josh_gilreath

<p>Taken at the funeral of my great uncle who got me started in photography and who dedicated his life to professional photography. Nikon N90 with a Nikkor 80-200mm f2.8ED on Kodak 400CN. </p><div></div>

<p>More NYC OWS </p><div></div>

<p>Recent trip to NYC</p><div></div>

<p>Recent trip from NYC</p><div></div>

<p>Recent trip to NYC </p><div></div>

<p>From a recent trip to NYC. Grand Central Station </p><div></div>

<p>Here is a shot taken Saturday of the Occupy Wall Street movement as they moved into times square. The people on the statue are the ones who started the, "The whole world is watching," chant. </p><div></div>

<p>Great photographs everyone as usual! </p>

<p>I personally use H&H color lab. They do a great job. If you have the scans made at the time of processing it is much cheaper but it can still be done after. You can even call them up, card the negatives, send them in to be scanned, and have them back in a couple days. This is much more efficient than buying a scanner or using scan cafe. You are guaranteed to receive an excellent quality scan from H&H</p>

<p>Thanks for the kind words everyone! For those of you who were interested in how I added the blur my method is as follows: New layer, Gaussian Blur filter in photoshop with a radius of 12 (this will make the image super blurry), adjust the opacity of the layer with the blur to somewhere between 15-35% to get the desired amount of blur. You can even use the eraser tool to take the blur off of the eyes and off of the mouth and use this more as a skin softening technique. <br>

For those who don't like the blur, I understand. I don't add this to every shot I take, but with this image in particular I just felt that there needed to be a softness and the original negative scan was very sharp! I did look at it both ways and I personally decided that the blur worked. <br>

Thanks again for all of the comments! </p>

<p>Honestly I find that it's easier to use the 622 in A. When I'm shooting with film I don't find much need to check exposure. I set the flash to f8 or f5.6 depending on the situation, then I set the iso on the flash to my film speed, usually 400, then I plug the flash into the camera and set the aperture to match the flash and choose any shutter speed on the blad (the flash wil sync with all speeds of a leaf shutter), then I fire away! I will vary my shutter speed depending on how much ambient light I want to add to the flash, but other than that the flash does all the work in calculating how much light to put out. I find that with this setup I can easily shoot handheld down to 1/15th or 1/30th of a second to capture ambient light. <br>

I will occasionally check the flash sync with the camera by taking the film back off the blad and placing the flash directly in front of the lens. Look at the back of the camera and pop the shutter, if the flash is synced then you should be able to see the flash through the auxiliary curtain and lens on the back of the blad. If you use older hasselblad lenses as I sometimes do (sonnar 150 f4 chrome) then you will have a couple of flash settings on the lens X and M. X is for electronic flash and M is for flash bulbs. MAKE SURE IT IS AWAYS ON X! M will not sync with electric flash and will leave you with blank film. <br>

As for the digital camera, I find the 622 very easy to use. I use it in almost the same fashion as I do with the blad. Set the camera to M and play with shutter speeds to capture ambient light. <br>

I hope I have answered your questions please let me know if there is anything else you would like to know. I will include a shot where I combined natural light and flash all by setting the flash and letting it do its work! </p><div></div>

<p>I understand you dilemma. When I first started shooting Hasselblad at weddings and events I already had Nikon equipment (2x sb-800's) and I decided to figure out a way to make those work. I ordered a pistol grip for the blad and a custom pc to pc cable that was about 8 inches long. The flash mounts in the non-hot shoe on the handle and the short cord fits nicely between the lens and the flash. This setup works nicely and will provide you with some good exposures if you use the AA/A setting. However if you plan to be using this setup extensively I would steer away from the Nikon flash. I purchased a used Sunpak 622 potato masher and it puts out way more power and I know that I can adequately light almost any situation. The 622 also works flawlessly with my nikon digital and 35mm cameras. So all in all my recommendation would be the 622 as it's cheaper than the new Nikon flashes and is actually more versatile if you shoot primarily in AA (which I do). This flash is great for large groups too!</p>

<p>This is from a lovely outdoor wedding I photographed a couple of weekends ago. Straight scan with slight tonal adjustments and a very slight gaussian blur. </p><div></div>

<p>Quite frankly I've never had any trouble photographing foggy scenes on film. My personal words of advice is to find a scene in which contrast is present. It's not "proper" to have a photograph without any contrast anyway. I was taught by my uncle who was a master in the traditional darkroom and his simple advice to me as far as contrast is concerned is that you want to see every shade of gray from black to white regardless of the scene. (This goes for photographing and printing). When I've photographed fog I've used a handheld meter and metered specifically for my subject and I've always had good results. I'll attach a sample photo that was made on Kodak's C-41 B&W film with a broken Minolta/Sekor 1000DTL in which you could barely see through the viewfinder and the 135mm lens on the camera caused the mirror to hang up (really a junker!). Long story short get a good meter reading on your subject! Good Luck!</p><div></div>

