andrew_horodysky1

Hello all,

 

Reading online reviews (paid sponsored or otherwise) about currently available 35mm film scanners has created more confusion for me than anything else. I don't know which reviewers are actual users and practitioners, and consumer reviewers are all over the place.

 

I primarily photograph with Tri-X 400 (EI 200 to 800) and FP4+. Developers are D76 and XTOL. Computer is MacBook Pro (2016). Usage will be primarily web-based (blogs), and not for print/enlarging purposes. For post-processing fine-tuning and sizing, are either Lightroom or Photoshop preferable? Photoshop seems like overkill, for me.

 

I'd like to hear your experiences with and recommendations for scanner and software.

 

Thanks much,

 

Andrew

Thanks, Ben. That's what I was looking for.

Hello all,

 

Understanding the general metering function of the stop down lever/button, my question is this:

 

When mounting my [new/n] FD lenses onto the camera body, does this button/slide need to be pressed in or left alone in the retracted (extended) position. Same with active shooting, left in or out, no naughty pun intended... :)

 

I don't use this stop down metering function, just shoot and meter regularly.

 

Thanks much.

<p>Thanks, again. Much appreciated. I did end up mixing in distilled water, and diluted stock with the same (to make 1:1). </p>

<p>Thanks, everyone. Much appreciated.</p>

<p>I'm going to use distilled water, to be on the safe side. The water, here, is pretty, let alone bad-tasting. </p>

<p>Thanks, all.</p>

<p>Hello all,<br>

Is it preferred to mix D-76 stock with tap water or distilled? And, further, for developing 1:1, tap or distilled?<br>

Thanks.</p>

<p>Thanks Evan and Jeff. Jeff, I too, use an F-1. I've got the F-1N with AE finder; have been extremely happy with this camera (bought it about 2 years ago).</p>

<p>Hello Everyone,</p>

<p>I normally use 35mm Tri-X/XTOL (1:1) combination for the vast majority of my photography -- box speed (400), sometimes pushed 1 stop. Once in a blue moon, I use Rodinal (1:50).</p>

<p>I'll be spending some time on Cape Cod with my family in August, and plan to set aside separate gear for B&W. In direct sunlight, I'm afraid of harsh contrast, through and through. Should I be pulling Tri-X, to say 200 or so, and develop a little less for shadow detail, and to control highlights from blowing out? Or, are there other films and developer combinations to consider for summer beach photography? I'm afraid the medium speed films might yield too much contrast.</p>

<p>I look forward to your experiences and recommendations.</p>

<p>Best,</p>

<p>Andrew</p>

<p>Steve,<br>

Congratulations on regaining Camera Arts. I enjoyed reading the printed version, for years. I think an online version is a great idea, especially for written and visual content that can be added and changed more quickly than waiting for off-the-press copies. <br>

I must agree with Mike, above, that the look of the site truly does need polishing. And, I too, like access to PDF articles.<br>

Best wishes for continued success.<br>

Andrew</p>

<p>Hi everyone,<br>

Does anyone have suggestions regarding scanners for medium format film (both 6x6 and 6x7)? Use will be for b&w and color, then output (no larger than 13 x 19 paper), for client portraiture and exhibition prints. I can't touch (financially) the Imacon, but would like recommendations for others. I've also heard, first-hand, from two acquaintances that Nikon's Coolscan 9000 is a little finicky, and has its own problems.<br>

Thanks.<br>

Andrew</p>

<p> </p>

<p>Here are a couple more:<br>

http://www.richardavedon.com/<br>

http://www.marcusleatherdale.com/<br>

http://www.monakuhn.com/<br>

Enjoy...</p>

 

<p>Hi everyone,<br>

I'm currently using a Canon 5D (not mkII) for most of my portrait work - some available light, but mostly softbox with reflector. Although the results are good enough (both b&w conversion and color) for my sitters/customers, I'm personally going through a tough time with the digi-craze workflow bandwagon. Am I the only one not completely convinced of the delivery of a fully-digital studio? It's driving me nuts, and I miss the depth and tonality of film...<br>

