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matt miller cambridge, ia

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Posts posted by matt miller cambridge, ia

    Denver in mid to late October

    in Nature

    Posted

    I attended a conference in Denver in late October 2001. I arrived a day & a half early & drove up to RMNP. The fall colors were pretty much gone, and so were the crowds. There were lots of big elk herds roaming the park. It's easy to get pretty close to them at RMNP.

    Where to buy Agfa Rodinal?

    in Black & White Practice

    Posted

    I live in Iowa. None of the photo shops around here carry Rodinal.

    B&H won't ship it & it will cost $20 extra for Freestyle to ground

    ship it to me. I am taking a short trip to Colorado at the end of

    this month. Where can I buy Rodinal in Denver, Boulder, Aspen, etc.?

     

    Or... is there an online shop that will ship it reasonably?

     

    Where do you get it?

    ilford XP2 at 200? How?

    in Black & White Practice

    Posted

    Just shoot it at 200 or 400 or 100 or anywhere in between. Just let the lab process it like normal. You'll be amazed at this films latitude & tonal range. Try to remember (or write down, yeah right) your lighting conditions & what ASA you used for which shots. You'll see how you prefer it.

    First time printing with a cold light & I'm having trouble

    in Large Format

    Posted

    Thanks for the answers�

     

    Overprocess the negs? Won�t this give the negs more contrast and make my highlights block up even more?

     

    The dimmer sounds like a great idea for smaller prints, I�ll check into that right away.

     

    The cold light I have is a brand new Aristo �D2HI High Intensity Cold Light Head with V54 Lamp�. From what I�ve read here, the V54 lamp is supposed to be color corrected for easier printing with VC papers, though it is not the VC lamp (way too expensive). I�ve sent off an email to Aristo to find out for sure though.

     

    I�m making contacts with an 8x10 piece of ¼� glass. The enlarger head is just high enough to cover the 8x10 glass with light, like I�ve always done.

     

    �You mean you're using your enlarger to make contact prints? Why?� How else should I make contact prints?

     

    After I hear back from Aristo, I�ll try the appropriate filter & raise the head to try & lengthen my exposure time.

    First time printing with a cold light & I'm having trouble

    in Large Format

    Posted

    I've previously only printed at the community darkroom with an Omega

    B something with condenser head and a Saunders with a color head. I

    could only make contact prints from the 4x5 negs because they didn't

    have a 4x5 enlarger. I am fairly new to B&W. I am using Tri-X &

    HC110 dilution B in a Unicolor drum. I recently purchased an Omega

    DII, so that I can print at home. It came with the condenser head.

    I purchased an Aristo cold light head with the �high intensity�

    light.

     

    The contact prints I made at the community darkroom turned out

    great. Good tonality & contrast. I used the DII with the cold

    light for the first time at home tonight. The contact prints I made

    are very contrasty with the highlights blocking up nasty. I�m using

    the same paper & developer that I used with the other enlargers.

    These are different negs, but my exposure habits are consistent and

    the negs appear to have the same density as the ones that I printed

    at the community darkroom.

     

    The print times with the cold light head were very quick too. When

    I stopped all the way down to F32, I got times around 10 seconds.

     

    Do cold lights need negs with low contrast and high density? What

    could be wrong here, I can�t figure it out. I want to make some

    bigger prints, but I don�t want to waste the paper until I figure

    this out.

    Allowance for loss of image on edges

    in Large Format

    Posted

    Now that you know this happens, and to what extent that it happens, why can't you adjust for it at exposure time so that it's not a problem for you? I know this won't help the negs you've made, but it should elminate this problem for future ones.

     

    I've noticed this a while back. When I have a composition that has important elements close to the edges, I make adjustments so that nothing will be lost when all is said & done. It seems like an easy fix to me.

    How would you approach this situation?

    in Large Format

    Posted

    Refer them to this site. This is a great place to learn the basics and to get answers to ANY question that you have. This very thread is a great example of the kind of help that you can (should) expect to receive here. I rarely need to ask questions here if I run a search first and do a little reading.

     

    Keep the class size small if you have any control over it. With any photography class, people are on so many different levels. With a small class you can give more individual attention and help each student grow.

    Transportation Security Administration

    in Large Format

    Posted

    I traveled recently within the US with my 4x5. My experiences with the airport security were quite pleasant. I carried everything with me as "carry-on" luggage. My tripod was my only piece of gear to go in my checked luggage. At each security check point they opened my case to see just what it was. They were very careful with everything they handled. My nutdriver for the tripod was in my camera case, so they had to throw it away. $5 item, so no big deal. I sent my film through all of the the xray machines inside the case, with no ill affects. If I would have had to check the camera case, I don't think I would have brought it with me (family vacation, not photo trip).

     

    A few years back, I was traveling to a sheet metal apprenticeship contest. I had a hand made metal tool box with all of my hand tools, that I had to check. At some point on the return trip, my tool box had been dropped and torn completely open. They just used duct tape to hold it together and sent it on. I was furious. I immediately filed a claim with the airlines. I received a check in the mail for the damage done a few weeks later.

     

    Good Luck

    Preconceived photographs

    in Large Format

    Posted

    Every photograph, regardless of format, has been pre-visualized at some level. When you set up your tripod and duck under the dark cloth, you have some idea of what your going to see. For some this is visualized as you scan the scene with your camera at your side. For others, this is visualized years before. Call it what you want, or ignore it all together, but it does happen.

    Preconceived photographs

    in Large Format

    Posted

    Quoting Galen Rowell here, from Outdoor Photographer, July/August 2000...

     

    "Very few of my top landscape photographs represent my initial interaction with a subject. My most enduring photographs almost always come from repeat visits to scenes I feel passionate about."

     

    When I go out to make a photograph, I almost always have an idea of what I expect to capture. If, when I get there, things don't pan out as planned, I open my eyes to the unexpected compositions. But I won't cross that original shot off of my list until I get what I envision.

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