Видео

I used a Mamiya RZ when everyone else was using Hasselblad -or the Mamiya C300 for weddings - I loved the format of the RZ - but now I use the Hass 907xCFV100c and I I love it - feel I may have missed the old school party somewhat... Hass rocks in my view now - best in class!!!

I will give my 2 cents. I grew up in high school shooting black and white and making darkroom prints and printing on an AB Dick water/ink printer. This process took along time, lots of chemicals. For color printing you would have to burn 4 plates. It was a long process. I did not find it enjoyable. I find digital photography not only enjoyable but you have access to a practically limitless digital dark room and the process is super fast. Just not having to work in a room with a red light for hours and handle poisonous chemicals is worth the price of admission to digital. I could never go back and rather spend my money and time on digital.

You buy a 1dx iii which performs as a mirrorless camera in live view. but has an optical view finder and the heavy feel of an old film camera. You can buy adapters for it that allow you to adapt nearly every manual film camera lens ever made. I have some M44 lenses Pentax, Russian which you gain all the character of your old film lenses but also have access to clinical digital lenses, most of the old film lens character can be added in digital post but for those that cannot, stick the film lens on your digital camera for that manual organic feel. You even get focus peaking if you want to in live mode to help you focus your old manual lens. They make projectors for digital images black and white or color that will project your digital image in the physical dark room on photography paper, so you can scratch and sniff all the chemicals you want while producing your image on paper. You can turn your 1dx iii to single shot and take one picture at a time. You can buy tiny storage cards that will imitate the restriction of a film roll (or you can show restraint, patience or control to take images in a more thoughtful methodical way like you did with film) Bottom line. Film is dead. Those toxic environmentally unfriendly chemicals are going away.

I usually use 5 point metering mode in camera to average out the tones in b&w. Are you telling me that (single point) spot metering based off the zone system will give me better results? And how so?

The absolute banger of a cheap accessory for me is a universal L-bracket. Best spent 15 bucks ever. That being said, you've convinced me to buy a multitool. The L-bracket sometimes needs tightening. Occasionally, I also need to tighten the mounting plate on my ballhead or the screws on my tripod. I used to carry a 4 mm allen key and a bulkier-than-I-would-like flat screwdriver. Now I hope I won't have to. Thank you so much for the tip.

what do you think about the MultiTone RC multigrade print paper it is very reasonably priced I recently bought some about 6 months ago. also have Kentmere RC VC select print paper have you tried printing with either one of them. I haven't printed with either one of them yet I need to set up a temporary dark room in the bathroom

Love the Pentax 17. Worth the money.

Just tilt the enlarger lens and easel to correct the keystoning.

Great explanation

I’ve been using LightMe across all my cameras for almost a year and it has not let me down. I have never once had a film incorrectly exposed. One of the features I love is that you can set your lens and the specific film and the app will adjust. Colour. Bnw. Different cameras and film brands. Expired film and hundred year old cameras. 1/2 frame, 35mm and medium format. Nothing upsets this app. It’s definitely the only light meter app I need. Not a bot and not associated with the app builder. 😊 Thanks for the confirmation that I’ve made the right choice.

Wait, don't all filmholders have the two little numbered wheels on them like the Riteway ones? You just have to remember to write that number on the outside of the holder. Done. If you always keep the number wheels set the same way, you only have to do it once, and all your filmholders will always burn a unique number on the film 🤷

Hi Matt, I was looking through your videos (not very thoroughly I must admit), but didn't find anything on archive standard prints, have you ever done one on that? I'd be very much interested in your protocol. Cheers, Marek

Click-bait lying hashtags are an indication of what the entire production is. How can you call an editing app if using is free, but if you want to download the result - you pay?

Hi Matt, could you make a video with a different papers how they react and how is the structure? It would be very helpfull. Thank you

Expose for the shadows, develop for the highlights. That hasn't changed in in the fifty years I've been doing this.

I'm not sure I buy into all that stuff about needing to see shadow detail. Punchy prints work best for me. 🇬🇧

Can you talk about cinestill df96?

I just got my 500 C/M back from a CLA and mirror foam replacement done by Hasselblad themselves! I think maybe Leica is the only other manufacturer still servicing their older film cameras. Excellent work and the turnaround was about a month.

What Spot meter would you recommend me? I’m just an enthusiast starting and wanting to do the right thing from the beginning

Great videos, as always. How do you know where are the shadow areas compared to the grey values on the tone curve? The grey scale moves if the image is underexposed or pushed

The first 5 seconds of this vid are epic! 🙂 Glad your camera made it!

Excellent explanation. I have been using the Zone system since 1968 and meter with confidence. I have used it with 35mm, 120 and Large Format which is the only camera I work with these days.. Just came back from a 4 day photo trip using my 4x5 and metering with a Sekonic L508. The L508 has a function to allow you to calibrate the meter which is obviously important. I dream of Pentax bringing out the old meter again only using a AA or AAA battery.

Is Hasselblad Swiss or Swedish?

I use a very simplified zone system. 90% of scenes I shoot contain something white or near white. I just spot meter that one thing and adjust the exposure to set it to the correct tone, and let absolutely everything else fall where it will. This nearly always works perfectly with standard development time except in massively high contrast conditions, where a bit more metering care is needed, and possibly some development adjustment too.

"Here are some light meter apps that you can use. Unless you have android, then f*** you." Thanks, mate.

Can you help me understand your light set up? I only see one key light and it lights her face brighter than the background. How are you getting a white background without a background light? If the key light is bright enough to light the background that much you would have her shadow and she would be blown out. What am I missing? I want a simple set up for high key portraits on film so I appreciate any insight you can give.

