To all photography lovers: Here is a delightful story about an old-time
photographer surviving in the digital world......  Raymond


http://www.latimes.com/news/nationworld/world/la-fg-india-lowtech2-2009sep02,0,4\
488845.story?page=1
******************************************



[Non-text portions of this message have been removed]

You, the world and the universe are invited to our 9th Annual Black & White
Traditional Darkroom Printmakers Group Exhibition.
Saturday 22nd & Sunday 23rd August.
Saturday 29th & Sunday 30th August.
2pm to 5pm each day at our MCC clubrooms, corner of Dorcas & Ferrars streets Sth
Melb.
Special emphasis this year is Toned prints.

http://www.kodak.com/global/en/professional/products/films/catalog/kodac\
hrome64ProfessionalFilmPKR.jhtml
<http://www.kodak.com/global/en/professional/products/films/catalog/koda\
chrome64ProfessionalFilmPKR.jhtml>


[Non-text portions of this message have been removed]

Scroll down...............


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[Non-text portions of this message have been removed]

;-) enjoy yourself.

2009/4/28 kerryno3 <monro@...>:
> Thanks Raymond, very detailed as usual.
> Kim - don't give up your day job.
>
>
>
> ------------------------------------
>
> To Post a message, send it to:   black-white-photography@eGroups.com
>
> To Unsubscribe, send a blank message to:
black-white-photography-unsubscribe@...! Groups Links
>
>
>
>

Thanks Raymond, very detailed as usual.
Kim - don't give up your day job.

Hullo Kerry:

Suggest you take Ilford FP4 125 & HP5 400 film.

In soft sunlight & bright cloudy conditions use FP4 rated 125 ASA. Take general 
meter readings and increase exposure between half & 1 stop to allow for shadow
areas.

In bright high contrast sunlight when detail is required in shadow areas use HP5
rated 400. If possible make or estimate the exposure required for shadow detail,
then reduce the exposure by 1 stop.

I would use Ilford Microphen developer full strength. I would chose a minimum
development time to produce a slightly thin negative to deliver the kind of
easy-to-print negative which I prefer.

Black & brown complexions are rather tricky and particular care must be taken to
obtain desired skin detail in both highlights and shadows.

I strongly suggest you carry out exposure and development tests on short strips
of both films BEFORE leaving.

In development I have always used constant agitation. This enables a high degree
of precision to be obtained in selecting suitable development times and
consistency in negative density.

Have a safe & happy journey and I look forward to seeing your results......   
Raymond

   ----- Original Message -----
   From: kerryno3



[Non-text portions of this message have been removed]

so you're not taking the 40D then?

Kim

2009/4/26 kerryno3 <monro@...>:
> I'm off to Namibia very soon. Has anyone been there and shot B&W film, can you
give me any advice, tips etc. for shooting film only, no digital shit.
>
> Cheers
> Kerry
>
>
>
> ------------------------------------
>
> To Post a message, send it to:   black-white-photography@eGroups.com
>
> To Unsubscribe, send a blank message to:
black-white-photography-unsubscribe@...! Groups Links
>
>
>
>

I'm off to Namibia very soon. Has anyone been there and shot B&W film, can you
give me any advice, tips etc. for shooting film only, no digital shit.

Cheers
Kerry

At this very monment? Malvern.



--- On Mon, 2/2/09, kerryno3 <monro@...> wrote:

> From: kerryno3 <monro@...>
> Subject: [black-white-photography] Lost
> To: black-white-photography@yahoogroups.com
> Date: Monday, February 2, 2009, 2:52 AM
> Does anyone know the whereabouts of our master RJP.
>
>
> ------------------------------------
>
> To Post a message, send it to:
> black-white-photography@eGroups.com
>
> To Unsubscribe, send a blank message to:
> black-white-photography-unsubscribe@...! Groups
> Links
>
>     (Yahoo! ID required)
>
> mailto:black-white-photography-fullfeatured@yahoogroups.com
>

Does anyone know the whereabouts of our master RJP.

Hello all,

Tony Tailor asked me to remind you that tonight Chris Lim will talk about the
Bromoil process and show some of her work with it.
Please find attached a brief introduction - this may well be of interest to
quite a few of us.
Apologies for the late notice...


