M&A stoke

Just got 500ft of anamorphic 16mm footage back. Theres some weird vignetting in some shots from my afro-engineered lens holder, but other than that the footage looks better than expected.

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I was just cleaning my room when suddenly I came across the focussing screen that fell out of my Minolta X300 roughly 4 months ago.

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The 645 really isn't worth it at all. You get a bigger body, and negatives that really aren't that much larger than 35mm. The image quality you get from 6x7 absolutely blows away 645 to the point where it's hardly worth considering.

As far as large format goes, be wary of anything with a rangefinder (I assume you are looking at something like a Graflex?). The depth of field you get with 4x5 is so shallow that you need to stop down considerably in order to make a reasonable guess at your focus...not to mention that with a negative that big and expensive, it's worth taking a little more time on each shot. If I remember correctly off the top of my head, f/5.6 on a 4x5 is about the same as f/1.4 on 35mm, at a comparable focal length.
 
Stoke: My professor let me borrow his mamiya 6 for the weekend and I had an awesome time shooting 6 rolls around Boston today.

Anti-Stoke: Development tank leaked and 5 out of 6 rolls got ruined.
 
Dat 0.77 vf magnification tho. Probably going to be my next camera along with the 14mm 23mm and 56mm lenses. Just wish it had a touch screen for tap to focus...
 
The monthly, "look wat I found at the thrift shop" post.

Some Minolta's, uv filters and a Ricoh with motor drive for a tenner:

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And now for the pièce de résistance:

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I haggled it down to 50 cents.

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if that fence, the orange and black pole, and the yellow padding weren't there this shot would be so sick man
 
yeah I accidentally forgot to turn steadyshot off for one run after filming long lens. I did the same thing the other day, but this time I just cropped the footage so you don't see the vignette. I'll toss it up here later.
 
Shot and processed some 4x5 Tri-X negs tonight; 4/6 came out perfect, one was crooked and the other I knew would be blank as I didn't load it properly. The MOD54 worked like a charm, no issues with loading. I'll play around with my dev times though, not a lot of consistent charts for 4x5 tank dev...
 
Something like that should give you pretty consistent developing...I always used a Jobo, and that thing rocked.

As far as developing goes, charts are more of a guideline than an exact science. Make sure to mix your chemicals the same and develop at the same temperature with the same amount of agitation every single time, and after a while you'll figure out exactly what your times need to be--given you're exposing your negatives consistently, as well. Working with 4x5 film rewards the perfectionist, and yields far better results than you could ever dream to get with 35mm or even medium format, any day.
 
I kind of got over the idea of needing to have as many frames per roll when I get into MF. So now I am looking at the 67 or any other 6x6 or larger camera. Quality over quantity right.

When you are talking image quality are you speaking in terms of scans or in terms of prints. I wont be seriously into the darkroom for probably 5-10 more years so scanning is really the best option for now and I plan to get a dedicated 35mm scanner. But if I started shooting medium format, I would need to a) get low quality scans from my shop, b) pay extra for high quality scans, or c)get a flatbed which from what I have heard aren't the greatest in terms of IQ especially when compared to a dedicated 35mm scanner.