I'd like to start moving back to film with MF with some sitters, photographing them with studio-controlled lighting, as well as available light (both window and outdoors), but probably more of the latter - in both b&w and color, depending on the subject. There's alot to choose from at KEH, but would like to get some input from other practitioners. The Mamyia RZProII's are very nicely priced, as are Hasselblad's. But, I don't know anything about the various Hassey models. How do Mamyia and Zeiss lenses compare for available light and controlled studio light - normal to short tele?<br>

Any and all suggestions are appreciated.</p>

<p>Thanks, much.</p>

 

<p>Mitch,<br /> In addition to all the great advice given above, peruse individual monographs by historical and contemporary photographers and artists: Rembrandt, Vermeer, Hals, Nadar, Julia Margaret Cameron, Edward Steichen, Horst, Vander Zee, Karsh, Avedon, Brandt, Penn, Leibowitz, Arbus, Hofer, Groover, Mapplethorpe, Golden, Greenfield-Sanders, Tennyson, among others. You'll find an array of styles in just as many visions and formats. Education is also about looking at the work of others.<br /> Enjoy.<br /> Andrew</p>

<p>Is anyone on the forum familiar with Tim Kelly's in-studio workshops (Orlando, FL), and his training DVD's?<br>

What were your experiences with them, and would you recommend them?</p>

Thank you, Armando and John Photo, for your suggestions. They're greatly appreciated.

 

As a matter of fact, I went to B&H this past week to look at the Mamiya RZ 67 system. I didn't have the opportunity to

test shoot it, but we looked at both the film back and digital back options. I still like the idea of a "hybrid" system, as

suggested by Stuart (above), as I can give client an option, depending on the finished deliverable.

 

I've also decided to forgo the anticipated Canon 5D II DSLR option (as a more mobile outfit), if not only for personal

preferences. This in no way reflects upon the camera's superb capabilities, nor the "L" series quality. Having looked at

the original 5D, it maintains more things than I would ever require for practical use. Should I feel the need to carry a

second outfit, I think the Nikon D700 will be the camera of choice. Believe it or not, coming with a Canon FD

background, the D700 just felt better than others.

 

At the moment, I'm leaning toward a primary MF system. This will also slow down the creative process during a session,

not having to rush the sitter nor myself with the quick shooting of a DSLR (although with children, it'll come in handy).

 

Thanks, again, for the continued discussion. Great thread!

Thanks, to all of you, for the continued discussion. I greatly appreciate the intelligent personal suggestions and experiences — they're all

valid.

 

Stuart's recommendation of a "hybrid" working methodology makes a lot of sense — working in an everyday digital

workflow, and providing occasional film-based solutions for certain client/sitter projects that would benefit from fine hand

printing (I'm in the New York metro area, so there's access to a handful of outstanding printers that work exclusively in black &

white). Everywhere I turn, it seems that one must keep up with the current and latest technology(-ies). I, for one don't

want to get too immersed in a "tech-fest" — but at least be aware of what's out there.

 

I concur with Paul and Joseph's comment, "clients are not emersed [sic] in gear". I've been to some studios, in the

recent past, where the shear amount of equipment and complicated lighting set-ups detract from the immediate

relationship between the photographer and subject. Quite frankly — with all due respect to other studio photographers — it

almost seemed that all that gear was present ("displayed") to support those particular photographers' egos. None of it was

used, and could have been stored.

 

I'm getting requests, more recently, for in-home sessions, so I'm looking forward to simplifying my set-up needs, and concentrate

on the intimate image-making process with the sitter(s).

Thanks, all; very helpful, so far.

 

Ulrik and Kevin, thanks for the suggestions. What are the advantages of the ELX models over the regular 5xx series?

 

Paul A., thanks for your feedback. A DSLR in the "toolbox" will also be in order. Beside Paul's recommendation of the

Nikon D700, does anyone have experience with the Canon digital line?

 

Any thoughts on the anticipated Canon 5D Mark-II? Will the 21 mega-pixel sensor be that much more advantageous over

the D700's 12mp? Be advised, that I truly don't need all the bells and whistles that come jam-packed into these newer

DSLRs. I'm interested in keeping the tech part to a minimum with these, shoot RAW and use Lightroom and Photoshop

for [primarily] black & white processing, and concentrate on the creative image-making process.

