Видео

Thanks, this was very well done! I'm following your channel to see what else you have to say. I'm done with working in the darkroom, but I really miss using my 4x5 and favorite lenses for landscape photography. I've been wondering how much the differences noticed in your samples are due to the glass. I've seen a FotodioX Multi-Position Stitching Adapter for sticking a digital camera on the back of a view camera, and recording images on that rather than film and stitching them together for a larger format effect. I've not found much in the way of critical reviews on this process (none, actually). Have you talked with anyone who has really experimented with this stuff? Thanks again! Brian

I have just bought a 1960' M3 SS and a 1959' Summicron M 50mm Rigid in a very very good condition, and that combo is one of the most beautiful piece of art I've ever seen. I'm soooo satisfied and happy to make that choice and can't wait to go and shoot it. Long life to film.

Pure simplicity and process.....digital. hard pressed to tell the difference unless you dig. Film is amazing. Complain about the cost of the fugi and lens and then compare it to the cost of camera and lens and tank and developers (chemicals) scanner, time involved. I love my field camera, I love the history, the zen, the patience, and the thought that goes into each shot. However, try getting that on a plane in your backpack, or at the zoo, ect. I have three cameras over 100 years old, a lens set that was used by George Eastman (owned by Parker Kadey), I absolutely love this stuff. However I carry my digital in my pocket or around my neck. R5mk2, 5dsr, r7 for small distant stuf, and of course my cell phone.

Semper Fi

Hi Steve, does it make any sense to map a raw file on Photoshop with Adobe RGB if the file has been taken with a camera that shoots with sRGB color space ? Thank You for Your dedicated time!

Caution: You will need two people to lift that. Ink is delivered by tanker.

I had an HP printer, copier, scanner that had that head, great machine, even the touchscreen is the same, and yeah, if you didn't have the paper stop out it would deliver it to the floor, always thought the head was big but it seems to have been used in multiple machines.

