Digital Analog Proxy

The campus where I work has shut down. We had a really great group of darkroom students we were really looking forward to working with before this crazy Pandemic shut us down. I knew some students have dSLRs and was thinking of ways they can learn more about film photography under these unusual times. So here's what I came up with. Set your cameras thusly:

Quality: Raw + Jpg
Color to B&W
Set camera controls to manual
Turn off autofocus (plus any other special features you might have like IBIS)
Set ISO to 400 (to match our usual HP5 plus film)

Best case scenario is that you have a full frame dSLR (or mirrorless) and a 50mm prime.

The logic here is that you can learn alot (and faster) this way and most things apply directly.

Most meter systems have a match-needle like method similar to any old 35mm SLR. If you screw up substantially exposure wise, you'll see it in your JPG. You can learn how short you can effectively shoot - test 1/60th, 1/30th and how many of your photos have motion blur?

Tonality .... who knows film has some qualities that vary from type to type. But more importantly development methods impart more effect.

Depth of field will be exactly the same if using a full frame DSLR with the same settings.

I've been doing this myself, take a look here:LINK

Comments

Linhof Serial Year List - Salomon Says

Recently I've acquired a few Linhof cameras. I got a 5x7 view camera from Oakland Museum's White Elephant Sale. Later I stumbled upon a Color Kardan 90 Jahre Jubalaeum edition on Craigslist. And more recently, I found a "baby Technika" 2x3 (6x9) at Oakland's East Bay Depot for Creative Re-use. Not knowing much about Linhof large format cameras, I tried getting more info online, and came across a strange thread on the Large Format Photography Forum . Basically on this thread various Linhof owners ask a guy named Bob Salomon what year their Linhof was made. And the thread is over 100 pages long! Sifting through that thread is mindnumbing. Why Bob doesn't just publish the list of serial numbers is beyond me. Maybe it's just nice to feel needed. So I started compiling a spreadsheet of the serial numbers and the answer Bob gives. If you don't feel like spending a couple days reading this thread to get a hint as to the age of your Lin

Should I ditch my Sony a6500 for a A7r IV?

Recently, I bought a Sony a7r IV. The main reason was for stock photography. The high resolution along with improved focusing and biggish buffer would allow me to make better people (and other) stock photos for my various stock endeavors. The Sony system has treated me well. I own two A7r II's for stock and other work, and two a6500's for event photography. The A7r II's aren't ideal for events for a couple reasons. The focus tracking is pretty good, but maybe not enough for fast paced people on stage. Another reason is that silent shooting is only available on single shot mode. And (admittedly a first world problem,) the files are much bigger than needed. Well, the last problem, too big files isn't an issue with the A7rIV if you use it in APS-c mode. The files are effectively the same size as the a6500: 24 mp. Focus with the IV is even faster and more effective than the very capable a6500. And with those smaller files, the IV has no problem with buffer overflow. So

Long Daylight Exposure Chart: Kentmere 100

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

Lensbusters.com

Search This Blog