The 35 year old Yashicamat124G still has some legs. Ilford HP5+ with no crop.
Ilford HP5+ Yashica124G No Crop
Filtering by Tag: Architecture
XP2 - C41
A friend who I've mention before, Will Wright, sent me a roll of Ilford XP2 to try explore. The option of being able to shoot BW with a C-41 process has some advantages - especially when traveling or being on the road without the traditional chemicals available.
Drop it in the mail - or find a local drugstore to process the roll - done.
This is a shot from my day job - FFKR Architects - where, as I've mentioned in other posts, I have some excellent subject matter and backgrounds, to photograph.
Here is one of the Firm's Principals, Rick Frerichs, head of the Health Care Studio, in his office.
JSMB - SLC
This is the back side of the Joseph Smith Memorial Building - historically known as Hotel Utah.
This was restored and remodeled, by the LDS Church in the 1980's to become an administration type building.
FFKR Architect's was hired for the original remodel and has since been involved in ongoing modifications.
YashicaMat124G - Kodak Ektar 100
SLC - Capitol
Shot at the South entrance steps of the SLC Capitol - with the F100 on HP5. As with all of my images - no crop.
Kodak Ektar - YashicaMat 124G
Scanning film in the Digital age
EDIT: A friend of mine mentioned to me a few things about this post of which I've decided to clarify. And they are important enough to add this edit. My vision for how I process film is just one technique - wether that's scanning, choice of lab processing or developing at home. There are many who have used different techniques, equipment, flat bed scanners, and films of which the final outputs have been received without peer. It's never been my intent to offer the opinion of end/all, be/all - please keep that in mind.
Scanning film in the digital age
Coming at this as a newbie months ago, I really schooled myself about scanning services from labs: what they offer for resolution and pricing. None of which is standardized. And the idea of scanning my own developed film. Here's a quick distillation of my findings.
Scanning film becomes a confusing subject in this recent world of digital photography - as really the only purpose of the film scanning process is getting the best resolution possible.
The photographic / scanning labs aren't dumb either - after years of getting beat up by the influx of the digital camera eating into their survivability, they have now monetized the analog/digital aka "Hybrid" workflow with pricing tired services.
And I'll get to that in a moment.
There are a few components to the idea of scanning film. The first is the scanning; getting the resolution in-order to print something bigger than a postage stamp sized print (and I'm being a bit sarcastic of course).
The second is getting the scan to look like what would be expected when you would nakedly print. Meaning - the digital representation looks like the the original film stock, i.e. Kodak Portra, Kodak Ektar, Ilford HP5+, Ilford Delta, Koday Tri-X, etc. This can be tricky - and there are certain photoshop integrated pieces of software which keep the integrity of the "look" of the film you've scanned.
The third - is the price. That's were the monetization of services from the lab comes in. Bigger scan = more cost. Color vs. BW is a price difference there also. Color is easier to scan as the dust removal is more automated - BW scanning needs to be “spotted” manually which is more laborious.
So now I'm just touching the surface - and let's not forget shipping, i.e. getting it to the lab. Ugh. That’s a part of the expense also.
One would think that the scanning sizes per price paid would all be standardized.
But as you look around at which labs are worth considering you will see that scanning resolution sizes are not necessarily tied to price.
I might also add -- that if you are a lab and you are not scanning - then I don't even consider your services. But why -- why do you want a scan ?? --- Well that's a bit of another conversation but suffice to say - that wet printing is a bit of a diminishing return for how good ink jet and how capable large format ink jet has become.
Here's a taste of the confusion -- these numbers include Development and Scanning
theDarkroom.com 35mm BW
1024x1536 - $11
2048x3072 - $15
4492x6774 - $20
theFindLab.com
2285x3035 - $22
3042x4040 - $27
3647x5444 - $32
This is an example of what I mean -- Price and Resolution - you would think this would easily be your guide, but there is no correlation between the two. One doesn’t compliment the other - and here's another curve ball -- what's the secret sauce if there is a difference of price - what is theFindLab giving you for that extra $12 bucks on their top of the line scan compared to the theDarkroom ???
Is it better dust correction - do they care more - or is a scan a scan, especially when you are talking a high volume production shop ?
I've used these two labs as I’ve gotten started in the film hybrid workflow -- theDarkroom out of CA, and theFindLab out of UT., and I'm torn. TheFindLab is probably one of the most expensive in the country - yet I've never had to second guess with what they have provided me. The DarkRoom has great resolution, is sometimes a 1/3 cheaper but I've had to send some stuff back to be re-done, 5” prints to be exact.
So what's the future hold -- Well. As I get deeper into film I've started developing BW and color C-41 and scanning myself. I've secured a Nikon LS-8000 for MFormat film getting 4000dpi and a Minolta Dimage 5400 for 35mm at 5400 dpi.
Everything I’m doing is “cradle to grave”.
Both of these scanners will give me resolution competitive if not better than standard lab offerings - but the process for me will be a time hog. So either way you are paying -- in time or in money.
And here’s the rub - the scanners producing these outputs desirable aren’t made anymore. Yep - Nikon and Minolta scanners don’t exist as new - and services to repair them don’t exist either. Yet the frustrating part is that no one makes a comparable product - yes the technology of 2000 can’t be matched - Mind blower. Expect to pay at least $1000 for a Nikon first generation LS-8000 and expect to pay $500 for a Minolta Dimage I, used.
