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I will check him out. Thanks! There is always time to learn something new.

@@asa1000photography his late work is more quiet work than very active documentation of people. Unfortunately when I last spoke to him on the phone, he could no longer see. He had a type of stroke in his eyes and it made him blind. A retrospective book on his work called “the sadness of men”, is still available. And there is also a documentary movie on him at his home, on Vimeo It is called “just to see - a mystery”

Thanks. Now I have looked at some of his work his history and the story about his vision loss. Pretty impressive guy!@@nickfanzo

@@asa1000photography yes he is a very nice man, and a wealth of photography knowledge .

I liked and still like HP5. I rated it between 200 and 3200. For 200-800 develop in D76. Anything higher develop in Acufine. There is an Acufine video I did you can watch.

@@asa1000photography yep! I’ve used Acufine myself for pushing if I do. I usually use hp5 myself or Tri x and I rate from 200-400’with normal dev depending on the lighting . I rarely push (I don’t go out at night much). Thanks for sharing your knowledge, you’re photographs are great 👍

Acufine demands careful agitation or it blocks up the highlites. At 3200 ASA with HP5 I DO NOT AGITATE IT AT ALL and develop at 80 or 85 degrees.@@nickfanzo

@@asa1000photography awesome tip. I was using Acufine at 800-1000 iso last year when I heard Jim Marshall used it ! Another ?: Joel meyerowitz told me that he would use his hand like a grey card for exposing his legendary street photos with kodachrome . Do you know how this is done? I was amazed that he wasn’t always using a meter for 25 asa kodchrome film and those photographs are great! Did you learn about this when you were shooting film for work back then?

Yes that;s the plan!

Thanks!

No this is for individual frames.... but what you could do is figure out your exposure, shoot several frames of that, note the frame numbers and then leave 4 or 5 blank frames and try to cut the film into pieces and develop each piece as required... or you could roll your own 'short rolls' of 5 or 10 exposures so you could develop each as required. If you average it all out on one roll you are doing the same thing as the camera meter and it;s not going to be what you want. Experiment! and thanks for the compliment!

No problem and My pleasure! If you have questions doesn't hesitate to ask.

Merci pour les compliments ! Si j'ai un peu plus de temps, j'essaierai peut-être d'écrire une feuille comme vous l'avez suggéré avec des négatifs à titre d'exemples.

@@asa1000photography, Si vous savez vous débrouiller avec l'ordinateur, faites très attention avec le contraste avec le numérique. ( le GAMMA, le CONTRASTE, et la Luminosité) seulement pour le noir et blanc et sur p h o t o f i l t r e ). Ne pas oublier le film 25 i s o, avec les p a r a m e t r e s de la pellicule,et du traitement à la chambre noire,avec cela on pensera une photo début du siècle dernier. Alors qu'elle aura été faite la veille.

Thanks for the info and compliment!

I like HP-5. If you do your own developing you can shoot it at ASA200 or ASA3200 or anything in-between..... of course you cant change ASA in the middle of a roll, like digital. But it's very flexible.

Yes you are totally right, it;s all a compromise. But if people understand the concept it will always make life easier. Thx!

The modular Rolleiflex 2002 / 3003 cameras with interchangeable film backs and dark slides were the only camera models I'm aware of that could accomplish that. I owned a 2002 exactly because of this dilemma at the time when these gems were availabke brand new. Unfortunately my specimen had buggy electronics. I eventually sold it. It had spent more time in service and repair shops than on duty in my hands. In order to taking advantage of the fine lenses in which I had invested a fortune I ended up buying three (used?] Rolleiflex bodies with the normal SLR form factor. Not the most lightweight way to shlepp around on a wedding for instance, but a) faster to switch and b) very calming to have at least one backup at hand if there were any issues. I'm not sure anymore whether the bodies were made in Singapore or in Germany. The asian models apparently don't age as well, according to recent vintage testers. Back to the cube: The 3003 is said to be a little more reliable, therefore pricey and hardly serviceable nowadays. IIrc, there was a budget 3001 as well.

It's a Way of Life! Do it!... and thanks!

Thanks! If you have questions just ask!

I know!

Thx!

Yes it's getting popular again. I think now, finally, the analog photographic printmaker is accepted as an artist!

Thank YOU! If you have questions, let me know and maybe I can help.

Expose for the shadows and just print through the highlites!! was a newspaper approach, since in print, no highlites were brighter than the paper stock they were printed on.

thanks!

It worked and still works for me! Thx!!

Thanks for the kind words, I'll be printing some more soon. And thanks for being my 1,000th subscriber!

I'm glad thanks !@@asa1000photography

Thanks for the comments! The zone system was based on Expose for the shadows and develop for the highlites because in the chemical process the shadows pretty much developed out but the highlites could be moved around, by a zone or two, depending on there development time/temp. In other words, the highlites were affected more by development than the shadows. In digital I agree with you: Expose for highlite detail and then 'recover' the shadows. Look at my video on digital before printing. The true zone system was based on foot candles of reflected light, so most light meters have to be converted. In the 80s I was living with F3s and one FM2 so I dont know the other cameras.

actually its easier in the darkroom, but for starters this is one way to begin! Thanks!!

The key is whatever works for you! thx!!

If I was traveling and shooting pictures I wanted to keep I'd use a tank with a reel and I'd wash and process according to the instructions.

thanks!

Sorry but I have no idea how to do that.

You are very welcome. Im here to answer questions. Thx!

Thx! 1/30 is easy, it gets tough around 1/8!

@@asa1000photography dude! 🫣😆

Thanks! Was it you I spoke to on FB today?

@@asa1000photography yes!

Well here I am!! What do you have in mind

@@asa1000photography May we have your email to send over the details? :)

Flash metering was for studio work! This was just using a known combination of light and distance. It's hard to remember the exact details but most probably an FM2 camera since the flash mount on the F3 was so crappy and the FM2 had a 1/250 flash sync vs the 1/60 for the F3. And I'd guess F 3.5 or 2.8 aperture. The flash I used was a Vivitar 285 or maybe the one that came later, on camera, with a Quantum Battery on my belt and either a diffusion 'hat' on the flash or often just reflected off a white card. The flash was usually set on the highest setting or on Manual. I could get decent negs at 40 feet that way and with the extra battery I could shoot with the motor drive for sports. I pretty much developed for detail ion the the shadows and printed through the highlites when I had to! The grain looks smooth because the enlarger is LED with lots of diffusion glass.

@@asa1000photography most excellent . Thank you.

Two days and a morning! On a good day I can print 7 to 10 'keepers'. It seems like I work 8am to 2 or 3 and then the prints wash for 45 minutes or more, I squeeze them and put them on the screen overnight. In the morning I flatten them in the press and then go dark. Three days is a good cycle for chemistry.

I figure on 15 8x10s per liter or one day, whichever comes first. End of the day I dump it.

Only for ,Acufine when you are doing a very high ASA like 3200. Everything else gets agitation ! And Merry Christmas!!