It Was All Going So Well :(
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- เผยแพร่เมื่อ 1 ก.ค. 2024
- In this video I go over my latest landscape photography shoot with my Hasselblad 501cm film camera. I shoot a roll of Kodak Porta 400, but the results aren't great.
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#LandscapePhotography #Film
The magenta cast has likely come from cocksfoot grass, which is the grass that you show at the start. This grass has a purple hue to the flowers that isn’t that obvious to the naked eye. Look at the grass at the start of the film! It’s in a shady spot and hadn’t opened yet but you can still see the purple if you look at the tips.
You're right about the Cocksfoot (Dactylus glomerata) earlier in the video and the colour tinge of the inflorescence. There does appear to be some Cocksfoot in Thomas' photo to the mid-right and left, but I think most of the grass is a different species, it looks a bit like Yorkshire Fog (Holcus lanatus), but I can't be sure from this resolution. However, the inflorescence often does have a similar purple hue as Cocksfoot.
Stephen Barlow I had thought about old foggy but I generally see that as being more red with my ageing eyes...we could discuss the NVC communities of Toms videos 👍
Nice thought process but notice in the unedited version of the image the trees turn purple too?.. hmm
It may be you need an infrared filter. Some plants can bounce it around pretty wildly. Judging from the other mentions of inflorescence, this may help. If you dabble into BW with these, you'll see tones you'd have never noticed before.
@@SimonBoothPhotography I was going by the overall form of the inflorescences, the way they are all drooping over so they are more or less horizontal and curved, typical of Yorkshire Fog. Yes, it's often a reddish colour tinge but this tinge is quite variable. Overall, there's definitely a colour cast, and I was quite glad to say goodbye to film because of all the problems with colour casts, reciprocity failure and colour temperature. I'm a bit rusty on NVC classifications to say the least, although I did study under John Rodwell.
Generally, a purple-magenta cast would be from contaminated developer, but appearing only on frames from that one scene would rule that out. The other possibility is fog (raw light hitting the film), but you would see plus density in the clear spaces between frames, unless if it happened while the film was in the film back (a.k.a. magazine), such as when pulling the dark slide while the back was off camera. Commenter here, Simon Booth, wrote that it could be the purple hue of the "cocksfoot grass." That makes a lot of sense, given that our eyes continuously compensate for "normal" and you might have missed it.
If you want color accuracy, put a gray card in the scene. If you print for the gray card (to make it look gray), then any "off-color" would be in the subject or light source. (You'll waste a shot, and a print, but it's worth it... and don't forget to retrieve the card after your test shot.) Speaking of gray cards, they also work exceptionally well with spot meters for exposure. If you don't have a gray card with you, or don't want to use it, you could try spot metering the underside of clouds.
In this video, you were not locking-up the mirror before releasing the shutter. That big chunk of glass flopping around does make a difference that you can easily see in enlargements, especially at shutter speeds slower than 125. A lens shade also makes a discernible difference, if you're going for "sharpness." You can always diffuse it later if you want a softer look (although not with a neg in an enlarger, because the shadows will move into the highlights in the print, instead of vice verse).
A Swedish photographer whose work I've admired for years, Dan Lindberg ( danlindberg.com ), has a similar "eye" as yours, and I think you'd enjoy his work. I first saw his photography on a forum called GetDPI.com.
Am I alone in loving the really zoomed in woodland image? The intricate detail of the vines around the tree is lost in the zoomed out photo.
I agree. I think the zoomed in image is very good
I agree too.
Yes that was a fine shot.
yep.....I do think that scene is a fit for Black and White.....also the composition needs to capture more, hopefully to include a bit more of the trees and create a perspective.
Love the pic of St Mary's from the north side, even though the purple field looks like lavender it looks good. I got your book this week, enjoying it very much!
I would have been pleased with those photos. Great video yet again. By the way, loved the Thom Yorke impression on the f4 deleted scene.
I shot Hasselblad using film professionally for over 20 years and have a few suggestions.
1.This sounds like a possible lab issue, the grain and the poor color quality.
2. Kodak Porta 400 has extremely low film grain as do almost all of the color films, even at 800 ISO.
My last suggestion and it's very basic, are you using a UV filter?
Film is a bit susceptible to color shift from UV light, making images go slightly blue/violet.
You’re a good photographer and I know you’ll get this straightened out.
There are definite issues with the development here. The lighthouse image has visible vertical streaking that's surely caused by improper agitation. Same with the grain. I just checked several frames of Portra 400 in 120 and they don't show nearly that much grain. I even checked some T Max P3200 that I shot at 3200 and even that doesn't show as much grain as the lighthouse frame does.