Hello Everyone,

 

After years of working in advertising and branding (on the operations and production side), I'm returning to

my roots in photography. I'm starting a portrait business (in-home and location for now; studio later).

 

Although I have some experience with a digital workflow, much of my passion for the medium still resides

within the film realm. You'll see me using my Canon F1N-AE with an 85 1.2L (Tri-X and Neopan 400)

more than my DSLR.

 

I'm considering bucking recent trends of all-digital workflow, and finding a used medium format outfit, that could

be expanded to accommodate a digital back, in addition to film. My concentration is almost exclusively

black & white (color available if clients really want it); will be using natural light, as well as simple strobe set-ups.

Any suggestions?

 

I've tried out Yashica and Rolleiflex a few years ago (borrowed), and got hooked on the compositional possibilities

with a square format (endless, coming from a professional design career). I'm thinking about a Hasselblad with

80mm and 150mm lenses; just don't know which models (bodies, backs, and lenses) are appropriate.

 

Any thoughts you might have are greatly appreciated. I'm not brand-loyal, so I'm open to all suggestions and

experiences you've had yourselves (with preferences). Also, I could use some suggestions/solutions

with MF digital backs; a couple of recent inquiries led to sticker shock.

 

Budget will be in the $6,000 range (not firm) without a digital back.

 

Thanks much.

Dave, thanks for your feedback and suggestions.

 

I don't think a film-based system is a bad idea. Should I be able to locate a digital back for a Hasselblad (a couple of

initial inquiries, however, gave me sticker shock), I can offer both film and digital solutions as I see fit for a particular

project—also considering a client's preference(s) with consultation. My concentration, for now, is black & white, with

simple soft box set-up, or daylight.

 

I'm trying to simplify the technical end as much as possible, and concentrate on the image-making.

 

I will be looking at a secondary, DLSR outfit, and just wanted to know what some of you personally prefer in terms of

branding (Canon or Nikon), and why. Is there a difference in optics in their lens line up (eg. Canon's L series vs. Nikon

lenses).

 

If anyone has suggestions or solutions regarding a digital back for a 503, I'd greatly appreciate it. Are used ones worth

picking up? What brands are worth looking at besides Hasselblad and Phase One.

 

Thanks, again.

Thanks, Tom.

 

The Hasselblad is at the top of the list. KEH in Atlanta (http://www.keh.com) have some good choices. I've ordered used

Canon FD equipment from them in the past, and have been very pleased. OK, now that I've plugged them, I should get a

discount!

Hi Mauro and Dave,

 

The $6,000 is not "set in stone" — an approximation — and is for camera outfit and lens(es), only. Lighting and ancillary

studio materials will be separate. Thank you for asking me to be more precise.

 

By the way, the DSLR suggestions here are leaning toward Canon, the anticipated D5 II. How does Canon compare with

the current Nikon line of bodies and lenses?

 

Also, as I mentioned earlier, I'm still seriously considering a Hasselblad 503CW for medium format film use (digital backs

for these are way beyond my reach, unless, they're rented once in a while). Again, I'm leaning toward picking up a used

one.

 

Digital workflow will include Adobe Lightroom and Photoshop.

Thanks, Mike.

 

Although the 5D II sounds very promising, I'm going to wait just a little longer to see more user reviews and feedback.

Should I remain brand-loyal to Canon, I'll definitely purchase the 85mm 1.2 L and 135mm 2 L. I can wait for the zooms

(probably the 24-70mm, first). I still use my F1N coupled with 50mm 1.2 L, and 85mm 1.2L (it's a hunk of glass, but the

best lens I've ever used, hands down). I'm not giving film up; but will supplement it with a digital workflow, and use each

as the project demands.

 

I'm also going to consider getting a used Hasselblad 503CW, with an 80mm and 150mm (down the road).

Budget is up to about $6,000 (camera, lenses).

Hi everyone,

 

I'm soliciting ideas and suggestions for workhorse DSLR's for a new portrait studio. What do you currently use? Do you have any brand

preferences? Model preferences (for in-studio and location)? Lens systems?

 

Thanks.