There is now a page for our End of Year Exhibition on the MCC website which
lists all relevant details and has the related documents available for download:
http://tinyurl.com/mccprintmakers2008
The URL for it is very long, so in my mind the most reliable way to get to it is
by either using the tinyURL above or through the group page
http://melbournephoto.org.au/black-and-white-group
Right now it can also be accessed right through the homepage
http://melbournephoto.org.au


If you have not entered your prints yet, please do so before the start of the
print night next week, 14th August.

Hanging will be on the night of Thursday 21st August, i.e. in two weeks time,
after the talk. If you can make it at all then please come along and lend a hand
- many hands make light work.

Those who have not sent or given me their print descriptions yet, please do so.
(Receiving both printed and electronic versions strongly preferred.) The form is
available for download from the page mentioned above.

The page also has the flyer Catherine made for advertising the event - please
print a couple and put them up wherever suitable (pubs, bars, bulletin boards,
etc).

We could do with some more food (looks like drinks are covered) for the opening
on 23th August @ 2pm - if there is anything you can make or get then please let
me know!

As for the exhibition roster, it seem we are basically covered, but it would be
nice to have someone with a building key to be there on Saturday, 30th August at
2pm to open the door.


One more thing: you may have seen in the eMCC that Narelle would like us to find
a new coordinator for the darkroom bookings. Volunteers please get in touch with
me or President Ross, and form an orderly line! ;-)


So much for now - I hope I did not forget anything!

Also I look forward to seeing you soon, as well as some nice work from everyone!

Cheers,

Ronald

[Non-text portions of this message have been removed]

I will be very glad if you visit my blog.

http://blog.360.yahoo.com/kirillkhrabrykh

Kirill

Hi Raymond,

Thanks for your reply and advice.
Please find further comments inline.

--- In black-white-photography@yahoogroups.com, "Raymond Copley"
<raycop@...> wrote:
...
> You did not state what film you were using or the exposure setting.

Have a look at my original post
<http://tech.groups.yahoo.com/group/black-white-photography/message/1814\
>  , it's all there: Efke IR820c, two sheets intentionally exposed
through an R72 filter after metering at 1 ISO, one sheet (sheet #2)
accidentally exposed at 1 ISO without the filter.

> Slow speed films (32-64 ISO) require shorter processing times because
the emulsion is thinner and therefore requires less developer activity.
The time increases when faster films (thicker emulsions) are used.

Information about this film is spotty, but it seems that for visible
light it would be rated between 100-200 ISO.

> When using a developer for the first time, process a short length of
film in full strength developer at the manufacturer's recommended time
and temperature. Ilford provide a simple chart to calculate time and
temperature above and below the recommended combination at 20C. and the
recommended speed settings (ISO) for each category of emulsion (slow,
medium & fast).

Unfortunately, for this film there is no such thing as a manufacturer's
recommended time, or at least I could not find such a thing. So I
checked with the giant devchart <http://digitaltruth.com/devchart.html>
. As I said earlier, I have Microphen available and the chart lists one
time for it: 7 minutes with stock solution. However I knew that I would
have to use drastically reduced processing for the overexposed sheet,
and times were getting very short anyway at the temperatures I had to
deal with, so I decided to go with 1+3 and a longer time to start with.
Seems I did not choose that time long enough, so I ended up learning
something!

> Careful assessment of negatives from this initial test will enable you
to competently adjust film speed and processing time to suit your camera
and exposure techique and your processing  methods. These vary from one
person and set of equipment to another.

Yes, that's what I'm just getting started with and originally asked for
advice on. As none was forthcoming I then started to do my own
experiments.

> Always remember that there is NO single combination to suit every
situation. If this is what you want, then use auto digital, not wet film
processing. The former delivers wonderful images, the latter is an art
form which for 150 years has been producing fantastic results. Some
people use both methods suit their particular needs.

Not sure what you are trying to tell me here, Raymond.   [:)]
I've been reporting on my progress with trying to work out proper
exposure and development for Efke IR820c sheet film as well as my
attempt to salvage a sheet that was accidentally overexposed. And asking
for advice about either - no need to threaten one of the few remaining
film-users at the MCC with the digital hammer!     [;)]

> During hot weather, running tap water usually doesn't get above about
23C..

Well last night it did, and I had it running for quite a bit but could
not get the temperature much below 30C.