<p>I absolutely love film. About 98% of my professional work is done via film. Absolutely all of my personal work is done via film. My main carry around camera is an N90 you just can't beat an old expired roll of T-max! (I'm sure fresh of course will beat it haha)<br>

Here is a picture I took last month while on vacation in Seaside, Florida. N90, 50mm f1.8 AF, T-Max 400: </p><div></div>

<p>Photographed this past week with a Nikon FA and 24mm f2.8 Nikkor N.C. at F5.6 on Ilford FP4, developed in HC110 dilution B. Enjoy!</p><div></div>

<p>Yes, the main reason I was asking is because the reel itself is bakelite. The tank looks as if it can be inverted but not really sure if liquid is going to come gushing out. I guess I could always fill it up with water and play around with it! </p>

<p>Hello everyone!<br>

I recently just came across a brand new vintage Burke and James 35mm single reel developing tank. The reel itself seems very easy to load, and the over all design of the tank is very simple, but the main question I have is, "has anyone used these tanks before?" Even as simple as these tanks seem are they reliable? Are they fairly water tight? Are they light tight and can they easily be used to develop film at the kitchen sink (once the film is loaded of course!)? Any feedback on this tank would be grealy appreciated, I hope I don't have to waste a roll of film in it to find out! Thanks for your responses.</p>

<p>Photographed this local songwriter this past weekend using the new Kodak Portra 400 film! </p><div></div>

<p>thanks for the complements guys! But yea, agreed no need to do anything special when scanning, this film is awesome and very easy to work with. Quite literally the only adjustment made on most of the portra 400 scans thus far have simply been level's tweaks to boost the contrast a bit, but 9 out of 10 times it comes off the scanner printable.</p>

<p>Here is a sample of my scans </p><div></div>

<p>I use a Nikon Coolscan 8000ED with the standard Nikonscan software. I just let the scanner do it's thing and auto expose the negative. I made levels corrections in photoshop and tweaked the colors just a little. This film scans very nicely, and the grain is awesome!</p>

<p>I hear ya on finding some in stock! Friday I was in Dury's camera store in Nashville, TN and they had probably 6-8 5 roll pro packs of 35mm of the new portra 400 in stock. Of course I bought some! </p>

<p>Alright, welcome to photo.net!<br /> Sounds like you have a pretty nice list of classic equipment here! I have personally owned a Mamiya DTL 1000 and I still have a Canon AE-1. My first piece of advice to you is to avoid "opening" stuff up. First off check the batteries, I know for a fact that the Canon AE-1 is an all electronic camera, meaning the shutter only fires or works if there is a battery in it. The battery for the Canon AE-1 is located on the front of the camera to the left of the lens behind a little door. A replacement battery for it is only about $3. Every winding lever on every different camera is going to move differently, therefore if the batteries in the Canon are dead then it theoretically should not move at all and whatever you do (DO NOT FORCE THE LEVERS!!) As I said the AE-1 is electronic so if it is opened up it can be very easy to completely destroy the whole camera if you don't know what you are doing. <br /> The Mamiya DTL1000 is a cool camera, it is all mechanical, meaning that the camera is fully functional without batteries, the only thing the batteries power is the light meter. This is a very basic camera, but if used correctly is capable of some pretty awesome stuff! I have a picture on my profile that was shot with a DTL 1000.<br /> Also, you mention some of your aperture blades sticking, probably most of the lenses you have are auto lenses and may not stop down where you can see the blades unless a picture is actually being taken. What I would suggest doing is putting the lenses on the camera and open the back of the camera so that you can see the shutter. Select a slow shutter speed like 1, 2 or 4 on the shutter speed dial on top of the camera, set the lens to f8, f11, or f16, and press the shutter release button. Look through the back of the camera, if you see the blades close down through the camera, then everything is ok! <br /> One more piece of advice would be to google each camera model for a users manual, this can teach you a lot about the camera and how it works. <br /> Welcome to the forum, and welcome to film photography! It's the BEST! :)<br /> <img src="http://d6d2h4gfvy8t8.cloudfront.net/6730660-lg.jpg" alt="" width="525" height="700" /><br /> Photographed with Mamiya DTL 1000, Yashica 135mm f2.8 lens, Kodak T400CN</p>

<p>both of these corrections are much closer to what the colors looked like when they were photographed.. thanks for the input and ideas.. I'm definitely going to look into using the gray dropper, and i seriously need to learn more about curves</p>