iosif_astrukov

<p>thank you <a href="/photodb/user?user_id=2403817">Rodeo Joe</a><br> I also thought of this options… I doubt it is the shutter - as far as I could hear it - it is working and changing depending on the speed<br> and actually you could fire it anyway you like it - I use my own made pinhole cap on M mode for example<br> Unfortunately the F55 doesn't have manual setting of the ISO… so I depend on the DX code, this is the most likely reason, though the contacts are absolutely clean, I keep the camera very strictly, and also I always make bracketing - 0.5 and 1 stop, and between 50 and 100 ASA is only 1 stop, in this case to have everything black it must be more than 3 or 4 stops… <br> you made me think now - what will happen if I put a film without DX code? do you know?<br> and the strangest thing is that sometimes everything is perfect, and sometimes not… and I can't get the reasons<br> that's why I was wondering weather the batteries could cause some problems, although usually it's made in such a way that either everything is working or nothing at all<br> who knows… </p>

<p>My last film I took today is all black - Velvia 50<br> Actually there are 3 frames ok and than the rest is a different series made another day all severely underexposed<br> What could cause this? <br> Recently it happens often, more or less everything is underexposed, I thought it is a E6 development problem, but now I developed the film in another lab and obviously there is some other issue… <br> Could the metering had gone wrong… or the DX code… I changed the batteries but I doubt it could be the problem… </p> <p>Any ideas?</p> <p>Thanks</p>

<p>I guess Velvia <strong>100</strong> is closest… maybe...</p> <p>50 is nice, sometimes exceptional, but I had problems many times now, and I guess there is something more special or unstable with it… <br> and I am pretty sure already that Ektachrome had much greater latitude than Velvia </p>

<p>the new MacBook is just not designed for that<br> it is made only for net, mails, Facebook, etc<br> light, small, thin, easy to carry on, and golden for the girls ;)<br> it is just a little more than what you can do with an iPad, although in this particular case you can easily transfer NEFs to an iPad with their SD card reader, but you can't edit them with PS<br> still apple are as usual one step ahead - the tendency is to go wireless and USB-less, which is going to happen in the near future<br> if you still want to use the new MacBook for photo work - the simplest and best solution is to take the small cable they offer with regular USB, or maybe there will be direct cables with small USB to USB-C soon on the market, or even card readers with USB-C ;)</p>

<p>I am not sure… but I think he uses chemicals for single development</p>

<p>the blue cast is caused by the digital<br> no exposure compensation - if it was, the index numbers would have been ok<br> also I always make bracketing - if you noticed</p>

<p>compared to a normal developed Velvia - the index numbers are darker too<br /> <img src="https://lh4.googleusercontent.com/-iDF2Grvoyek/VNy-i6rUydI/AAAAAAAALQk/Tcrp-CPXpqg/s720/DSC_0009.JPG" alt="" /><br /> so… it can't be underexposure... or wrong read of ISO code, thankfully my cam is OK - so it must be the developing…</p>

<p>no… I don't remember the times...<br> here are some snapshots of the film<br> the edge:<br> <img src="https://lh5.googleusercontent.com/-o4cFcRWu7gs/VNxhjazDdEI/AAAAAAAALP4/htI0PEBt_ik/s720/DSC_0003.JPG" alt="" width="720" height="478" /></p> <p>the frames are not so blue of course and a bit more light:<br> <img src="https://lh5.googleusercontent.com/-WpxaT0GqJrE/VNxhoqzeKgI/AAAAAAAALQU/i6D9lEvSXqA/s720/DSC_0006.JPG" alt="" /></p> <p> </p>

<p>10x people<br> no - it is definitely not a underexposure problem - my camera uses the code to determine the ISO automatically<br> and all the film is equally 'black' - I shot for more than a month on different locations and situations and times<br> I didn't pay attention for the index numbers - but… you make me think now - is it possible the camera to 'read' wrong ISO code? <br> some years ago I had also similar problem - but slightly underexposed… and now this is the second or third time I get 'black' film<br> as far as I could remember - I have had this problem only with the 50 velvia… but as most of the times the films are great I could not determine when it happens… <br> weird… </p>