> If solutions are appreciably higher, place them in a refrigerator for
a few minutes. Let the temperature drop to about 18-19C.; it will rise a
degree or two during development (the crtical temperature) and should be
"about correct" when averaged over 10 minutes. The fixer temperature is
not critical, but shouldn't be below about 16C. or 5C. different from
the developer temperature as this may cause a visible change in grain
sharpness.

Ok, I didn't think of the fridge in the Club's kitchen. Would've taken
more than just a few minutes to cool the stuff from 30 to 18C, but good
idea anyway.

> Film development is a strict but simple scientific process if the best
results are desired. Treat it as such, whether you are processing in a
well-equipped darkroom or on the kitchen sink. I have used both
locations on frequent occasions with equal success (and some failures
through not sticking to the rules!)

Ok, then what next step would science suggest to take from here?

My suggestion was to expose a bit more (for 0.75 ISO instead of 1 ISO),
going from the examples referred to in my original post, which look good
to me, and the comments posted with them (there's not just the one image
but a whole album). Does that seem about right?

I could go out and shoot four to six sheets of the same subject and with
identical settings, so that I can concentrate on getting the development
right.

Then cool my chemistry to 18C and process about 50% longer (after
compensating for temperature) than I had done so far, to get reasonable
density. Because development time at 1+3 would become about half an hour
(at 20C) I thought of using 1+1 with an appropriately shorter time (ca.
20 minutes as a starting point).
You say I should start with stock solution - I can try that as well,
what time would you suggest as a starting point?
Or should I use a different developer altogether, what do you think?

Any and all suggestions appreciated.

Many thanks for your input & best regards,

Ronald



[Non-text portions of this message have been removed]

Hullo Ronald et al:

You did not state what film you were using or the exposure setting. Slow speed
films (32-64 ISO) require shorter processing times because the emulsion is
thinner and therefore requires less developer activity. The time increases when
faster films (thicker emulsions) are used.

When using a developer for the first time, process a short length of film in
full strength developer at the manufacturer's recommended time and temperature.
Ilford provide a simple chart to calculate time and temperature above and below
the recommended combination at 20C. and the recommended speed settings (ISO) for
each category of emulsion (slow, medium & fast).

Careful assessment of negatives from this initial test will enable you to
competently adjust film speed and processing time to suit your camera and
exposure techique and your processing  methods. These vary from one person and
set of equipment to another.

After becoming proficient in using full-strength developer, the photographer can
then experiment and perfect the use of dilutions, processing times and
variations in film speed settings to suit subjects.

Always remember that there is NO single combination to suit every situation. If
this is what you want, then use auto digital, not wet film processing. The
former delivers wonderful images, the latter is an art form which for 150 years
has been producing fantastic results. Some people use both methods suit their
particular needs.

Temperature Control: Try to process films with solutions in the temperature
range of about 18 to 23C. Bringing cold solutions up to 20C. is quite easy by
placing containers with the required amount of developer and fixer in a bowl of
warm  water.

During hot weather, running tap water usually doesn't get above about 23C.. If
solutions are appreciably higher, place them in a refrigerator for a few
minutes. Let the temperature drop to about 18-19C.; it will rise a degree or two
during development (the crtical temperature) and should be "about correct" when
averaged over 10 minutes. The fixer temperature is not critical, but shouldn't
be below about 16C. or 5C. different from the developer temperature as this may
cause a visible change in grain sharpness.

Always use distilled water when mixing developers. Full strength developers in
well-filled bottles usually have a shelf life of between 1 to 3 months and
should be run through a paper filter or well-laundered handkerchief before use.
Full-strength stored developers should only be diluted immediately fore use.

Film development is a strict but simple scientific process if the best results
are desired. Treat it as such, whether you are processing in a well-equipped
darkroom or on the kitchen sink. I have used both locations on frequent
occasions with equal success (and some failures through not sticking to the
rules!)

Raymond






during  ----- Original Message -----
   From: Ronald Jore
   Sent: Monday, March 17, 2008 4:35 AM


   It seems a few things still need adjusting...

   For the record:
   All processing done in Microphen 1+3 at 30 deg C - not much I could do
   about the temperature as it was hot and I didn't bring ice cubes...