My career in CYMK printing started in 1974 when I got hired by the National Geographic Society to work in its Photomechanical Lab which did photo lithography for the magazine, books and maps NGS sold. I created B&W and CYMK halftone dot patterns on lithography film by exposing it through a screen pattern of contrast gradients spaced 1/133th or 1/150th inch apart: 133 or 150 DPI - hard dots per linear inch. I learned color science from a PhD in the DuPont research lab in Delaware when we install DuPont’s Cromalin pre-press proofing system. Being the new guy I got select to operate it. The way it worked was that halftone positive for CYMK used to make the offset printing plates were exposed to paper base similar in reflectance and color to press paper stock which was roller laminated with a UV sensitive polymer which would harden in the exposed non-printing dot areas for each of four colors. After exposure I would apply yellow, magenta, cyan and black powdered pigments with a rabbit hair covered paddle by hand, wiping it back and forth until all the dots where covered. On an offset press the CYMK dot pattens are angled 45° apart creating an overlapping “rosette” pattern which can be discerned using a 10x magnifying glass but from reading distance of 18” was perceived as continuous tone. This was very laborious but much easier than how we had been making our map proofs which was to apply liquid diazo dyes from gallon jugs onto a white mylar base spinning a 100rpm on a plate coating device, one color and exposure at a time. Getting an even uniform coating on the mylar was an acquired skill not unlike making crepes, so by comparison the Cromalin system was easier. DuPont later created a version in which a machine applied the powered dyes but it was very expensive and failed in the market because 3M developed a simpler system. In the 3M system the dyes were in separate sheet or rolls of CYMK coated polymer which when exposed to a negative dot pattern hardened the dots with the non-dot areas washed off with a caustic solution. The early version was called “ColorKey” in which the four clear sheets of mylar were stacked and a later version called “Matchprint” were the dots were UV light fused into the paper base one color and exposure at a time. After I left the NGS lab in 1977 I became customer service production manager at Judd’s Inc. a large web offset magazine print and where I was tasked with selecting between the DuPont and 3M systems to replace or press proofing operation and selected Matchprint. Matchprint became the industry standard for create SWOP CYMK proofs and Judd’s was on the Printing Industries of America committee which created that standard and pressured color separation companies to use it by creating the means for printing companies like Judd’s to REJECT any CYMK ad film not proofed with SWOP inks. What color separators which scanned transparencies on laser drum scanners would do in the 70s and 80s before Matchprint was used inks other than the standard CYMK for making proofs for things like Revlon lipstick ads. They would a Rhodamine Red into the Magenta to match the pigments in the actual product on the proof the ad agency would show to the client. Judd’s would get the film, strip it into the magazine layout, make the plate and print on our high speed (800 ft per sec) web press and we could not match the proof because the proof wasn’t made with standard CYMK inks because before SWOP there was no standard! SWOP CYMK isn’t a very large gamut compared to human vision or a uncalibrated sRGB CRT monitor in the 1990s and early 2000s. RGB monitors can display deep blues, reds and purples the combination of Cyan and Magenta can’t match and R+G = Y on the monitor can’t match the saturation of Yellow ink. The reason is physically impossible to produce a “pure” cyan or magenta dye or pigment. Those two colors are “cross contaminated” which means the magenta ink has a bit of cyan in it and the magenta a bit of cyan. What the color separation machine logic does is determine where cyan and magenta dots overlap in that rosette dot pattern and adjust the dot sizes accordingly. Digital scanners like a Hell DC300 - Hell was the name of the German company who made the scanner- had a panel of about 20 knobs the operator would tweek to “selectively” correct the color in the blues, red, and purples similar to the channel sliders for RGB and Lab (green-magenta / blue-yellow) in a RAW file editor. There was no ICC color management until 1995 on Macs and 1998 on Windows. 1998 is also when Photoshop added it (version 4 if memory serves) and created the Adobe RGB 1998 color space. What 99.9999% of the people on the planet don’t understand today is that AdobeRGB is actually a SMALLER gamut than sRGB in the blue and purple colors because Adobe RGB is based around the SWOP CYMK standard! If you own a Mac this can be seen using System > Utiliites > ColorSync Utility which is a 3D plotting application which maps the CIE*XYZ coordinates of ICC color gamut profiles. If you compare sRBG with SWOP CYMK and you will see Blue and Purples in the sRGB profile I outside of the SWOP which indicates SWOP can’t reproduce those color a sRGB can. But compare Adobe RGB with SWOP CYMK and you will see they fit hand and glove. If you don’t have a Mac I posted did a tutorial on color management twenty years ago on my web site which has screen shots photo.nova.org/ColorManagement/ Part of my job as production manager at Judds was teaching a class on color management for the production managers and art directors at McGraw Hill, Architectural Record, AIA Journal, Antiques - some the the highest quality magazines were our clients - to make them under that a CYMK can’t match the same red as in Revlon lipstick in an ad and why they should insist on SWOP standard proofs from the trade shops producing the ads. For the same reason if you make prints at home or at a commercial shop when editing the color you need to understand that you don’t match printer to screen to make the two match you must use SOFT PROOFING mode to ‘de-tune’ the screen to match what your printer is capable of producing. This is done in the editing software like this: Monitor ICC profile (from calibration process) > Printer Profile > Screen output. The printer profile is used as the “filter” to dial back the saturation on the monitor that exceed the gamut of the printer. I stopped upgrading Photoshop back at CS5 when it went to the subscription model so it might have changed but the web link shows how the color gamut warning works in soft proofing. If you have an ICC profile for the press and turn on soft proofing and the color gamut warning if you try to push the color saturation or hue of the image being edited past the printer’s gamut the out of gamut colors get grayed out. Edit so the color is just before the point of “clipping” and you will get the closest match POSSIBLE between what is see on screen and the results the printer will print. A way to evaluate how close the native monitor and press gamuts are to each other is to print an ICC color profile creation file on the print and compare. That profile test image is the best the printer gamut can produce and the profile used for soft proofing on the monitor must be based a printer profile created with the same paper stock used for the production print. The reality of color management in a practical sense is that it really isn’t very critical unless trying to match screen or print images to actual products in the context of consumers buy something based on the color in the catalog. The image of a red Ferrari in a catalog is never going to match the actual car, but as long as the car is the most intense red in the ad or if it is surrounded by a cool blue sky in will be PERCEIVED as being “Ferrari Red” absent any direct comparison of catalog and car. The image of a red shirt in the LL Bean catalog WILL match the shirt because people like me educated the industry back in the 1970s and 80s that its a fools errand to make the fabric to make the red shirt with red dye the press or screen that is going to be used to sell it can’t match. The result is a red shirt less vibrant than it could potentially be but fewer returns of order because “the color didn’t match what I saw in the catalog.

I love my Provia and Velvia. Also shoot Portra 160 and Ektar for color negs.

Excellent vid, thank you!

For those who work on Windows and don't have money to buy a calibration tool, there is a little know function that will help a bunch. Just click on the start button and type "calibrate". It will pop-up a manual calibration tool that's actually decent. While it will not bring the accuracy that a dedicated device will, it's still a lot better than nothing.

Times are changing. People are starting to want to fix their stuff and not throw it away because it's too expensive to fix.

Love your stuff, but sorry the background music isn't one of the things I like.

Hello, Stephen: Thank you for this video. I have enjoyed your channel's content since I found it here on RUclips. If you don't mind, what is your opinion on whether a dye printer or a pigment printer is better for printing monochrome images. Does it matter? Are there advantage or disadvantages?

Great vid, comparing digital medium to large film formats. Film still rocks.

I bet youtube recommended this because it thinks this is harry potter.

Looking forward to printing vis to come. I'm just a little surprised you aren't making your own printer/paper profiles yourself. $$$ wise, it might not be worth the cost to purchase the equipment to do so. Mind me asking what it cost to get a profile made? Thank you for any replies.