Large format I will probably just get whatever field camera setup I can find for the cheapest. I just thought the rangefinder on the LF cam I was playing with was kind of neat because I could almost shoot it handheld.

~~~~~~~

Went out on a walk the other day with this setup, boy am I happy with my gear setup, but I seriously need to get a backpack because the shitty shoulder bag I have got so heavy after an hour or two.

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The Pentax 67 or Mamiya RZ would be where I would start looking for 67 (I have the RZ), or check out the Hassy 501/503 etc for 6x6, although there are a ton of really great options for both out there.

A bigger negative will give you better scans and better prints, just because there is much more information to be had. The difference is immediately apparent in the darkroom because that process doesn't have all the variability you can get with digital--choose your format, choose your iso, and choose your enlargement, and that dictates the quality of your print.

If you're seriously getting into film, it will definitely be worthwhile to get your own scanner. I'm not super up-to-date with what's great out there right now, but I have an Epson v700 and it works well. In the past, I've made prints up to 24" off of scans from it and they've looked good. Scanners are kind of a big investment to make right off the bat, but if you take into consideration how much it costs to get a decent scan somewhere else, and then think of how often you'll be shooting film, you should be able to figure out if it's worthwhile.

Once you start shooting 4x5, you'll quickly realize it's not a good format at all for hand-held shooting. The rangefinders you see on old cameras are from way back when they were used as press cameras, so if you see that, it's an old camera. For a starter camera, I'd just find something like a Graflex Speed Graphic, make sure the body and bellows don't have any light leaks, and get a lens somewhere in the 150-210mm range. Once you figure out the ins and outs of shooting with it, you'll never look back--nothing can replicate the image quality of large format!
 
RZ is great bang for your buck, lenses are almost to perfect, a lot of people don't like them for b&w, of course this is personal preference. They render color amazingly and the microcontrast and fine detail sharpness is second to none. With the interchangeable backs you can make it 66 or 645 which is nice, also 220 for double the shots if you needed it. Built in bellows means minimum focus distance is like 5" if I remember correctly. Definitely miss mine and plan to get another at some point, they are just really big and a PITA to lug around. The pentax is smaller, but is not completely modular like the rz and I personally don't really like the rendering of the lenses other than the 105mm. If you don't need fast lenses and want something actually sane to carry around, the Mamiya 7 or 7ii are great, one of the best travel cameras ever. The 43mm is a 10 element better version of the hassy SCW lens. Only downside is they are very plastic feeling. Mine fell out of the car due to package shifting while driving to montana this summer and it was fine save for a scuff on the lens hood. Great camera, I'm just very partial to ze germans
 
^shit... that's pretty cool, any idea what frame rate it does it at? presumably 24/30?

also talking of behemoth add ons

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I feel like a bit of an outcast posting SD video with all you nerds talking about all your high-end photo gear, but hey, it's still media.

I've been having a ton of fun filming VX and learning how to play with settings and get better angles. I don't think any of what I've made so far is actually any good, but damn is it fun. Here's my newest and weirdest mini-edit:

Launch from Charlie Dayton on Vimeo.

(Also, nerds is a term of endearment. I envy most of what you all post here, from gear to photos.)
 
I really want to learn how to film a hyper lapse…if anyone has ANY experience on the subject please PM me…YouTube tutorials only get you so far. I just think the way they look is so epic…so if you can help, please do!
 
The concept and method is really easy but you need practice to get good at them. Put your camera on a tripod, think about how far you want to move, and divide that distance in feet by 300 (300 frames gives you a 10 second clip, which is really flexible when you edit). Use that as the distance you move between pictures. When you have found your spot to shoot on, make sure that you move linearly, try not to move outside of that line or you will get more warping. In your viewfinder, align one of the little square reticle things with a subject. Each time you move the camera, make sure that that reticle lies on the same subject. Try to get in a pace where you take the pictures at even intervals. In post, use AE warp stabilizer to smoothen the clip.

 
Rode mic, NF-M43 Speed booster, 20 rolls of acros, 20 rolls of tri-x. Voigtlander 58 f1.4 on the way. Thanks IRS.

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Anti-stoke - see you later camera pack, 7d, 70-200, 10-20, Helios, GoPro, 1 tb hard drive, passport, taxes, and other random odds and ends like chords, chargers, headphones, etc. Never leave your car unlocked no matter how long you're planning on getting out.
 
One of my favorite photographers is giving a talk and showing some work at my school next month. Brian Ulrich - http://notifbutwhen.com/

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He, my photo professor and I are going to meet for lunch and talk about his process and such too. I'm really excited to pick his brain and see his work in a gallery setting.

 
Copia is an incredibly impressive project. I think the topic of "patriotic shopping' and "consumer intoxication" is so perfect for a street photography project. And color street photography inside department stores with a medium format SLR is super impressive. Guys got some serious photo balls. He's the biggest reason why I shoot medium format for street. The fact that he captures candid moments like that with PERFECT image quality is really compelling.
 
Stoked that I'm finally photographing again. I was in a MAJOR photographic rut and didn't seem to really be trying anymore. Went out to shoot yesterday and today (when it was just pouring) and I know I got some good shots. Definitely stoked.

Also: meeting Eric Kim on Sunday. Not an idol of mine, but pretty cool I guess and on top of that I'll probably meet some local streettogs.
 
GREAT body of work. Really loved that and thanks for posting that. Indeed pretty ballsy to be doing that. Whatever the camera, the mirror-slap with a medium format SLR is quite loud. I've done a lot of street photograhy with my OM-1's and I really don't mind when people notice me, because it's out on the streets. Inside, like in a shop, it's much more personal I think. Really inspring though.

Just today I was thinking that shopping centres/shops etc make a perfect scenery for photography. Especially the cheaper ones like Lidl and Aldi are great; stoic, colorful and so 'rigid' in a way.
 
It makes your camera run as fast as a Kenian.

Or a device that when mounted between a mirrorless camera and a SLR lens, increases maximum aperture by 1 stop (hence its name), increases MTF and makes lens wider by a factor of 0.71x.
 
It's official. I've gone Nikon. Selling off my Canon stuff soon.

85 f1.8D + Tokina 20-35 f3.5-4.5 purchased to go with the D610. Basically all I'll need to get my feet wet, here.
 
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