Great to see the RZ67 back in the video and thanks for showing the errors, it does help. There's something about garlic that makes it a superb 'model'. I was out yesterday with the RZ67 wandering around my local village and town. Shot some HP5+ and 8 shots of Phoenix 200 before the light gave in. Really must buy an extra back when money allows, I've got some 3200 waiting to load.
"Nutcases who shoot film." 😄 I can laugh because I'm guilty too. I don't have a medium format camera but this is good practice on the old Nikkormat. I like to take pics of perfume bottles and rocks & minerals.... great contents, thanks.
I still have a few rolls of the ADOX 25 & ADOX 50 of this film left over from 20 or so years ago. They were rebaged Efke emulsions and they are Orthochromatic emulsions. They were exceptionally sharp and fine grained particularly in Pyro which also helped to tame the very high contrast of these films. Right now I am out of all motivations for photography for a variety of reasons, both personal and professional, otherwise I would have dug them out and gave them a try. Thanks Rog for another entertaining video.
I love your videos. But, today I’m confused by your metering. The meter meters for middle grey. By turning towards the window you stop down, that would make the bulbs darker in the print. But, you opened up (correctly) for the bellows factor. I’m thinking that I would have done a reflective metering and compared to incident. Occasionally use a digital camera to check!But, perhaps as you did, you can just adjust in the darkroom. Adox 50 has a reasonable dynamic range, though interestingly the highlights can blow out (again as you saw). It is always good when a video makes you think… Thank you again.
interesting theory that light slows down inside a bellows.. thot it was an image circle thing affecting exposure times. must investigate using my tardis...;)
My understanding is that it is due to the inverse square law of light. As the light leaves the source (the lens) it spreads out and there’s less energy hitting the surface with the same surface area.
Light doesn't change speed inside a bellows; as NandR says, it's the distance between the lens and the focal plane and how light weakens in intensity with distance. The speed of light in glass is different than the speed of light in air, which is why a lens works, but the air inside the bellows is the same air the photographer is breathing.
It is nice to see a fellow Dave getting in on the act!
Great to see the RZ67 back in the video and thanks for showing the errors, it does help. There's something about garlic that makes it a superb 'model'.
I was out yesterday with the RZ67 wandering around my local village and town. Shot some HP5+ and 8 shots of Phoenix 200 before the light gave in. Really must buy an extra back when money allows, I've got some 3200 waiting to load.
Как всегда, всё гениальное, просто!!!🧄👍
What a masterclass in darkroom work man
First one this time. Thank you for your content overall. 😌 Regards from Finland.
Thank you! always enjoy your videos and great ideas.
Dave is a man of few words.
It might be his first modeling gig. He'll probably loosen up as he gains experience.
On the other hand, Garlic was a real pro.
Interesting as always man 👍📸
Love it great work
"Nutcases who shoot film." 😄 I can laugh because I'm guilty too.
I don't have a medium format camera but this is good practice on the old Nikkormat. I like to take pics of perfume bottles and rocks & minerals.... great contents, thanks.
Great video again. Very inspirational.
I still have a few rolls of the ADOX 25 & ADOX 50 of this film left over from 20 or so years ago. They were rebaged Efke emulsions and they are Orthochromatic emulsions. They were exceptionally sharp and fine grained particularly in Pyro which also helped to tame the very high contrast of these films. Right now I am out of all motivations for photography for a variety of reasons, both personal and professional, otherwise I would have dug them out and gave them a try. Thanks Rog for another entertaining video.
Honestly. Damn good.
That 'TEST DEVELOPER' looks like another 'Staining Formula' !!
Some people sell expired film thinking that they are selling a big rare treasure 😅
I love your videos. But, today I’m confused by your metering. The meter meters for middle grey. By turning towards the window you stop down, that would make the bulbs darker in the print. But, you opened up (correctly) for the bellows factor. I’m thinking that I would have done a reflective metering and compared to incident. Occasionally use a digital camera to check!But, perhaps as you did, you can just adjust in the darkroom. Adox 50 has a reasonable dynamic range, though interestingly the highlights can blow out (again as you saw). It is always good when a video makes you think… Thank you again.
Have you got the clip in mask for the rz screen with the 645 back....... ?
👏 Roger
put a correct mark on the bag ;)
🧄👍
interesting theory that light slows down inside a bellows.. thot it was an image circle thing affecting exposure times. must investigate using my tardis...;)
My understanding is that it is due to the inverse square law of light. As the light leaves the source (the lens) it spreads out and there’s less energy hitting the surface with the same surface area.
@@NandR ya, image circle moves proportional with the bellows
Light doesn't change speed inside a bellows; as NandR says, it's the distance between the lens and the focal plane and how light weakens in intensity with distance. The speed of light in glass is different than the speed of light in air, which is why a lens works, but the air inside the bellows is the same air the photographer is breathing.
Brill as always keep up the good work .😀👍