<p>A friend of mine is developing E-6 here, he is using always the same gear and chemicals, but from time to time I receive a nearly black film - "black" I mean with nearly no picture on it - you could hardly see the captures on it<br> I think I have had this problem only with Velvia 50 - rarely, but still persisting<br> and as he is developing several films at once, and the other films are more or less OK, and they are different types - not Velvia, we were asking ourselves if there is something specific for Velvia?<br> what do you think? is it a developing problem, or something else? </p>

<p>Thanks! :)</p>

<p>Can you please tell me where in London I could find slide films - Velvia (leica format)<br> Thanks </p>

<p><a href="http://vimeo.com/116735360">http://vimeo.com/116735360</a></p>

<p>I just used the self timer to trigger</p>

<p><a href=" with my last Kodak BW400 for C41, curious what will turn out :)</p>

<p>sorry, but what's the point???</p>

<p>slowly I am also coming to the idea of developing on my own… the B&W process is easy - I did it once as a kid, but C41 and E-6 are more complicated… especially E-6 is very capricious as far as I know..<br> can someone please describe exactly what it is needed for E-6 and where I could find the equipment (ebay link)<br> thanks</p>

<p>Thomas, <br /> the D90 is OK - no problem with it, I was talking about my film camera - it is Nikon F55 - it is a small body which is reading the DX code of the film cover - it doesn't have option to choose the ISO manually <br /> the light source was only the sun - nothing else<br> I still think that the processing is crucial and maybe the problem - especially nowadays when the labs are no longer working and they are processing manually with small jobo processors <br> I am also curious if Velvia 50 could have something unstable - I have had this problem only with it, as far as I could remember<br> <br /> Mark,<br /> of course it is a matter of choice and what you like or don't like :) for the landscapes and especially twilight situations these grad. warming filters are good I guess :) but I am shooting many different things where the warming effect won't be ok</p>

<p>my first thought was - warm filter all the time?! not a good idea… <br> it all depends of what you are shooting<br> than I checked the filters you are talking about - if the test photos are correct - they have very minor warming effect and for landscapes you could hardly see the difference - also the grad. effect is more visible and effective<br> the POL is my favourite filter, but again depends of the subject<br> also the filter is "eating" some stops down<br> so it always depends… </p>

<p>thanks<br /> you are talking about Velvia 100 or Velvia 100F ?<br /><br /></p>

<p>what kind of filter do you use? <br> can you post something that you shot </p>

<p>a quick window snapshot of the roll:</p> <p> <img src="https://fbcdn-sphotos-c-a.akamaihd.net/hphotos-ak-xpa1/v/t1.0-9/10660176_10152820100219009_72025749322208429_n.jpg?oh=e0e0dbc3aa5c8821f98fcd6abc55452e&oe=548406CB&__gda__=1418144115_d82b29ec6a4ab730e2080d9fc531900d" alt="" /></p> <p>here looks a little more dark than it is and the the colour shift on the last one is because of the sky below :)</p>

<p>Thank you so much!<br> It is incredible that I could "talk" virtually to someone who was part of Kodak and Ektachrome process!<br> I love(ed) both films - my experience is exactly the same - Velvia is great for sea/ocean and clouds - while the VS was great on many other situations - street, people/skin, macro… I still hope that they will revive the VS one day… although it is not likely as they shrink more and more<br> I think the problem was not only at the ISO - I have exposures with +0.5 and +1, they are also dark - actually my film camera doesn't allow me to control the ISO setting and I am always making bracketing, I have noticed this problem before, so I think it is a combination of all factors you mention above and maybe even more<br> Thanks again, it would be great if you could share some more knowledge </p>

<p>my observations are that D90 has worst DR than the slide film… but it depends - of the film type and I think the processing is also crucial - as is this example - two rolls processed at the same time - one is very good, the other isn't<br> maybe it is a matter of the roll, or maybe because it stayed about 1 month in the camera or… who knows… too many questions <br> unfortunately today we have more problematic steps than before and the problem could be in every step <br> it is too expensive, otherwise I could make another test to see the result, but it is just not worthy this time</p> <p>I want to ask you - what do you think of Agfa Precisa compared to Velvia? these are the only slide films today, along with provia, right? </p>