I love the “rule of centers” in the light house photograph! Remember, if you’re not making mistakes you’re not stretching yourself and you’re not learning.
Loved the Hasselblad I had years ago. But, it never left the studio. I also loved developing the B&W film and making prints in my darkroom. Stay well.
Love your honesty. Re: the purple hue, is it possible that the developer over-processed it a bit? That would be my first thought.
X2
don't think so as the other images were fine
Enjoying your adventures in film immensely. I liked the images, the composition of them especially. If there really was a strong magenta cast in one image but not others, I would probably question the scanning. How the scanning is done can make a big, big difference. A lot of labs have their scanners pretty much set to auto, sometimes the results aren't great. Btw. Quick and easy way to tell if you have significantly under or overpexposed is to look at the negs. A dark dense neg .... overexposed, a pale wishy washy neg ... underexposed. Keep up the good work.
Your comments on lighthouse interesting. We are so used to that clinical perfection we try to seek with digital photography that we forget about the photography. I wondered how lighthouse would look in mono. A greatt video thanks Thomas, good food for thought.
Great Vlog, I'm sorry to hear about your poor health. The images great, these are the limits of film, cheers Tony
I really appretiate your honest/down to earth view about photography. Thanks for uploading, sometimes we forget to screw up in order to improve certain skill.
The quality of the video footage has improved immensely. I normally watch the videos on a 65" 4k TV and I really enjoy the new 'look'. Thanks!
My advice: carry multiple magazines with different film stocks! Use the stock that is most suitable to the situation.
Agreed. A second film back is a must!
@@theoswinscow and a third!
I love the lighthouse shot, the minimal composition and starkness of the sky and sea. I have been watching quite a lot of James Popsys videos recently and in one he says if the photo is bad because it isn't technically perfect, then is it a good photo? Which I think is a very good point!
I haven't exposed film in many years but I used to love Kodak films for sunrises/sunsets and people shots. Fuji films for woodlands and seascapes.
Totally agree. Fujichrome 50 was my all time favorite (slides) film back in the day.
Hasselblad Hint: Find the EV number from your spot meter that you want to use for the exposure. Then on the right side of the lens there is an orange triangle. Rotate to align the triangle under the EV number. Now you have set the Aperture/Shutter Speed combination. Push the black button down and rotate the A/SS together to the desire setting. Click.
Thanks for this video
I’m so sick of lockdown etc. This video really helped
and thank you so so much for this
We learn more from failures than we ever do from successes. So even though it might feel shitty at times to have something fail, you always gotta realize that it is actually useful and helps us improve.
I really enjoyed the lighthouse image though, it's a kind of photography style you don't see so often. Breath of fresh air.
This seems to come back to one lesson I learned early on: don't aim for every shutter press to be a keeper. While the cost of error is certainly much greater with film, it's no less valuable in the long run.
The lighthouse image is good, Thomas. The minimal red color and smooth water is nice, and as you say, the grain works.
Love the lighthouse image, might even be better in black and white.
Welcome to the world of "using the right developing shop". .. hard to find excellent shops these days . (Glad to see you enjoying the light meter tool as well.) of course, have wide exposure differences in the same develop batch helps create unexpected results :)
I use Richard PhotoLab ... I only shoot Ektar and Portra (all speeds). They work with you to create a color profile and after that, my results have been drop dead gorgeous - they do the developing and scanning for me. Real conscientious artists.
Where I live, it seems like there are no good shops. When I scan my Dad's old negatives, I can get great sharpness and color. But when I scan the ones I've had developed at the few remaining local labs, the colors are often terrible.
@@AdrianParkinsonFilms Might be time to try DIY. It's not difficult at all.
Is there that much variation in developing with C-41 other than push and pull? There doesn’t seem to be as much variation for recipe as B&W where you need to really test your film in your developer to find out all it can do.
Adrian Parkinson - I've used Richard Photo Lab. A bit expensive, but drop dead gorgeous results w C-41 and Kodak Ektar and Portra. I don't used local shops anymore
Phillip Cedoz - enough that I've taken to sticking as close as possible to an EV RANGE with each roll as large swings and differing dates produce very different results otherwise.
I'm very glad you brought back film. We always have to remind ourselves to go back to basics. I have both 35mm and 120mm. I still shoot with them regardless of my SLR. I love the honesty and simplicity of your videos.
Got my book here in Michigan, USA yesterday. It's great! I make plenty of mistakes to learn from. Somehow my mistakes aren't as beautiful as your "mistakes", but I'll keep shooting. Hope you feel better.
