Analog film photography and cameras

No - its a great lens - I have one (SC rather than MC)!

I was having this discusison with a shop, they seemed to say SC is for low contrast B&W, I was not convinced I understood which one I would want.

What development were these given if you don't mind me asking?

One forgets MV, it was a year or three ago and I never kept meticulous dev notes.
Knowing me, it was ID-11, stock, recommended time, and agitate every 30 seconds.

In the early days, reading Adams and various commentators, I became very enthused about the zone system, bought a couple of meters and started tweaking development times to account for contrast. Whilst results were good, I came to accept that this rarely suited my preferred style of photography, which is impulsive and features few static scenes. I decided then to always use the cameras' onboard TTL meters, shooting in aperture priority (occasionally I will use exposure compensation for a backlit scene or suchlike) and always develop the films using standard times and conditions. I found this very liberating and have rarely been let down by the results.

In the same vein, I shed many of the lenses I had acquired for the minolta system, (17mm rectilinear? 70-210mm f/3.5 tele? was never using them), got shot of the cokin filter system and usually leave my tripod at home. This means I take the camera with me more, and take more photos. To each man, his own. :-)

There are no words to describe this project. Lasting from February 28, 1993 until September 27, 2010.

I am not sure I would have the strength to do this and handle the emotional turmoil that comes with the subject matter. This is a tough read.

Darcy Padilla | The Julie Project

That is quite heavy material.....very sad.

One forgets MV, it was a year or three ago and I never kept meticulous dev notes.
Knowing me, it was ID-11, stock, recommended time, and agitate every 30 seconds.

In the early days, reading Adams and various commentators, I became very enthused about the zone system, bought a couple of meters and started tweaking development times to account for contrast. Whilst results were good, I came to accept that this rarely suited my preferred style of photography, which is impulsive and features few static scenes. I decided then to always use the cameras' onboard TTL meters, shooting in aperture priority (occasionally I will use exposure compensation for a backlit scene or suchlike) and always develop the films using standard times and conditions. I found this very liberating and have rarely been let down by the results.

In the same vein, I shed many of the lenses I had acquired for the minolta system, (17mm rectilinear? 70-210mm f/3.5 tele? was never using them), got shot of the cokin filter system and usually leave my tripod at home. This means I take the camera with me more, and take more photos. To each man, his own. :-)

Cheers.
As you might have read I'v been shooting Tri X and devving it in R09 but finding it hard to get consistant results.
Using R09 as I'v read that stand devving withit results in nice fine grain but you're images have very little grain going on for 1600iso.
Might try some ID11.
I'v bought a spot meter and The Negative by Adams recently, I think spot metering suits my still quite well and as my favourite camera is my Mamiya 645 with WLF, in camera metering isn't an option.

Tri X is my fave film. I usually develop it 1+1 dilution ID11 for 11 minutes.

The Negative is an classic. Using MF, spotmetering makes perfect sense, as you are generally not rushing and need to refer to a meter anyway. Also there's more scope to tailor exposure settings for each roll with only 16 shots.

Some Tri X from my flickr (before the days I had photoshop to clean the dust specks evidently!)

Awesome shot.

I love the shot of the exterior wall. The texture is awesome.

I love the shot of the exterior wall. The texture is awesome.

+1.

I love the grain (or rather lack thereof) in the 2nd and thrid images in the post I quoted earlier.

Posted something very similar a few weeks ago but it was pretty badly blown.
This was spot metered and devved better I think.

Was trying to catch the light being reflected off the shop window and onto the pavement, don't think it worked all that well

Spot metered the sky and placed it on zone 7 so print is maybe slightly dark but I did a lighter one and preferred the sky in this one.

My girlfriend.

GF again, contact print from a 5x4 neg taken with studio flash on a Sinar.

been looking though some of my old film stuff today, I miss shooting with it, I just can't afford to these days. I've got 10's of films unprocessed and hundreds of negatives unscanned, probably should do something with them.
Anyway I though i'd share some of my work.

Mechanical Vandal, its a definite improvement from the blown out image from before. Keep at it.

got 3 rolls of processed negatives, anyone knows where is best to print/scan? In Hackney?

been looking though some of my old film stuff today, I miss shooting with it, I just can't afford to these days. I've got 10's of films unprocessed and hundreds of negatives unscanned, probably should do something with them.
Anyway I though i'd share some of my work.

These are fucking brilliant!
What's with the first one?

Was trying to catch the light being reflected off the shop window and onto the pavement, don't think it worked all that well

That's exactly what works for me about the shot, the sort of aura around that woman from the reflected light. Good shot, man.

Mechanical Vandal, its a definite improvement from the blown out image from before. Keep at it.

That's exactly what works for me about the shot, the sort of aura around that woman from the reflected light. Good shot, man.

Cheers guys.
The spot meter does help, brings a bit of certainty about the results I'll get.
Having joined this new darkroom is good too, means I can get regular access, everythings in better nick than the college darkroom and the twice that I've been already it's really just been me there by myself so no distractions.

Cheers guys.
The spot meter does help, brings a bit of certainty about the results I'll get.
Having joined this new darkroom is good too, means I can get regular access, everythings in better nick than the college darkroom and the twice that I've been already it's really just been me there by myself so no distractions.

those are some pretty nice shots, what's the darkroom out of interest? (if its glasgow you're based in, wondering if it's street level, which i always meant to check out)

either way, it's nice work, and it looks like it's come out nice. made me miss home with the first couple pictures.

@mechanical_vandal, I love your second one, light in all the right places IMO.

I think if you cropped the right half of the shot with the 'aura' it would make a better photo, there's nothing interesting in the right hand side of the picture.

Nice work spotter, the one with the sea wall and the tiny person is awesome.

those are some pretty nice shots, what's the darkroom out of interest? (if its glasgow you're based in, wondering if it's street level, which i always meant to check out)

either way, it's nice work, and it looks like it's come out nice. made me miss home with the first couple pictures.

It is indeed streetlevel.
I had always been under the impression that it was a fortune to join but I got frustrated trying to get access to the college/uni darkroom (Met) and looked into it. £40 a year for student membership and £6 for a day in the darkroom.

These are fucking brilliant!
What's with the first one?

Thank you, that shot is looking up at the corner of a building on a winters night. As I remember it was one of the victorian mansion blocks around the albert hall.

Nice work spotter, the one with the sea wall and the tiny person is awesome.

Thank you. I took that on my first ever trip out with my dad's old Praktica MTL-3 with I was about 11 or 12.

That's exactly what works for me about the shot, the sort of aura around that woman from the reflected light. Good shot, man.

I agree, like it. Have a play with the cropping as Fox suggests, I like the interest taking a little while to spot, more or less cropping seems to vary the immediacy, but the person just walking into view furthest right and shiny bollard are a bit untidy.

There are no words to describe this project. Lasting from February 28, 1993 until September 27, 2010.

I am not sure I would have the strength to do this and handle the emotional turmoil that comes with the subject matter. This is a tough read.

Darcy Padilla | The Julie Project

First time I have a shed a tear in about 18 years.

First time I have a shed a tear in about 18 years.

It is a beautiful, painful and sobering work. Photojournalism showing its haunting power.

First time I have a shed a tear in about 18 years.

^ this apart from the 18 years thing.

I was fine until the audio of the phone-call between Zach and Julie - that's where it really hit home. When he said what his favourite memory was, that just about finished me off.