Click on the audio logo to listen to this 10 minute discussion on my favorite films both black and white and color and which developer combo I use at Indian Hill Imageworks for the vast majority of my artworks.
scanning film
Is Archiving Film Necessary
There are two parts to this post: first an HD video for fun followed by an 8 minute thought-provoking discussion on the “need” to archive film in the hybrid workflow- click on the Audio Logo to listen…
Photography in 90 Seconds or Why I Love Instant Film – Part 1
Click on the Audio Blog logo to listen to a 4 minute introduction on Instant Photography (Polaroid and Fuji instant films) and the hybrid workflow. This post is an introduction to the upcoming multi part video series here on Figital Revolution so stay tuned.
Artwork Links mentioned in Audio….
Plus- stay tuned for my newest artworks made using instant materials to released later this fall. The show at Indian Hill Imageworks is tentatively scheduled to open on October 3, 2009… more information on that soon as well!
Viva la Revolution- Stephen
Stand Development Part 3
Ok, so lets put everything together and start processing some film. First, be sure to listen/ watch Part 1 and Part 2 prior to this post as there is important information in those posts not covered here. Then click on the Audio Blog Logo to hear an 11 minute summary of tests- what worked and what didn’t- and my thoughts on successful stand development.
Recipes described in the Audio Portion of this post:
- Fuji Acros (EI 100 / 125)
- 800 ML Distilled Water
- 3 ML R09
- 200 ML Xtol Developer
- 1/4 Teaspoon Borax (optional but helps control fog)
- 1-2 Teaspoons Asorbic Acid (optional)
Process as described for 3 Hours. You can cut this in half for smaller tanks.
- Kodak TMY-2 TMAX 400
- 800 ML Distilled Water
- 5 ML R09
- 200 ML Xtol Developer
- 1/4 Teaspoon Borax (optional but helps control fog)
- 1-2 Teaspoons Asorbic Acid (optional)
Process as described for 1 – 1.5 hours. You can cut this in half for smaller tanks.
You can use the recipes above for many films… I’d suggest the TMY-2 Reciepe for 2 hours with films such as TX, Delta 100, Delta 400 and HP5… do a test at 2 hours and then one at 3 hours to see what works best for you!
Source for additional Information and example images (good book to buy!):
Iridescent Light Book by Michael Axel
Thanks also to Carlo Chiopris for his thoughts/ valuable information when I was starting this process:
http://www.flickr.com/photos/cchiopris/sets/72157610266094791/
The Unblinking Eye Article: Appreciating Rodinal by Ed Buffaloe
Viva la Revolution- Stephen
Stand Development Part 2
In this second installment on Stand Development I will outline some basic equipment needed, proper agitation techniques and other necessary processing information…
Stay tuned for the Part 3 in a few days!
Viva la Revolution- Stephen
Working at Less Than 100 Percent
Most pinhole images are made using a pinhole that is very close to- or at the optimum size for- the chosen focal length and in most cases this is a good choice for general photography: it lets you get the best quality image a pinhole can produce. That being said, while testing the PinZonie I have been experimenting using pinholes that are in some cases up to 2 stops more open or closed than the optimum setting and really liking the creative options it gives me.
As I always say… experimentation is key!
Trees in Afternoon Light, Massachussettes. 2009
From the Negative Series
28mm PinZonie, Pinhole Setting, -2 stops from optimum
Kodak BW400CN, Scanned on an Imacon Scanner
d’Vinci Noir Print on Hand-made Bhutan Mitsumata Thick White
Copyright Stephen Schaub 2009
Kodak BW400CN, Fantastic Misunderestimated Film
Many of the chromogenic (C41) process black and white films get mixed reactions on the web from working photographers, but my recent and continuing exploration of Kodak BW400CN has changed everything in my mind and in a very good way. To listen to the audio portion just click on the audioblog logo.
Test Image: Kodak BW400CN exposed at box speed (400) and scanned on an Imacon Scanner. Minor contrast and density adjustment were applied in Photoshop CS3. Negative was made using a Leica M7 with a 28MM Elmarit F2.8 ASPH lens. Please note the file is larger than most here on FR so you can really see the stunning tonal range and detail. One additional note on the weather here in Vemont… it has been raining a lot and as such this image was made on an overcast day, thus the gray sky.
Film Scanning Technique 101
In this audioblog I present a philosophy of scanning film based on the understanding that in the end photographers make prints and our entire process from film capture to scan to Photoshop to printer is all based on making prints. I outline in detail techniques and settings which will apply to most scanners and will help you get the most of your film and scanner combination. This is a very long audioblog- 27 minutes- and as such have paper and pencil ready, as you won’t want to listen to my voice for this long twice!
Full Process Example Image
This recent artwork of mine is a good example of the process outlined in the audioblog. I started with Kodak Ektar 100 film (35mm)- I’ve tested this film and understand how to get the most out of it in a variety of different lighting situations. The camera was my Leica M7 with a 28mm Zone Plate, and the image was made using my Overlapping Frame Panoramic Technique outlined here on FR. After processing (C41) the negative was scanned dry on my Imacon at 4000 optical dpi, 16 bit as an RGB positive, with miminal sharpening and dust removal. All other editing and contrast adjustments were done in Photoshop. My chosen Photoshop color working space as well as the scanning color space?sRGB.
Final thought
Knowing the real limits of your workflow, technology and skill level and having a clear understanding/ feeling for your visualized final print helps make the entire process a very fluid and creative endeavour. Test first and remember: experimentation is key!
Viva la Revolution- Stephen
UPDATE: 5.16.09
Link to BETA RGB:http://www.brucelindbloom.com/
Click on Info, then click on Beta RGB: A New Working Space Proposal… the BETA RGB download if found on this page… spend some time on this site as it is a wealth of knowledge.
High Speed Pinhole and Zone Plate Photography, Part 3
The final installment of this series provides information on all films tested, thoughts on Zone Plate and Pinhole as it relates to these films and observations and conclusion on this process. The audio portion can be heard by clicking on the Audio logo: note the audio portion is around 16 minutes.
Pine, Vermont. 2009
28mm Zone Plate on Leica M7
Overlapping Frame Panoramic Technique (3X)
Film: Kodak TMY-2 (Tmax 400) at an EI of 1600, processed in Xtol Developer.
Printed on Fabriano 640 gsm, edition size one.
Copyright Stephen Schaub 2009
Spring Blossom, Vermont. 2009
28mm Zone Plate on Leica M7
Overlapping Frame Panoramic Technique (3X)
Long Hand Held Exposure, 30 sec +/-
Film: Kodak Ektar 100Printed on Fabriano 640 gsm, edition size one.
Copyright Stephen Schaub 2009
Field Edge, Indian Hill, Vermont. 2009
28mm Zone Plate on Leica M7
Overlapping Frame Panoramic Technique (3x)
Long Hand Held Exposure, 20 sec +/-
Film: Kodak Ektar 100Printed on Fabriano 640 gsm, edition size one.
Copyright Stephen Schaub 2009
High Speed Pinhole and Zone Plate Photography, Part 2
In this audio blog I discuss my testing results for Kodak P3200 at an EI of 6400 for hand-held pinhole and zone plate photography as well as the new direction Part 3 in this series will explore. Click on the Audio Logo to listen…
LINK: TMY-2 @ 1600 article here on FR.
Figital Revolution 