Never got into a video so early.
Those pictures look pretty cool. Eerie almost
I liked it man! Growth is uncomfortable. Happy to see the journey.
Hi Thomas
First - best wishes for feeling better soon.
This is a very helpful video; relevant and useful to anyone exploring film. Thank you for putting it together this way. In time I look forward to hearing what film you feel would have given you the look you were seeking.
I honestly love the lighthouse image, so unique!
That’s the beauty of film it can be grainy gritty very real and timeless. I used to shoot sport for a local paper way back in the 80s / 90s they gave me one roll of 24 exp ilford HP5 and in the depth of a northern winter I was given Tmax 3200 man I hated the grain back then but looking back they were real photos. Great vid mate glad ur not cov positive ✊🏻
the phots are stunning! who cares about the noise? it's the feel the composition delivers and it does DELIVER!!!
I see a lot of these types of videos outlining struggles with film and the answers are usually fairly simple.
Portra 400 is probably the easiest film to shoot, you really have to do something very wrong to muck it up. There's no problem going 2-3 stops over and even further...always, always err on the side of over-exposure. It's the same idea as digital but instead of saving the highlights, you're saving the shadows.
You have a few options to look at find the cause of any issues.
Firstly are you getting your film developed at a reputable lab? These days smaller shops aren't getting the quantity of film they used to so the chemicals don't get changed when they should be and hence the potential issues. Plus the machine might have issues with temperature control but because of the cost of fixing it, it gets left as is.
Many years ago I was beating myself up over the colours coming back from my negs only to eventually realise that the "pro" lab I had been using was bought out by someone else who was trying to save on costs and therefore was looking after the chemicals and the machines - it makes massive difference when C41 must be processed within a tolerance of half a degree before colour shifts start to appear.
Use a proper lab - there's plenty to choose from in Europe - someone like Carmencita Film Lab does a great job.
After that comes the scanning. Flatbed scanners are very hard to work with in terms of getting the right colour. The Negative Color Pro plugin in Lightroom makes this much easier these days but it still won't match a Noritsu or Fuji Frontier for colour. I eventually bought my own Fuji Frontier and it changed my film-shooting life. No more messing about with colour - shoot, dev, scan and file away.
I think there's a tendency to over think film shooting - personally I find it much simpler than digital. Shooting slide film is of course much more difficult but the same rules apply just within much narrower constraints.
I'd suggest sticking your incident meter in the shadows, grab the SS and Aperture and taking the picture. Try that for a roll and send it off to a proper lab with someone who knows how to scan.
Also I should mention that it is a good idea to check your negs with your phone too. Put them on a lightbox, triple-click your iPhone's (if you have one) home button to invert the screen colours (this can be set in the Accessibility setting) and use Lightroom Mobile's camera app to view the negs. This will give you a truer indication of what the actual neg looks like AND more importantly it will show you what the exposure on each frame is in relation to each other.
What model of the Frontier you bought mate?
@@freemanslim I have the SP500, which I got about 6 years ago when they were going for about US$500.
@@bebox7 Fantastic!! lucky mate!!! Thank you for the great tips! Where can I check some of your work / photos?
@@freemanslim Yeh was very lucky to get in before the crazy prices. You can find me at @camerafilmlens on IG and same on Flickr.
Tom I hope you feel better soon! I love how honest you are in this video! I am new to photography and I am making a ton of mistakes. I am not going to lie, but it is hard not to get discouraged. In my head I see this beautiful image, but after it I look at it, it looks terrible. Thanks for being you!
Glad you’re over your illness and that it wasn’t COVID-19. I just got your book delivered to me here in California - and on my birthday no less. Really enjoying the photos and the stories. And, suitably inspired by this video, tomorrow I think I’ll go out and make some photography mistakes!
As always love your videos! You have inspired me so much that I've dragged my old medium format film camera out of the closet. Also, I received your book today over here in the USA and love it. I flipped through it already and can't wait to take my time and enjoy every word. Thank you so much for being an inspiration to me and my own photography!
You know what I really miss about film cameras? Just that process of 'winding on' the film! There was something so satisfying about it! When I say 'there was', I mean I haven't shot with film for many years, and I'd be petrified of doing so now, in case I realised that I'm not that good a photographer after all! lol. There is, by the way, something about the image you took of the lighthouse, I really do like! I actually like the fact that it's really 'noisy' and grainy! Oh crap! I've edited this comment three times now because I keep thinking of more things I want to say..Right.. this is it! No more edits after this. I just wanted to add a quote which I think is relevant. Thomas Edison once said, and I quote: "I have not failed, I've just found 10,000 ways that won't work!" PHEW!!!