   I processed the first sheet (shot with filter) for 3 minutes,
   equivalent to 10 minutes at 20 degrees.
   There was hardly anything to see - only the highlights showed at all.

   Then I did the third sheet, which was also shot with filter, for 6
   minutes (20min@20degC), which gave a very light negative - I'd say too
   light as the shadows are practically transparent with hardly any detail.

   So then I tried the second sheet, the one overexposed without filter,
   and used 2.5 minutes (8.5min@20degC) for that, which resulted in a
   negative that's on the light side but shows good detail and looks
   rather printable, if a bit soft.

   Overall it seems that 1 ISO might be a bit optimistic and indeed I now
   recall that the guy on flickr I referred to earlier said he used 0.75
   ISO. (Darn, that's -6 DIN!) And that's while push-processing his film
   by a stop. So I guess next thing I'll try something like 0.75 ISO and,
   say, 20 minutes (at 20 deg C) in Microphen 1+1. For starters, then
   take it from there.
   Any other suggestions, anyone?

   Cheers,

   Ronald






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10:34 AM


[Non-text portions of this message have been removed]

It seems a few things still need adjusting...

For the record:
All processing done in Microphen 1+3 at 30 deg C - not much I could do
about the temperature as it was hot and I didn't bring ice cubes...

I processed the first sheet (shot with filter) for 3 minutes,
equivalent to 10 minutes at 20 degrees.
There was hardly anything to see - only the highlights showed at all.

Then I did the third sheet, which was also shot with filter, for 6
minutes (20min@20degC), which gave a very light negative - I'd say too
light as the shadows are practically transparent with hardly any detail.

So then I tried the second sheet, the one overexposed without filter,
and used 2.5 minutes (8.5min@20degC) for that, which resulted in a
negative that's on the light side but shows good detail and looks
rather printable, if a bit soft.

Overall it seems that 1 ISO might be a bit optimistic and indeed I now
recall that the guy on flickr I referred to earlier said he used 0.75
ISO. (Darn, that's -6 DIN!) And that's while push-processing his film
by a stop. So I guess next thing I'll try something like 0.75 ISO and,
say, 20 minutes (at 20 deg C) in Microphen 1+1. For starters, then
take it from there.
Any other suggestions, anyone?

Cheers,

Ronald

G'day everyone,

I just created a little problem for myself and thought I'd try to pick
the multiple brains assembled here with their overall centuries of
experience with B&W processing...

Recently I bought on eBay some Efke IR 820c in order to play with
shooting infrared with the MCC's large format camera. Only after
buying the film did I do some research on it and found some
interesting information, in particular here on flickr
<http://www.flickr.com/photos/schafphoto/734801338/in/set-72157600359884\
089/> .

So shooting through an R72 or similar (#89B, B92, etc) and metering
without the
filter for 1 ASA seems the go. And that's what I did with my first
sheet. With the second one I metered just the same, but then, ahem,
forgot to actually put the filter in front of the lens for the
exposure. Which means that I have just exposed a film that seems to be
rated
around 100-200 ASA for visible light, for 1 ASA, effectively
over-exposing it by about 7-7.5 stops.

Not that it is an important shot, I believe, but just out of interest
and maybe spite I'd like to try if I can still get a printable neg
from it. Which means heavy pull-processing. The giant dev-chart
has no data on pulling and only generic numbers for push processing
<http://www.digitaltruth.com/chart/pushproc.html> , and
also of course not for 7 stops.


What I currently have is Microphen, plus access to Rodinal, and I
could get ID-11/D76 if that would help. The good thing about Microphen
is that it's compensating, so if I reversed the digitaltruth advice
for pushing then the factors to shorten the development time by would
be smaller. Still, the time would end up to be less than a minute,
which doesn't seem feasible.

Alternatively I thought about using Rodinal in really high dilution
(like 1+200 or more) in order to get feasible development times. I
have no experience whatsoever with Rodinal, though, and thus no idea
how to determine what sort of dilution and time to try. The standard
processing is given as 9 minutes at 1+25.

Have you ever attempted such a thing, or/and would you be willing to
offer advice? I'm probably (hopefully) not going to repeat this, so
it's a one-off and if it's just in the right ball-park that'd be ok.

Or if you think it's just a plain foolish idea to even try and I
should rather just dump the sheet, that's fine, too. I just thought it
might be instructive to try and see what comes out of it.