<p>found it in Wikipedia:</p> <h2>Reciprocity failure[<a title="Edit section: Reciprocity failure" href="http://en.wikipedia.org/w/index.php?title=Reciprocity_(photography)&action=edit&section=3">edit</a>]</h2> <p>For most photographic materials, reciprocity is valid with good accuracy over a range of values of exposure duration, but becomes increasingly inaccurate as we depart from this range: this is <strong>reciprocity failure</strong> (<strong>reciprocity law failure</strong>, or the <strong>Schwarzschild effect</strong>).<sup id="cite_ref-14" ><a href="http://en.wikipedia.org/wiki/Reciprocity_(photography)#cite_note-14">[14]</a></sup> As the light level decreases out of the reciprocity range, the increase in duration, and hence of total exposure, required to produce an equivalent response becomes higher than the formula states; for instance, at half of the light required for a normal exposure, the duration must be more than doubled for the same result. Multipliers used to correct for this effect are called <em>reciprocity factors</em> (see model below).<br> At very low light levels, <a title="Photographic film" href="http://en.wikipedia.org/wiki/Photographic_film">film</a> is less responsive. Light can be considered to be a stream of <a title="Wave–particle duality" href="http://en.wikipedia.org/wiki/Wave%E2%80%93particle_duality">discrete photons</a>, and a light-sensitive emulsion is composed of discrete light-sensitive <a title="Film grain" href="http://en.wikipedia.org/wiki/Film_grain">grains</a>, usually<a title="Silver halide" href="http://en.wikipedia.org/wiki/Silver_halide">silver halide</a> <a title="Crystal" href="http://en.wikipedia.org/wiki/Crystal">crystals</a>. Each grain must absorb a certain number of photons in order for the light-driven reaction to occur and the <a title="Latent image" href="http://en.wikipedia.org/wiki/Latent_image">latent image</a> to form. In particular, if the surface of the silver halide crystal has a cluster of approximately four or more reduced silver atoms, resulting from absorption of a sufficient number of photons (usually a few dozen photons are required), it is rendered developable. At low light levels, <em>i.e.</em> few photons per unit time, photons impinge upon each grain relatively infrequently; if the four photons required arrive over a long enough interval, the partial change due to the first one or two is not stable enough to survive before enough photons arrive to make a permanent <a title="Latent image" href="http://en.wikipedia.org/wiki/Latent_image">latent image</a> center.<br> This breakdown in the usual tradeoff between aperture and shutter speed is known as reciprocity failure. Each different film type has a different response at low light levels. Some films are very susceptible to reciprocity failure, and others much less so. Some films that are very light sensitive at normal illumination levels and normal exposure times lose much of their sensitivity at low light levels, becoming effectively "slow" films for long exposures. Conversely some films that are "slow" under normal exposure duration retain their light sensitivity better at low light levels.<br> For example, for a given film, if a <a title="Light meter" href="http://en.wikipedia.org/wiki/Light_meter">light meter</a> indicates a required <a title="Exposure value" href="http://en.wikipedia.org/wiki/Exposure_value">EV</a> of 5 and the photographer sets the aperture to f/11, then ordinarily a 4 second exposure would be required; a reciprocity correction factor of 1.5 would require the exposure to be extended to 6 seconds for the same result. Reciprocity failure generally becomes significant at exposures of longer than about 1 sec for film, and above 30 sec for paper.<br> Reciprocity also breaks down at extremely high levels of illumination with very short exposures. This is a concern for <a title="Scientific" href="http://en.wikipedia.org/wiki/Scientific">scientific</a> and <a title="Technology" href="http://en.wikipedia.org/wiki/Technology">technical</a> photography, but rarely to general <a title="Photographer" href="http://en.wikipedia.org/wiki/Photographer">photographers</a>, as exposures significantly shorter than a <a title="Millisecond" href="http://en.wikipedia.org/wiki/Millisecond">millisecond</a> are only required for subjects such as <a title="Explosion" href="http://en.wikipedia.org/wiki/Explosion">explosions</a> and <a title="Particle physics" href="http://en.wikipedia.org/wiki/Particle_physics">particle physics</a> <a title="Experiment" href="http://en.wikipedia.org/wiki/Experiment">experiments</a>, or when taking high-speed motion pictures with very high shutter speeds (1/10,000 sec or faster).</p>