Tom, loved the old Beach Tree to your right from the first sequence. Another braw video. 👍
I like your Lighthouse Thomas. It looks quite Indie rather than Mainstream and it's absolutely fine for film photography.
Thomas, feel better soon. Your book (brilliant) arrived yesterday, June 30, east of Sacramento, CA. Looking forward to a good read.
Really loving your film content. I've recently started shooting film again (35mm) and have virtually no idea what I'm doing. Encouraged by my results none the less. Personally I love the images you've shared made with your Hasselblad. Amazing to see your learning process/progress. I understand its important to critique your own work but don't be too hard on yourself. The images look amazing so far! I hope you get well soon and stay Covid free!
"Not everything has to look pretty to be a nice image"! Great point!!
14:15, Man that looks like a painting. Amazing !! The lighthouse image looks like something shot during WW2, it gives a vibe of someone photographing the surroundings as a memory.
Keeping it real as always Mr. Heaton. I love that about you. I hope you feel better soon. Take care and stay safe
Thomas, it's just imperfect scanning job and color balancing. Color negatives are notoriously difficult to scan and get the colors accurate. Tolerances in color curves are very narrow and vary picture-by-picture. But if you spend some time color-correcting, you'll be rewarded with great colors. One of the quick fixes that I found helping with getting rid of some magenta cast - 'color defringe' in lightroom. Dial the magenta defringe all the way to the right. I don't think your magenta cast has anything to do with film choice. I shoot many different films and it's a common problem in all of them, slide film as well. Film is meant to be printed on paper or projected, digitizing it is not always easy. I definitely feel your pain, I was sitting until 4am yesterday battling same color problems with a roll of 35mm Kodak Colorplus 200 and Gold 400 a day before. I was almost desperate when after spending hours correcting every pic in the scanning software and seeing horrible colors. Then I took care of that in Lightroom and it worked well, in the end I'm happy with the results. BEST OF LUCK! KEEP BEING CHALLENGED AND CREATIVE!!!
DenisJust Thomas-I think this man is right-this first shot issue is related to the challenges of getting color balance right as you scan a color negative and then convert it to a positive image to edit is LR/PS. There’s various products on the market that claim to tame this issue to a degree.
I'd certainly ask some questions to my lab after that
Great honest video of learnings from trial and error. We all need those encouragements in any part of life. Hope you’re felling better now too.
Lighthouse image has a timeless beauty IMHO
I find it curious how younger photographers are drawn to the romanticism of film. I worked with medium and large format film for years and would never go back to it. I find that much of the craft of working with film cameras can be retained in the digital age, for example, by working with a carefully chosen set of prime lenses methodically and deliberately from a tripod, while taking advantage of the improved resolution, colour and dynamic range of digital capture. But I wish you luck with your exploration of medium format film. Well worth adding a second film back to your Hasselblad system. This was always one the system's strengths.
Fisherman's Friend is my favorite kind of lozenges. Really clears up the sinuses!
On another note, love seeing you shoot with film. Mistakes are a part of the learning process and it still makes for good content!
Hi Thomas, what you have experienced with the film is exactly why I love digital. Processing mistakes, different film batches,push processing,no flexibility over iso. Film was never as forgiving as digital and also the ability to react immediately makes it so superior. I have been shooting for 50+ years give me digital thank you. I might play with black & white film but that's it. Thanks for your show,
I really like the lighthouse image. It's true, it's honest. Like you've said: the inappropriate film, the gray day, the 'ugly' side make it work, paired with the square format and the center placement of the subject.
Having used a Mamiya twin lens many years ago and experienced some of the same issues, digital came as a revelation. The one thing landscape photographers always struggle with is weather but in the film days it was more than just that - the right film to shoot the conditions. Digital seems to give back control over everything (apart from the weather).
I absolutely love the last photo of the lighthouse!! I would definitely buy that as a print!
Enjoyable vid, Thomas - thanks! It's been a long time since I dabbled with film (80s!), but always liked the grainy quality of fast film.
Your current set of vids are some of the best you’ve done Mr Heaton.
