Film

CALIFORNIA & UTAH 2012-2013 TRIP

Mine ShaftWe went on another December and early January expedition to the Southwest again this year.  This time we trekked to California and the Eastern Sierra, then backtracked to Utah to visit some of our favorite places to photograph.  We saw mild weather and very cold weather on our journey.  We had blue skies, cloudy skies, rain and snow.  Susan and I shot a lot of film, and now it is time to get the notes in order and begin the darkroom work.

We photographed 20 days of the 30 days we were out.  We drove 4,102 miles and made a lot of snapshots.  HERE is our latest trip album. . . enjoy!

JB

Posted by JB Harlin in Film, Photography, Travel

ZONE LANGUAGE

ZONE LANGUAGEThe Zone System is always a controversial subject among serious B&W photographers.   Seems there are numerous versions and sub-versions of the system devised by Ansel Adams and Fred Archer.  Each artist must choose what works best for them.  Like most everything in photography, it is a very personal choice.

In the Zone System, the tonal scale from black to white is divided into even steps that are either twice or one half of the previous value.  This allows the photographer to translate, or visualize, meter readings into finished print values, or Zones. 

Zones

Certain elements of the scene to be photographed are sometimes used as a standard reference.  Here is how Ansel described Zones;

ZONE LANGUAGE

No matter whether you practice the pure AA Zone System, or any of its variations, there is one aspect that I believe is an invaluable tool for everyone.  Speaking in Zones is a universal language, much like math or music.  Speaking in Zones allows everyone to find a common way of communicating what they see, what they feel,  what they want their interpretation of a subject to be, or what they wish to say.

I am not a Zone System purist in any way.  I practice what I have found works best for me.  But, I do use Zones, and use the Zone language in everything I do photographically.  I prefer its simplicity and ease of expression.  I know that if I am discussing an image with a fellow photographer and I say that I placed this area on a particular Zone and this other area fell on another, we are communicating in a common language.

So, whether you are a true-blue ‘Zonie’ or not, I believe everyone should be well acquainted with the language of Zones.  In photography, it is a universal language.

 JB

Posted by JB Harlin in Commentary, Film, Photography

WHY THE WET DARKROOM???

WET DARKROOMNOTE:  I wrote this little rant over a year ago and never published it.  Guess it got lost among all the other posts and I have just resurrected it today.  I know I am repeating some things here, but I do so only to make my point.  My views have not changed.

I am forever asked, why the wet darkroom? Why would you want to work with film and photographic paper when you can just click the mouse and let the magic box (computer) create a visual paradise? I am perpetually searching for the answer. . . an answer that makes sense to me, and at the same time explains why to those that ask. I have to begin by saying that nothing is ever as it is advertised. Those that have something to sell always tout how easy it is when you buy their products. If you are looking for quick and easy, then photography may not be for you, matters not what the hype says. In all of those slick commercials and magazine ads things just fall into place without any effort. Everyone has a big smile on their face and all is well. Can this be reality?WET DARKROOM

A lot of what we see today is a continuation of the biggest lie ever told about photography back in the early days of the medium. George Eastman, founder of Eastman Kodak Company, came up with a catchy slogan when he introduced the Kodak camera in 1888. His little box camera was the first camera intended for the general public and his slogan was simply, “You Press The Button, We Do The Rest.” This catch line implies that the person making the photograph need do nothing but be there, of course with a Kodak camera, and that person need know nothing, nor do anything, other than press the button and send money to Kodak. This slogan was a work of sheer genius. It made photography easily accessible to the general public and made ‘ol George very wealthy. There is absolutely nothing wrong with any of this, except for that little phrase, which implies that the operator hardly even be present. Anyone that has used a camera knows for themselves that there is more to it than just pressing that little button.