Thanks in advance for any input.

Best Regards,

Ronald


[Non-text portions of this message have been removed]

----- Original Message -----
From: "Mathias Heng" <mathias@...>

> Hello Raymond
>
> Since we last met, hope you are keeping well & good and how's life?
>
> I am writing to let you know that I will be conducting a photo workshop on
> Reportage & Documentary, the workshop will be on every Wednesday night
from
> 7pm - 9.30pm starts on 14 November 2007 and will run for 5 weeks finishing
> on 12 December 2007.
>
> The purpose of the workshop is for photographers wanting to improve their
> way of taking better images and going beyond their abilities of what to
> achieve in terms of their images.
>
> Photographers are also to require to bring their images for presentation
on
> the first lesson, 14 November.
>
> Each photographer will have to come up with a project in the process of
the
> 5 week course and followed by a presentation at the end of the last week
to
> discuss his or her work.
>
> Cost: $375.00
> Where: The White Space studio
>        Level 2, 95 Victoria Street
>        Fitzroy Victoria 3065
>
> Please let me know if you are interested, thanks.
>
> Regards
> Mathias
>
> Mathias Heng
> Photojournalist
> Mobile:       0411 146 032
> Website: www.mathiasheng.com
> Email: mathias@...
>
>
>
>
>
> --
> No virus found in this incoming message.
> Checked by AVG Free Edition.
> Version: 7.5.503 / Virus Database: 269.15.26/1120 - Release Date: 9/11/07
9:26 AM
>
>

--------------------------------------------------------------------------------



[Non-text portions of this message have been removed]

It's around us. It's life.

http://www.domusplus.ru/pg-id-321.html -- Angel Schlesser
http://www.domusplus.ru/pg-id-323.html -- The beach
http://www.domusplus.ru/pg-id-324.html -- Friends

http://www.domusplus.ru/pg-id-274.html -- All new photo

Kirill Khrabrykh.

I glad to present my new photography. It's the new exposition
named "Fire" consists of 25 photographs.

I made this photographs when was at St. Petersburg.
St. Petersburg is beautiful city.  I shall show other photography to
next time.

http://www.domusplus.ru/pg-id-317.html  --  "Fire"

From Russia
Kirill Khrabrykh

P.S.   domusplus@...

BAN ON ALL PUBLIC PHOTOGRAPHY:

Duncan Dodd of Maxwell Optical Industries Pty. Ltd. writes:
"Believe it or not, proposals to ban all public photography are before a Federal
Government Committee in Australia. An online petition against this is at
www.petitiononline.com/ausphoto/petition.html.


--------------------------------------------------------------------------------


No virus found in this incoming message.
Checked by AVG Free Edition.
Version: 7.5.488 / Virus Database: 269.14.10/1070 - Release Date: 14/10/07 9:22
AM


[Non-text portions of this message have been removed]

I glad to present my new photography. It's the new exposition
named "Fire" consists of 25 photographs.
I made this photographs when was at St. Petersburg.
St. Petersburg is beautiful city.  I shall show other photography to
next time.

http://www.domusplus.ru/pg-id-317.html  --  "Fire"

From Russia
Kirill Khrabrykh

On 9/21/07, Barrie Bunning <barrieb@...> wrote:
> Greetings Chris, many thanks for the Email , interesting.  How are you both
> ? Good to see that life is not all work, Barrie Bunning.

Hi Barrie and everyone,

Life is mostly work here.

I saw on the Magnum photo blog a link to David Alan Harvey's blogs.
Where do these professional (and seemingly busy) photographers get the
time to share so much?

Chris

Greetings Chris, many thanks for the Email , interesting.  How are you both
? Good to see that life is not all work, Barrie Bunning.
Christopher Jones writes:

> Hi all at MCC, I wanted to share a photo blog that is exploring
> photography in a serious and wide way, not afraid to discuss sensitive
> issues, nor too up itself to explore creating looser images.  Alec
> Soth is a member of Magnum.  His blog is at: http://alecsoth.com/blog/
>
> Chris
>
> PS Yes, I'm still doing B&W.  I need a better scanner, but at least
> the one I have  is enough to let me put up stuff at
> http://flickr.com/photos/cjbj

Hi all at MCC, I wanted to share a photo blog that is exploring
photography in a serious and wide way, not afraid to discuss sensitive
issues, nor too up itself to explore creating looser images.  Alec
Soth is a member of Magnum.  His blog is at: http://alecsoth.com/blog/

Chris

PS Yes, I'm still doing B&W.  I need a better scanner, but at least
the one I have  is enough to let me put up stuff at
http://flickr.com/photos/cjbj

I want invite each person to see my new photo.