In closing -- the only way to see how a lab treats your negs., is to try them - util you come to the point of wanting to create your own work flow.
While I’m at it — let’s keep this conversation going — what happened to the “Flatbed option” ? Good question.
Ok — if your are planning to use a flat bed — Epson 600, 650, 700, 750, 800, 850 then you will hit the wall of real resolution vs. interpolated resolution. Meaning - the flat beds really don’t resolve past 2400 dpi. And, if you are a purest in all sense of the term then that just won’t be good enough for your artwork. There are many internet posts on this subject to be searched - and this was quite an eye-opener upon researching it - as I had no idea about this aspect.
On another note, and this is the biggest reason I’m not flatbedding - the flat beds can’t adjust and focus on the film image - so you may not get the sharpness you are entitled too. The flatbeds have an arbitrary focusing point - it’s either good out of the box, or horrible.
Whew — ok — so you got all of that ?
Formica Color Chips
This was a grab shot - and a bit of a surprise at how well it turned out. I couldn't have imagined this result. Geometric patterns are difficult to come by, recognize, and then capture.
Ilford Delta 400
Nikon F100 - Ilford Delta 400
Shark Teeth or Island Style
The awning says it all - below it are the shops which reflects such, of which I didn't notice.
The Plastic Architect
Small sensored cameras most of time have slow lenses - coming back to full frame, be it film or digital, reminds me of the creative power, the f1.4 depth of field can offer. Sometimes the background is too busy for comfort and the 1.4 allows the blur - or sometimes the attention to the scene is important to get in one area - and this type of lens allows that. Or - it becomes creativity of its own sake. Either way it becomes another creative tool for reference.
Nikon F100 - 50mm f1.4 - Ilford HP5+
Creative Process
I have the unique access to the inner workings of an Architectural office - as it's my day job. And there are times when I take advantage to capture those workings, and this is one of them.
A collegue prepares a wall with creative ques to start the creatvie process.
400 speed film is great for indoors - it's perfect, combined with a f1.4 lens. I hardly use 100 ASA as I really like the flexibility 400 provides.
Nikon F100 - Ilford Delta 400 DevScan by theFINDLab
Nikon 1 V1
SLC Federal Courthouse
Street in St. Louis - 3
This is where the 6.7-13mm really shines -- when it's big -- you need wide -- really wide.
I will say this though - wide will kick your ass. And the funny thing is - it gets kicked in Post - never when you on site. For some reason, everything always looks good in frame - never does it look like trash until you get it up on screen. And then it is a palm to the forehead moment.
Bam -- that is when you see the wide angle skew. The safe zone is always when you are 90 Deg. to the subject - always.
St. Louis Arch - Nikon 1 V1 - 6.7-13mm.
Photo walks
I took some time out last Saturday to photo walk, something of which I rarely do.
Compelling
Compelling may be right in front of your face. I pass this area often, and like a moth to a summer time lit light, I can't ever not want to make a picture; ever.
Nikon P330 CoolPix
Redlining the Plan
I peered from the upper stair - went back to the desk to get the V1 and hoped the scene wouldn't change.
From above, I saw what I captured. Only on approach did I have to say - don't move - "keep doing what you are doing." And I love it when it all comes together.
Focus was Auto Area - rarely of which I use - but in this case, as in most - I can't fiddle with technicalities - it's either there and I lock on - or nothing.
That's the beauty of it all - everything related to the scene is perishable - and it isn't the same 5 seconds later. I thought of a BW convert - but it doesn't pop - and becomes much too busy.
Nikon 1 V1 - 18.5mm - ViewNX Post
Old skool tools of a once past draftsman
IPhone 5
SLC Public Safety
*Correction* 8/1/13 per the Architect of Record - 175,00 square feet above grade and 160,00 square feet below grade with Parking.
My original figures were taken from figures provided by the Salt Lake Tribune.
***
Public Safety building in Salt Lake City - 100% net zero - 125,000 square feet with a square foot cost at $700 +. Expensive. But it sure looks worth it.
Nikon 1 V1 with the 10-30mm developed with LR and SFex Pro. Lightroom's lens correction tools are just too compelling / powerful to be replaced with others.
SLC Public Safety - Nikon 1 V1, 10-30mm
Adjusting a Model - action shot
A colleague adjusts a model at the office of FFKR Architects in Salt Lake City.
The autofocus on the V1 is without peer - and the sensor size is compensated by the resolution of the lenses. Shoot a great lens and uprezzing is a non-issue. Shoot a "wanting" lens - and you can't hide the flaws at 12x18 print and bigger.
I would rather have the shot with a small sensor and less rez- than not with more rez, i.e. Nex-7.
This is with the 18.5mm eq. 50mm. Desired for two reasons, it is crazy sharp - and f1.8 to keep as close to the base ASA -- yes, I just said ASA -- boom !
Nikon 1 - V1, 18.5mm f1.8 - FFKR Architects, SLC
OLYMPUS ZUIKO 35MM SHIFT f2.8 LENS
Here is a video review of the Olympus Zuiko Shift 35mm f2.8 lens.
Purchased used and converted to a Nikon Mount thru a Spanish company called Leitax.
I incorrectly pronounced their name with a "Z" - my appologies.