Hey man so I’ve been looking at this camera for a couple of months now and they have a pretty good deal on it for $359.99. You think it’s worth picking up?

I shot Hassy back in film days and loved it but never went beyond medium format film. As a digital photographer, I like the Fuji 100MP files. However, for a more reasonable cost, I got a Sony A7RIV and Tamron lenses. I have no direct comparison between the two sensors but I have printed single frame Sony files as large as 60"x90" on canvas and the results are good enough for gallery display. I prefer the Fuji colors but shooting RAW, I can tweak the Sony colors to taste.

Looks like you got a racist printer. It won’t recognize paper unless it’s white. 😂

Same experience we’ve had to throw away several Epson printers. Have similar issues with 2200’s and 600’s (super-B). Unless you use them routinely they dry out and you burn hundreds of dollars in ink getting rid of clogged heads.

“Destroy” WTF?

So is the HP plotter a Tri-X 400 or T-MAX 400 ? I know those Kodak films very well, the T-MAX 400 are superior !

try disabling width detection. I called Canon when my 4100 would reject paper that was printed on already. I figure if I'm going to pay $3,000 for a printer, I want to print anywhere I feel like. Now I can.

Why didn't finish the old color tanks first?

On my small Deskjet, when I get a blocked print head, I take a plastic plate that I fill with a 50-50 mix of distilled water and 90% Isopropyl and just let the head grid soak for a few hours. It often will just unclog the bad nozzles.

What do you recommand to print negatives for Palladium in big size ?

I'm not sure if anyone has informed you. You can make your custom paper calibration right from the machine using Canon's software. Welcome to the Canon Pro printer family.

Literally thought my brand new camera was broken after the first photo.... just didn’t do the second click…. Pushed it in further, heard the click, film advanced as I shut it. Thank you for making this video!

I am getting Crocodile Dundee vibes "that is not a printer , this is a printer " 😀 It is an amazing bit of kit be great to see what you can do with it

How does a amateur like me use this information when I am trying to get into 110 and film photography?

Which profile did you start with on the Fuji? Adobe Neutral and Standard will hold the highlights better. Also, add a tiny bit of grain to the GFX files (especially the BW ones in your other video) and you will see that the result is much closer. Furthermore, did you set the Imacon to sharpness -120 for the Ektar and the BW scan? It seems it's scanning a lot of over sharpened grain which makes it looks a bit oversharpened, especially on the BW scan in the other video. I have the same issue on my Imacon X1, need to dial in -120 for a good scan

Thanks for this. One thing, I thought you were going to dump it on install! :-)

Appreciate your perspective as it's refreshing to hear the honest opinion from a professional who didn't get sent a free camera.

HP5+ is practically close to Tri-X when both are shot/processed under identical conditions. See an update report: ruclips.net/video/EORX7ZJQz6I/видео.html Lighting (huge!), filters, dev/processing, scanning/printing are the real image modifiers. Re HP5 / FP4, I simply like film stock that has a long production history, excellent / continuing manufacture, consistent high quality, huge range of sizes (35mm to 20x24" ULF), excellent support/knowledge, all at a decent price point. No links with Ilford - but after 45+ years of b&w I really appreciate them. Still there and going strong :)

And THEN there is Epson software. I would rather not have a printer than another Epson.

Very excited for you! Will enjoy seeing what you produce with it.

Recently got the Canon Pro-2600 myself. Setup was very similar, but a little lighter of course. I've been using ImagePrint Black for many years, and for the past 15 years on an Epson 4880 with great success. I am really enjoying the Canon with IP, and look forward to your posts and discoveries on the Canon. I DID get the 2nd roll holder for my Pro-2600 and like to have two papers ready to go. Also, I use a Graphtec 7000-60 24" cutter with ImagePrint's CutItOut feature for when I have a ton of 8x10 or smaller prints to make. Liked and subscribed -

This is why I switched to Ecotank.

If its too bright with a 200 Iso film, you can adjust it a little bit with a trick. push the ISO button to 100... the exposure time will be shorter..

Interesting note on your cut sheet stuff. I don't know what size cut sheets you usually print, but I just use a Pro-1000 for cut sheets and only run roll paper through the larger printers.

That`s exactly why I use the vintage Leica 50mm Summicron Rigid with the MD 262...!

Congratulations with your new "toy". I hope you'll be happy with it and that it delivers the result you expect from it. But, by god it's massive.

Great channel, subscribed 👍🤠

this thing is only $4,516.00?! thats like..1.5 Leicas!

I`ve shot film for many years with a Nikon F2 and just recently went digital with the Leica MD 262 and Summicron Rigid. Sometimes I prefer film and sometimes digital. They are both beautiful but different...!

The one and only lens I use with the Leica MD 262 is the Rigid Summcron 50mm f/2...!

I've printed on and even profiled brown kraft paper on the Pro-4100 without issue, for what its worth.

Steve - Also great to see that you can still do the work of 3 people.

Congratulations Steve. Which baryta paper, btw?