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While perusing an old photography magazine on Archive.org I found an early predecessor to the Sunny 16 rule we use today. The magazine was published in the Summer of 1937. We can learn a lot about photography from looking at this table. For one many of the shutter speeds will look somewhat different than we are used to. Modern shutters use fractions like this: 1/1000, 1/500, 1/250, 1/125, 1/60, 1/30, 1/15, 1/8, 1/4, 1/2. If you picked up a camera of this era, for one, the shortest speed: 1/1000'th would have been a fancy camera. Many cameras of the era maxed out at 1/300, or 1/400. Most cameras also used a slightly different scale too: instead of the more modern 1/4 they veered to 1/5 and went up from there to 1/10, 1/25, 1/50, 1/100, 1/200, 1/400. Another thing to note (go to the original magazine article, link supplied) and you will see a wide variety of films. None of the films listed exist today. Most of the companies are now only footnotes in photographic history. And

Ultrafine/Kentmere 100 Reciprocity Test-Camera: Fuji G617, Film Ultrafine (E)Xtreme 100, ND-9+red @ f22 140 seconds If you are interested in long daylight exposures, you may have run in to the same problem I have. Say you have your camera all set up, the clouds are whisping by, and you want to get that long daylight blur thing going. You figure a 30 second exposure (approx.) would be ideal. Well how do I get there? I've got a bunch of filters: a 4 stop ND, a 9 stop ND, as well as a red, yellow, and orange filter. It's mid day and my meter reading says 1/125th @ f16. I start counting with my fingers: -1 stop = 1/60th, -2 stop = 1/30th, and so on. So then I get down to 4 seconds with my darkest ND filter. If I stack both my ND filters, I get down to 30 seconds where I wanted to be. But wait! That's without reciprocity corrections. Great if I had Acros for film. But I don't and it's being retired soon, so I wont have access to it at all. What I ended up makin

There are two competing variables in making a properly exposed negative (actually three I guess if you count film speed.) But if you're just getting started with film photography you may have heard of reciprocity as it pertains to exposure. By the way reciprocity should not be mistaken for a shortening of reciprocity failure as I often hear people mis-speak. Reciprocity is the relationship between the length of time of an exposure and the light coming in through the lens controlled by the aperture. In theory, (and usually in practice) doubling the time of an exposure and halfing the light coming in will result the exact same density negative or transparency. For example, if you meter (or using the " Sunny 16" rule ) an exposure as say f16 at 1/125th , your negs would be exposed* exactly the same as if you used: f32 @ 1/30th f22 @ 1/60th f16 @ 1/125th f11 @ 1/250th f8 @ 1/500th f5.6 @ 1/1000th Note I said exposed exactly the same , not look exactly the

When I first started photographing, as a teenager in the early 1980's literally everybody used a film camera. All sorts of films, color and black and white could be purchased from convenience stores, drug stores, supermarkets, by mail order, or most likely at one of the ubiquitous One Hour Photo shops. You could get Disc film , 110 , 127 , 120 , 220 , and sheet film locally in San Jose where I grew up, as well as in most any city of a certain size. For those of you just getting in to photography, you might find the notion of metering light for exposure difficult. Your iPhone's camera not only do a great job of metering and exposing, but you also have the advantage of being able to instantly see the results and correct if needed. But in the century plus of history where film was king, there were a lot of tricks folks came up with to make exposure easy. Back in the 1980's there would typically be a small sheet of paper folded up in the film box with a bunch of information

When looking in to putting in a film order, I was really bummed out to find that my favorite film appears to be discontinued. Fuji Acros won over the crown as my favorite film after the demise of ORWO NP20 a couple of decades ago. Acros had a wonderful tonal scale, fine grain, and one other feature that there still is no competition for. It had almost no reciprocity failure. There was no recommended exposure adjustment until a full two minutes!!! Well, what is out there now? Here's a list of what appears to still be being made: Ilford : Pan F plus, FP4 plus, HP5 plus, SFX, XP2 plus, Delta 100, Delta 400, Delta 3200 Kodak : Tri-X, Tmax 100, Tmax 400, Bergger : Panchro 400 Foma (and Arista.edu): Fomapan 100, 200, 400 Ultrafine (Kentmere?): (E)Xtreme 100, 400 There are also a bunch of film stocks I believe are just repackaged: Rollei , Agfa , LOMO , Holga Black and white films I've used in my lifetime that are gone: Agfa : APX 25, 100, 400 Kodak : Plus X, Veri