WET DARKROOMNow I can mention the next biggest lie ever told about photography, this one somewhere in the early 21st century. I am not sure exactly where this came from, but I venture to say it came from large corporate marketing gurus, better known as Harvard MBA’s. When you have large companies run by people that know nothing about the products they produce, you have idiots at the helm. They worship at the altar of the share holders and the quarterly report. Enough said! The next big lie in photography is, “Film Is Dead.” I still believe this was nothing but a marketing ploy to guide the easily persuaded customer to purchase more equipment and new technology. This time based on the layman’s misunderstanding that the computer can do anything with only the click of the mouse. You need do nothing, but supply the money. The old slogan could have been upgraded to read, “You Press The Button, The Computer Does The Rest.” I believe that by now, anyone that has tried this knows, again from hard experience, that it just isn’t that easy. No matter what the hype from any manufacturer, there is no quick and easy way to photographic success.WET DARKROOM

Having said all of this, I feel that the art of photography is something that requires dedication and perseverance. You have to choose your tools carefully and make sure you have the correct tools for your creativity. I have my own opinions as to the validity of what I do and why I do it in a way that suits me. For what I am about to say I have been belittled, scorned, laughed at, and cursed. Makes no difference to me. Anyone small-minded enough not to accept and respect my choices make no difference in the grand scheme anyway. My father used to say that people that use curse words have a narrow vocabulary and an even narrower mind. So my favorite description as to the validity, use, and purpose of digital imaging. . . there I said that word, Digital. . . is to simply say, “It Is Only Another Art Form.” Simple as that! Choosing the wrong medium will turn into nothing but a waste of your time.

WET DARKROOMDigital imaging is not a replacement for anything. It is its own entity, has its own strengths and weaknesses. If you choose to work in the Digital arts, good for you! If you are a hybrid photographer, shooting film, scanning and printing digitally, then great for you! If is suits you and you are happy with what you create, then that is just fine with me. If whatever you create suits you, no matter what the medium, then you are on the right path. But, whatever you do, Do Not belittle me for not buying into the farce that Digital is a replacement for Film! And please do not propagate this lie to others that are new to photography. You are doing them a great disservice by funneling them into believing there is only one path. Nothing is more degrading and discouraging than to find out, much later, that you could have done something else that was much more to your liking. People need choices, and need to be able to see all of the different options that are available in the world of photography. One size does not fill all.WET DARKROOM

I realized I still have not answered the question, why the wet darkroom? All I can honestly say is, this is my choice. This is what I choose to do with my life. I can also say without reservation, that for me, a computer screen, keyboard and mouse comprise a place to work. This is where I go to get things done, find information, communicate, write (like this little rant) and to get my days work accomplished. This is not a place for me to create art. There is nothing artistic for me in front of a digital display. I do not feel anything artistic sitting at my desk, and creating art does not happen if I am not in that mood. I see the computer as a place for 100% left brain activities. When I go into the darkroom and close the door, I am immediately in right brain mode. This is where I create. Same as when I duck under the darkcloth behind that view camera. That little LCD screen on my snapshot camera is just for record keeping. There is nothing artistic there for me either. This is how I think. This is how I work. And this is the best I can do to describe why. If you find digital motivating and productive, then by all means use it to your best advantage. I find nothing about it in any way creatively stimulating for me. That is my choice. Do not belittle me if you do not agree. Creativity is fragile and is only where you find it. Use it wisely!

WET DARKROOM

One more thought. I am not on a crusade to convert the world to film. I am only on a quest to try and show everyone that there are choices. . . that the wet darkroom is still alive. If you are interested, you can still choose the medium that best suits you. Matters not whether it is the mouse or the photo tray. What is really important is that everyone knows there is a choice and they should be aware of the strengths and weaknesses of each. To be boxed into that one size fits all world is not good for anyone. Hopefully by now you understand why I choose to work in the wet darkroom.

And, one more final thought. Just in case you believe the hype that film is gone forever, take a look at my earlier post titled, “FILM IS NOT DEAD.” You can special order both B&W and Color film in any size imaginable! No matter what photographic medium you use, the next time someone asks you about photography, do not propagate the lie that film is dead.

JB

Posted by JB Harlin in Commentary, Darkroom, Film, Photography

WHEN WILL YOU GIVE UP FILM PHOTOGRAPHY?

FILM PHOTOGRAPHYThis is an interesting question that comes up all the time and seems to keep reoccurring.  When will you give up film photography and move to digital, is something that is asked of me from time to time?  My answer has been consistent since digital photography moved into the mainstream.  Personally, my answer is, “I will give up photography completely if I have to go digital.”  Plain and simple. . .  I will never be able to create serious art with a computer.

My entire life has been spent in and around the electronics world.  I began using a computer when the first Commodore Vic 20 hit the market.  I had to learn computing in order to stay current in the engineering world.  I see a computer as an engineering tool.  It is not a toy, not a game machine, not a source of entertainment.  It is a tool for designing complex machines and circuits. . . for navigating to the moon, and the stars.  One thing is certain for me, it is not a device for creating my art.

