lynn</p>

    Acadia N.P.

    in Nature

    Posted

    <p>I grew up on the coast of Maine, much of the time in Acadia. Most of Mt. Desert Island is part of Acadia, but the only part of it on the mainland is on Schoodic Point, right outside of Winter Harbor. I think Schoodic is easily the most beautiful part of Acadia. there are georgeus coastlines all the way to the point and lovely views from Schoodic. I have lived or worked throughout N. America, the Caribbean Islands, Europe, N. Africa, Near East, and several countries in SE Asia, however, I love coastal Maine above all others.<br>

    Lynn</p>

    Historical perspective on Minolta lens design philosophy

    in Classic Manual Film Cameras

    Posted

    <p>David Kilpatrick's very interesting piece (how accurate, I don't know, but interesting) doesn't include the beginnings of the "late" Minolta. Historically it appears that during WWII, Japan wanted more optical companies and requested help from it's friend, Nazi Germany. The E. Leitz organization sent technicians to Japan and created the company that would become Minolta. Because of this Leitz and Minolta partnered in optics and cameras over the years.<br>

    Lynn</p>

    Best film for B&W Hollywood glamor

    in Black & White Practice

    Posted

    <p>In terms of the greatest theatrical photographer, think of George Hurrell. Once he left the beach community and went to LA and MGM studios, he shot only with a single spotlight on the faces, although he used other lights for the full frame. George shot excluseively in large format, mostly 8x10, until his late 70's, although he still used 4x5 but he did use assistants because he was a bit more frail. Mostly he shot b/w except for magazine use or occasional color requirements in movie publishing. When for use in fashion he used 35mm for the first time in his career, that would be in his 80's primarily. For the Hurrell type photos I would suggest large format Ilford Delta 400, it is very similar lookling as compared to the faster high speed early emulsions.</p>

    <p>Regarding daylight nudes, especially in large format, my all time favorite was Andre de Dienes, although certainly, most of us also liked Edward Weston for these types of photos. My wife, Barbara Jones, was one of the best in b/w "nudes in the landscape" that I have ever seen before she retired and stopped shooting. Once again, in large format when shooting this type subject, I prefer Delta 400 because of the unusually good detail throughout the tonality even though it has a good deal of grain. However in either LF or MF Tri X or TMY should work well.<br>

    Lynn</p>

     

    Komura or Toyo 7 element 2X TC??

    in Classic Manual Film Cameras

    Posted

    <p>In my experience they were similar in performance. However, the Komura was the first of the 7 element tele extenders as I recall it. B&J/BBOI imported Komura lenses in the US with whom I was associated for some time. Interestingly Komura made both a 4 element and a 7 element, for shorter FL lenses the 7 element worked best but with long telephotos the 4 element worked best, no I have no idea why, but it was decidedly true.<br>

    Lynn</p>

    Seeking True Solarizing Film

    in Black & White Practice

    Posted

    <p>Kodak made such a film 15 or 20 years ago called "direct reversal" or something like that, from your enlarger you could create a negative from a negative. In my 6 decades of experience I have only seen this by accident. We would occasionally see it with low speed color negative films in dusk time available light exposures when auto head lights would be very over exposed and parts of the photo would be reversed. I doubt if that helps but at least one other person knows what it is.<br>

    Lynn</p>

     

    "Falling Bear" photographer considers legal action against school

    in Casual Photo Conversations

    Posted

    <p>To Mr. Nathan ,<br>

    Sir you are legally incorrect unless you have contracted the photographer to be in the "Work for Hire" category! All photographs are actually in a lease or rent situation unless contracted differently, a portraitist for example actually sells the right to display, if the customer attempts to have it duplicated by a lab, they will refuse it (yes I've been a legally approved expert witness in photographic copyright). A possible exception might be that a college/university sponsored news paper may state that purchase of the rights to the photograph are absolute without further written contract, then it would appear that ever issue of the paper would have to so state plainly (not hidden) and appear in the photographers receipt. Magnum, Black Star, and other picture agencies were created in order to doubly protect them and to easily sue publishers. Among other activities, I also teach photographic history. <br>

    Lynn (professor H. Lynn Jones)</p>

    <p> </p>

    Feeling so (Un)Lucky SHD 100 ?

    in Black & White Practice

    Posted

    <p>I've been doing this for over 6 decades, I always take film directly from the refrigerator to the camera without warming and in my part of the country we have high humidity. Except for IR film, I let film thaw out for awhile before loading it, however as a former medical and scientific photographer I would load frozen Infra Red film directly from the freezer to the film holder.<br>

    Lynn </p>

    HC-110

    in The Wet Darkroom: Film, Paper & Chemistry

    Posted

    <p>Hi Lauren,<br>

    When HC110 was first introduced it was as "B" 1:31 (I assume that they thought you would make a quart), there was also a "C" solution that I rember as 1:45 (I used this often for special emulsions like masking film), they also recommended some other dilutions and even one for use as a replenisher. Some years later in the 1980's and told us to create a "stock" solution which confused the heck out of me. First I developed some film in 1:4 which totally destroyed that roll, then took the stock in 1:31 which was so thin as to be unusable, then I realized that they didn't know what they were doing (Kodak of course) and so ignored them and used it as I always had.<br>

    Lynn</p>

    Magnification of lenses

    in Casual Photo Conversations

    Posted

    <p>Yes Lauren, also in close up photography, set the bellows extension for the desired magnification and focus by moving the entire camera in and out, don't try to change the bellows to focus, not only will it not focus easily but the magnification will change.<br>

    Example, M+1=bellows ext.: 50mm lens (2 inches), 1:1=100mm (4"), 2:1=150mm (6"), 3:1=200mm (8") etc.<br>

    Also, exposure increase is magnification + 1 = f stops of increase. 1:1=2 stops, 2:1=3 f stops, 3:1 = 4 f stops, etc.<br>

    Lynn</p>

    <p> </p>

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