david_schwartz6
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Posts posted by david_schwartz6
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First, a technical point. Don't toss the film until you have exposed a roll and see what it looks like! It may be fogged, it may not be.....and there is little way of knowing until you defrost of of them and expose it. Make sure that you keep it out of the fridge for a day so that all the condensation is gone.
Second, on a qualitative note -- without disagreeing with Matt Needham above, if you have a good eye and know how to compose, expose, develop and print, these cameras simply cannot be beat. The mechanics are wonderful, and the lenses simply cannot be bested. I inherited my dad's 500C/M, and quite apart from the emotional aspects if using equipment he loved, these are magnificent cameras. But of course, the photographs you take are only as good as you are!
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There are a number of classic camera shops just across the street from the British Museum -- they will either be able to repair the camer themselves, or will be able to tell you whom to send it to.
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Steve -- You clearly missed my point. The value of the posting is not in the game itself, it is in the quotes, which are much more interesting than most of the postings that make it to this site.
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I couldn't guess who said what, but I did find this one of the best postings ever on this site. BRAVO!
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Of course, I have never heard of Levi Hill before, and I don't know how he did his Daguerrotype process (nor, do I think, does anyone else!)It would be interesting to know if his system relied at all on the same insights that Maxwell had.
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James Clerk Maxwell, probably the greatest physicist of the 19th century, did invent color photography, but I am not sure that Maxwell's photograph is what you would call "permanent." From what I understand, it required three projectors shining transparencies onto the same spot -- each projector shining through a different color filter. The transparencies were made with black and white film, but were taken through the same color as their respective projector, and then made into positives. A laborious process, and certainly the first three color photographic imaging -- but not permanent in the sense that you could bring it along to show your Aunt Sally.
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I think it is now called the Rollei Hy6 -- I saw it at NY's Photo Expo last week, and they thihnbk it will be priced around $12,000. The point of the camrea is that it will be able to shoot both film and digital -- donm't know more than that.
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By the way, if you want a good guy on Rollei sales and servicing here in the US, try Eli Kurland at www.kurlandphoto.com -- he specializes in Rolleis.
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The book I have is by Ian Parker, the Rollei 6000 Series User's Manual. Great book. Ian Parker is one of the founders of the Rollei Club -- I would defnitiely get this book.
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I am not sure that this is a large format idea per se, but I have always admired the photo project described in Paul Auster's wonderful "Augie Wren's Chirstmas Story". The main character has a smoke shop in Brooklyn, and every day -- EVERY DAY -- at 12 noon, he goes out, and takes a picture of his street corner from exactly the same spot. He has been doing this for ten years. He shows the narrator his photo albums, with some 3000 photos, and the narrator at first doesn't understand -- 3000 photos of the same place? And then, gradually, he begins to get it. He seems some of the same people coming and going, gets to know the place very very well as he thumbs through. And somehow, the experience is profound. I don't do it justice, so read the story if you can -- but THAT is a project!
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Just read my recent issue of the Economist, and discovered that Eve Arnold, who has a show in London, is still alive. Certainly a master!
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I know that the demand for sheet film (4x5, 8x10) has been growing in the past three years....I don't know if the same can be said for 120 film....
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in NY, I use Phototech -- don't know if they do the Fuji, but they do a whole range of cameras.....
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I saw it at the Rollei booth at the NY PhotoExpo this past weekend. I asked the guy behind the counter what it was priced at -- he said the price has not been finalized, but it would probably be something like $12k -- I was also surprised to see it under the Rollei logo, since other photos have shown it under the Sinar logo.....
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Edgar -- the Hy6 is probably going to come in at a cool $12,0000 -- certainly the 6008 whichis a beauty will be cheaper....
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I have never used a tank! I think the results are just fine with a tray system. The only reason you ever need to use a tank, IMHO, is if you have a lot of negs that you need to work on at one time, and are under some sort of time pressure. I can't say that tray development results are better than tank, but I would be very surprised indeed if someone argued that they are worse! As with all development, the key is to be careful, don't scratch the negs, treat them carefully, and use consistent methods for everything you do. I have never scratched a negative on the bottom of a tray -- I don't know if others have had this problem, but I haven't. The main thing to keep in mind is consistency.
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If you are just starting out I would not use a tank or any special equipment at all. Set up in an absolutely black darkroom exactly like you would set up for developing paper, except using film cheistry. A tray with film developer, stop bath and fixer (in that order!) start with a tray of water, soak it for about 30 seconds or so, and then go to it. Use a metronome or else some kind of audio timer to count out the second. Agitate 5 seconds every 30 in the developer. There are instructions on how to do this type of developing in a lot of books -- I think Ansel Adams' book on film has this. Anyway, no need whatsoever for any special equipment.
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Correction. Just read what I wrote about Kenna and Schwab -- it could come across as if I think they will not stand the test of time. Quite the opposite -- I do think they will -- but the fact is, I just don't know, nor can anyone else at this point. We'll just have to wait. Sorry, Michael and Bill, if you are reading this!
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6x7 may have twice the area as 6x4.5, but not 6x6. Rolleis and Hassy's simply cannot be beaten by any 6x7 -- I use Mamiya 7ii's frequently, and the image quality is as good but NOT better. In the end, the choice of a MF is very personal, and has to do with the feel of the camera, the view through the viewfinder, the weight and heft of the camera, the system components and flexibility, reliance on electronics, availability of spare parts and repairs -- etc etc etc. I would suggest going to a rental shop and trying a few out before deciding. If you are not near a rental shop, go to a used camera shop and let the m show you what they have -- you will see huge differences, and I am sure you will find one that is right for you.
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I would be afraid to put any liquid whatsoever on a lens. But I agree with you Colin -- the best way to clean a lens is never having to clean it! I always always always keep my lenses covered with a UV or netral density filter. Keeps everything off the lens.
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I happen to be a fan of Michael Kenna and Bill Schwab. Don't know if their work will stand the test of time, though. I think that when you talk about "masters", the notion is very much tied to the ability of the work as a whole to withstand the test of time. The only way to know, of course, is to wait! In the meantime, it's fun to enjoy great contemporary phtographers, without worrying too much about whether they are masters or not. How many people here know about Andreas Weidner -- wonderful photographer. Michael Smith and Paul Chamlee -- incredible body of work. I could go on.
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there is a group on yahoo -- "cameramakers" on yahoogroups -- they have a website and a listserve -- you should be able to find them through the yahoo site, and you can look through their immense archive -- also find lots of people who will be able to help you.
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John -- you might try contacting Andrew Cahan, who is a real scholar of photography books -- you can google him on the web, he runs a book dealership, and I have bought from him in the past.....
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I lived in London for 17 years. Jessops on New Oxford St. was the place for me. Their used medium and large format department downstairs was outstanding -- great service, very knowledgable. (Of course I used Robert White as well, they are in a class by themselves!) I left London for NY in 2002, and so don't know what has happened since, but what a shame if it closes.
Freelance Photog Makes Good, Apparently
in Casual Photo Conversations
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