I use a computer for work; I use it to write; I use it to access the Internet;  I use it to communicate with others; I use it to update my BLOG;  and I use it to host a web site.  These to me are not artistic endeavors.

In my mind, a computer is not where I go to express myself visually.  It is not where I go to create my art.  In front of a monitor I am in a working mindset, mostly thinking in left brain mode.   Creativity requires a catalyst.   Only out in the field with my camera under the dark cloth, or in the darkroom does my mind really shift into right brain ‘creative’ mode.  It is impossible for me to think in an artistic manner when clicking a mouse and looking at a monitor.

I know I have written about this before, but the same question keeps coming up, and my feeling about the subject does not change.  This is how I work and how I think.  The creation of art is a very personal thing and requires you think in a particular way.  For me, I can only create when I am in the proper environment, and cyberspace is not the proper environment for me.

So, if that day comes when there is no other alternative than to twiddle bits, and if I am still around, I will have to give up my passion for photography.  I will just have to find contentment and enjoy the art that I have created, and know that there will never be anything like it again.  I have spent a lifetime refining my technique.  Take a close look at my prints and maybe you will see a glimmer of what I have spent so much time fine tuning to suit only me.  I feel very fortunate to have lived in a time where I could participate in such a beautiful medium.  Personally, I have no interest in learning anything new. There will never be a replacement for traditional photography!

JB

Posted by JB Harlin in Commentary, Darkroom, Film, Photography

OLD TIME CAMERA PHOTO SHOOT

JB Harlin with 4x5 view cameraSee why these film cameras could help you with your photography skills as well.  Metering, composing, keystoning, and hyperfocusing will be discussed and demonstrated.  It will be a fun morning!

Come out and see some of the ancestors of your digital camera that still produce magical images.  There will be a few of the Large Format cameras – You know the ones with the cape you pull over your head, tripods that could hold a truck, yep those cameras.  They will be out and taking photos and explaining how they work for anyone that wants to know.

You will also see some medium format film cameras as well.  These cameras still produce 145MB digital scans with more detail than the largest dSLR!

Although the Large Format cameras are a work of art in themselves, the Nash Farm is also a very beautiful farm that’s just great for a day out. Farm buildings, tools, even a small cemetery are all on the grounds of this city park.

When:  Saturday, September 22, 2012, 8:30 AM to 11:45 AM

Where:  Nash Farm, Grapevine, Texas  Google Map

Parking: Park on the side street – Homestead Drive – Stay on the Farm side of the street – DON’T park in front of someone’s home.  Please don’t pull into the farm.  Take a look at the parking map.

Posted by JB Harlin in D/FW LF GROUP, Events, Film, Photography

A 4X10 TREASURE

4x10 Film HolderThere are times when things fall into place. . . then there are those times when everything seems to just fall apart.  My Mother used to say, “even a blind hog will pickup an acorn every now and then.”  We struck on some good fortune recently and found something extremely rare.   I found six, in-the-box, never-used, Lisco Regal 4×10 medical film holders.  In case you didn’t know, Wisner designed his 4×10 camera around these extremely rare and difficult to find film holders. 

Susan started out with the Wisner 4×10 camera and a handful of holders, since we have forever been searching for more holders.  She has found Wisner-style holders off and on and has collected a good assortment, but we are still on the lookout for more.

This group popped up on one of the photo chat sites and I couldn’t resist asking questions.  The seller said he purchased them from another person that acquired them from a medical supply house and they were pristine.  Pristine is an understatement!  I still can’t get over how these holders look.  The boxes were shelf worn, but the holders were absolutely un-used and still had the warranty cards.

It is strange how things sometimes happen, and here is one of those times I stumbled upon an acorn.  These holders have found a good home and will be well cared for and put into service doing what they do best. . .  holding film!

Happy hunting everyone!

 JB

PS  Just in case anyone asks, NO these 4×10 holders are not for sale. . . But. . .  we do have some new, in-the-box, Fidelity Elite 4×5 holders and some lightly used, with-the-box, Toyo 4×5  holders for sale.  Drop by our For Sale area to take a look.  Thanks!