Two comments: (1) Since the ZoneSystem sets exposure based on the light levels reflects from a subject, an incident light meter of the Sekonic type is useless in this exposure evaluation process. (2) As stated, use of the Zone System with any precision beyond just pointing your TTL camera meter at the subject requires a calibration of film speed for a chosen film with a meter and the development time/temperature used. Very few people are willing to go through the on-film testing process required to do that calibration, whether using a densitometer to measure negative density or visually with a step wedge (less accurate but doable). Even so, understanding why the "System" works allows the user approximation control over exposure adjustments which will improve image results.

Good job for a short period of time......just one tweak, one of those little pet peeves, sorry. It's "visualization", there is no pre-visualization as the term relates to the ZS. Visualization is the core tennant of the ZS, its prime strength to the practitioner. Pre = before, pre-visualize would mean before you visualize. I may do any number of things before I visualize, but when I do visualize, I'm seeing the final print in my minds eye and deciding on the exposure and development needed to achieve it "before" releasing the shutter.

Without a negative the way you want, you'll never get the print you want, no matter which VC paper you you use. Zone System is a good tool for anyone who learn how to use it. Thanks for the video!

👍

Though the set time limit is somewhat disturbing (I'm 65) I enjoy your clear, on target explanations.Thanks.

Nah.. Just take 500 images of the thing and one will be ok... 😂😂👍 Great explanation thanks!

I really enjoyed the video. Pre-visualization really makes me think about how I want my final print to look. To me, it's important to get a print from the darkroom or digitally in the age of the internet. Every time I'm in the darkroom, I struggle to get a print to look like what I saw in my head. Photographing with the Zone System makes the struggle easier. From being a practitioner of darkroom printing, I'm in awe of Fred Archer and Ansel Adams did. Adams didn't have the same photographic materials to work with as we have today. Though I know how powerful the Zone System is and I use it during shooting, I'm not a slave to it. It's just another tool.

Thanks!

Have you ever had your Hasselblad lenses shuttertimes tested? They CAN be off by a half to a whole stop if they are not serviced and tested. I bought a couple that needed a big CLA before they were somewhat precise.

to buy a camera for 4000 and then have it fail is a no go par excellence! haha....

My B&W experience has been pretty funky in general. It's not something I shoot with digital cameras, as the cameras I have don't have the profile, so I find visualizing monochrome really hard. I do end up with good images on almost every roll though somehow. I usually have color and B&W loaded in two cameras at the time and I choose which one to shoot depending on the weather and time of day, or mood.

Great video. I’ve been shooting film on and off for 40years and found and It very informative. So I’ll be watching your other videos. 👍

Great tips that are not mentioned enough! 👏🏾👏🏾

wow thanks a lot. this is realy well explained. I just srated with film and I have to say I still fight the exposure. Is there a good way to measure underexposure for a night shots. I try to measure exposure for my lights but it seems still bit too low contrast for me. sometimes I get the blacks right but not all the time. I also use a mobile app for this. maybe I need a proper lightmeter? Thanks.

Just found your channel, RUclips suggested. Great video, can you take this one a bit further, showing how you meter a scene for black & white. I’m now subscribed!

Great video, those multi-tools are a great tip, I've needed something like that many times. For sure filters are the biggest game changers , absolutely red, orange yellow for B&W photography, warming and cooling for colour are also clutch if you shoot T ballance in the day or DAY ballance at night under Tungsten street lights. I think you can definitely add CP and ND to the list as well. I think building out a filter kit could be a video all on it's own.

I usually try not to go below 2x focal length for shutterspeed - especially for super tele photo stuff without IS. With my 300mm lens I will almost certainly use a tripod if I don't have any point for anchoring myself. The journey of shooting and printing film has been an absolute eye opener for me so far, just the best experience there is.

/sigh This video is…..not bad. I’m not sure the message in the right place. The intentions are pure and I can detect the more empathy for photographer’s who are not getting to results they want from the medium. That said, this video is not actually helpful. It reads as a list of donts instead of exploratory options versus standard “best practice”. A discourse on how choices are made and relevant questions photographers should ask themselves when practicing would have carried this video and subsequent conversations much further. I’d tell anyone talk just about all of this with a grain of salt. Not to suggest the advice is poor but it’s only relevant if a photographer is without their own thought process, ideas about creativity, and goals.

I shoot film and need a photo editor that will allow me to remove dust particles as in PS. Which program has the ability to deal with dust particles? Thanks!

I feel like I have a lot of images that would be great if I could take them into the darkroom and do some dodging and burning. I don't have the space and I can't find a community darkroom anywhere in my area so I'm scanning them at home. I'm just so bad at editing digitally and while I could probably learn, I find that editing just makes me sad, bored and grumpy. Still, I almost always have at least one, usually two to three pretty great shots per roll so that ratio isn't too bad. I just wish I could save those few almost great shots that lack the separation they need to really stand out.

İts not about juts film but i realized that some times i wonder aroud for a photo that saves my day ,photo thati can plasure my self but in the end of the day i realize i just create constant prasure on me and lose a poasible good photos , its realy important to be paitant and wait for the moment to come

I've been using the same film for years. Since I also developed it myself, I have the opportunity to optimize the development for my use. Initially, I developed it neutrally, but later in the darkroom I had to choose a higher contrastfilter that also made the grain appear stronger. In the meantime I have optimized my development so that I have a very good contrast on the negative, but also details in highlights and shadows are preserved. The grain on the negative has also become smaller. Later in the darkroom, I can use neutral contrast filters or even low contrast filters. Even on large pictures of ~1.5m diagonal, a subtle grain can be seen, which is hardly noticeable. All this from 35mm film and in medium format even sharper and richer in detail.

Does this apply to color film too?

Brilliant using a 2-stop ND when you know you are going to scale.