My new photo is:
http://www.domusplus.ru/pg-id-310.html   - Contemporary architecture of
Barnaul

http://www.domusplus.ru/pg-id-308.html  - Altay, Bahmatovskoe lake

http://www.domusplus.ru/pg-id-309.html  - May

from Russia with Love
Kirill Khrabrykh

Cinematic presentation on Iraq
You are invited to a cinematic presentation of still images from pre and post
Iraq images featuring the work of photojournalist Mathias Heng.

Guest speaker Abdul Rahman an Iraqi foreign corespondent.

Kindly pass this email to your contacts, thank you.

Leica Gallery Melbourne
20 Smith Street
Collingwood   Victoria   3066
Australia
Telephone: (03) 9416 5329
Mobile:       0411 146 032
Telephone: +61 3 9416 5329 (International)
Mobile:      +61 411 146 032  (International)
Email: leica@...
Website: www.leicagallerymelbourne.com
Website: www.mathiasheng.com



[Non-text portions of this message have been removed]

----- Original Message -----
From: <blog@...>
Sent: Wednesday, July 18, 2007 3:26 AM
Subject: Magnum Blog Update: Early Magnum


> Magnum Blog Update: Early Magnum
>
> 2007.07.17 13:26:55
>
> ------------------------------------------------------------------------
>
> http://blog.magnumphotos.com/2007/07/early_magnum.html
>
> As the festivities around Magnum's 60th birthday and the famously
> passionate AGM in New York City are over, Inge Bondi, who worked for
Magnum
> for 20 years, looks back at the early years of the agency.
>
> By Inge Bondi:
>
> When I was hired by Magnum Photos in New York at the beginning of 1950 as
a
> researcher/secretary, Magnum was just two and half years old, having been
> established in New York and Paris in May 1947.
>
> The name conjured up pictures of glamour, but in fact its creation had
been
> an act of desperation: working conditions had changed.
>
> Robert Capa, a Hungarian, had already been acclaimed as the most daring
and
> brilliant of war photographers for his coverage of the Spanish Civil War
in
> the thirties. He and George Rodger, an Englishman, had covered World War
II
> for LIFE and other magazines. George had chased the enemy across Africa
> from East to West and had walked ahead of it out of Burma into India.
>
> Henri Cartier-Bresson had been a French prisoner of war in German hands,
> had worked with the French Underground after escaping, and had been given
a
> post-war retrospective at the Museum of Modern Art in New York in 1946.
> David Seymour, a Pole known as as Chim, had been a much-published
> photographer before the war, and a great friend of Capa?s and
> Cartier-Bresson?s in Paris. He had spent the war years in the U.S. Army
> interpreting aerial reconnaissance photographs.
>
> William Vandivert, the American, had worked for LIFE before and during the
> war. He stayed only a year with Magnum.
>
> The original Magnum photographers were all in their mid thirties and
> experienced in working independently in the field. With peace the
> magazines, especially in the US, began expanding their activities, hiring
> younger photographers on staff . Quite naturally, editorial emphasis
> shifted to the interests of the troops coming home and the daily routine
of
> newly united families.
>
> Stories from far-off lands had to be beyond the scope of the magazine
staff
> photographers. The small international group that created Magnum felt that
> tectonic changes would soon be creating a changed world, and they wanted
to
> report on them.
>
> Continue reading "Early Magnum" on our website.
>
>
> ---------------------------------------------------------------------
> This E-Mail was sent to you because you subscribed
> to receive E-Mail updates for new articles on the Magnum Blog.
> To unsubscribe please send an E-Mail to blog@...
>
>
>
> --
> No virus found in this incoming message.
> Checked by AVG Free Edition.
> Version: 7.5.476 / Virus Database: 269.10.8/904 - Release Date: 16/07/07
5:42 PM
>
>