Posted by JB Harlin in Film, Photography

THE 2012 ILFORD ULF FILM RUN BEGINS NOW

It is that time again. . . time you get your order in for this year’s Ilford ULF film run.  The ordering window opens on Monday 30th April and will run until Friday 22nd June 2012.  More information and a list of dealers HERE.

 

Ilford

Posted by JB Harlin in Film, Photography

BEER & RODINOL

When I first began working with B&W in my own darkroom I only had a 35mm camera. So I shot many rolls of 36 exposure Tri-X. At one time my favorite developer was Rodinol. Not very expensive, easy to use, keeps forever and I liked the negatives. What else could you ask for?

Even way back then I kept a notebook with all of my darkroom procedures laid out in a step-by-step fashion. This way I knew I would always do things exactly the same. I used the same graduates, arranged in the same order every time. Developing film is a one shot deal. Make a mistake and that is all she wrote. At this point in my progression with film and darkroom, I had become confident in my ability to develop film. The process had become the first step on the way to making prints.

My procedure for film was simple. I would line up my chemical containers in the correct order. Fill them with the proper liquids and adjust the temperature. Then I would head to my closet darkroom to load the film into the developing tank. I used a 16oz tank that held two reels and I usually did two rolls at a time. I loved the Rodinol because it came in a stock syrup and was mixed something like 1:200, if memory serves me correctly. I would measure the stock using two small syringes since it only took a few milliliters to make up the developer. I would lay the syringes, once loaded, next to the container marked developer which contained distilled water. I always have used presoak, so once the film was in the presoak, I would empty the syringes into the developer container and stir up the developer. Not much to it, simple and easy. Usually took me about forty five minutes from start to hanging up film to dry.

Now this one particular Saturday myself and a few friends went out and I shot two rolls of film that day. Later that evening we returned to my place for a few beers and by about 8:00 everyone headed home. I had this bright idea that if I processed the film from the day it would be dry and I could print it Sunday. Nothing to it, just get out the notebook, measure and slosh. . . processed film!

There was nothing very special about this film run, except the slight fog in my head from the beers and maybe a little to much sun. Everything went as usual. Once the film was washed I unrolled the first strip to find it completely clear end to end. The second roll was the same. What the @#$%^*? My first thought was the camera quit working. As I sat there perplexed I looked at my processing line and what do you think I saw? There next to the empty container for the developer lay my two syringes with the stock Rodinol still in them. I had failed to mix the developer. I learned right there that plain distilled water will not develop film. I also immediately enacted a strict rule in the darkroom; NEVER MIX RODINOL AND BEER!

JB

Posted by JB Harlin in Commentary, Darkroom, Film, Photography

CROPPING

CROPPINGThose that dictate hard and fast, unwavering, rules for the creation of art usually are the vane, egotistical, self-centered types that are full of their own over-inflated view of their importance and try to tell you that cropping is an unforgivable sin.  I say. . . Not True!

No one has the authority, nor the right, to tell you what, nor how, to create your art.  Cropping is a personal decision, and can only be justified by you as an individual.  If cropping helps any particular photograph, then it is no sin to proceed to crop away.

Cropping is best done in the camera at the time you make the negative, but it is not always possible.   There will always be those instances that appropriate framing is just not possible in the field.  Never pass up an opportunity just because the perfect image does not exactly fit the film.  Keep cropping as an option.   Do not dismiss anything that will help. CROPPING

During the printing process look carefully at your first work print and determine if the image is strong from corner to corner.   Use cropping L’s to mask questionable edges of the image and determine if lopping off some of the image will strengthen it.   If you are enlarging you can reset the easel and the print size.  If you are contact printing, a rotary trimmer is your best friend.   The choice is totally yours.  Do not be a slave to others opinions.  There are no rules.  The decision is so eloquently expressed by Bob Segar:  “What to leave in, what to leave out. . .”

If cropping does not improve the photograph, maybe it is a good idea to find another image that will be more expressive.   If you do hit a brick wall with a photograph, save your work and put it aside for later.  There are few negatives of questionable substance that are worth killing yourself in order to print.  You are usually better off to concentrate on those that are not a struggle to print.

It is easier on you and more productive, and less frustrating, to make negatives that are well seen and easy to print.  A mastery of craft will make everything work more smoothly, but never let anyone tell you that you should not, can not, crop your photograph.  Just don’t go there!  Cropping can be your best friend.

JB

Posted by JB Harlin in Commentary, Film, Photography