This has done it’s job... you are out and shooting not thinking of why not!!! And moreover you have made me go out and get my 500cm shooting again!!! Thanks Tom
Glad to hear your test was negative and hope you are on the mend Thomas. Always believe there is more to learn when dealing with unsuccessful events than those that are deemed a success. Loved the final image and wonder how it would look if its converted to B&W
Hope you start feeling better. Waiting on your book to be delivered....just came in. Thanks
TH, these are some of my favourite photos of yours. I look forward to seeing more of this sub standard work ;-)
Hey Thomas, I do appreciate the increased video resolution! It displays at the native 1440p resolution on my display, which looks perfectly crisp, a really noticeable improvement over 1080p.
P.S.: I like the lighthouse photograph a lot, the gritty look.
Books are coming! YAAAY!!!
I just sent out a roll of Portra 400 where I shot fog, so now I'm worried lol. Maybe try a warming filter? And honestly, some of the oddities you come across shooting film is part of the fun. You always get something interesting.
One of the joys of shooting film the the wide array of film stocks you can use, each one with it's one "preset look". I love all 3 images you showed here and thanks for sharing them.
Watching youtube on my phone. Thanks for uploading 4K. Many pixels were lost in the process. Great vid!! Nice the film vibe.
Your B roll is always fantastic. Not easy running up and down, then act and breath natural. Well done.
I know exactly why. But before I do can I say that without trying to be all indignant I can quantify my answer. I used to run a successful advertising and fashion studio, the largest in the southwest of UK and the only one with approval from Fujifilm and Kodak. I had a complete prolab on site, E6 dip and dunk which filled a room, Devere 5x4 enlargers, a Cibachrome printer etc. We had Sinar 5x4 cameras and of course Hassy 6x6 as well as others, and naturally we did our own printing up to 20" X 16". Every day my darkroom staff would check temps of the dev in all the backrooms, run test prints which would be sent off to Fuji and Kodak and they would mix the chem on site before cooking with light. I have been a pro shooter for 30 odd yrs and used film up until quite recently. The problem is most definitely a flaw in the dev solution or processed at the wrong temp. Of course it can be fixed digitally but in the old days that would certainly have scrambled some brains in our studio - adjust the magenta a bit in post and all will be well. It is unlikely to the film itself but it might be..... Have a fairly frank and not too awkward chat with the Dev'rs.....now there is one other possibility - and no matter how unlikely; it is still a possibility - get yourself a UV-A1 - I noticed your lens was a bit naked. All good in the end.
I think the lighthouse image is great, it has a very specific mood about it that you don’t always see these days. Part of that is probably down to the technical elements as you mention, but I think the subject in that particular composition and light works really well.
Thomas, thanks once again for sharing. As someone who continues to make his share of mistakes, it really helps when you share your struggles :-)
Thomas, I started doing photography in 1976; learned photography on that format. Digital is here now to stay, I understand that, and I went kicking and screaming into digital. It was necessary. But if you will, please keep doing a video every now and again on film photography. I, and I am certain others, still dig film.
I like purple. It’s my favorite color. It made for a different and unusual photograph in that field.
I got your book on Monday! haven't made it too far yet, but I love it so far. Don't know what to tell you about that purple cast, haven't seen anything like that on Portra personally, and I haven't shot enough film to make all the mistakes yet (just most of them lol!). Thanks for showing us your process and the mistakes, it helps all of us grow and improve!
I LOVE that last image, even before you started talking about it! Looking forward to getting your book in my hands. Cheers from Australia 🇦🇺
I got "Landscape Photography" today and I knew you used several cameras but most of the book is my fav the Canon 5D IV. I also have the 5D III, 5D IV and I just bought the Canon EOS R. My favorite is the 5D IV and believe it produces the best! Nice book and interesting choices. I have not had the time to really go over it properly but will be doing so. Congratulations on it!
Watching this makes me want to grab my Hasselblad 500c and head out. I'm wanting to get better at landscape photography and I really find your videos inspiring.
that was a really nice video, thanks Tom!
I did notice a difference in your office video, that made sense when you said 4k. Good stuff. Can't wait for my book! Thanks Tom!
Back in the days of film I used to use Kodak Portra 160 colour negative film, for beautiful and natural skin tones, the clue is in the name, i.e. Portra. It also gives natural colours for all subjects, so as you have discovered, it is great for high key work. For woodlands, and in fact for everything else, I used Fuji Velvia 50 ISO transparency film. It gave rich colours and fantastic blues, greens and reds. It was perfect for woodland. Sadly it is no longer with us. For transparencies of humans and wildlife I used Kodachrome 25. It gave lovely natural results and no grain. The ISO of 25 was very challenging for shots of humans and butterflies!
To my eyes that’s similar to allowing something like Epson Scan near my negs. Auto WB a warm digital file from a green location and cooler tones may beer towards purple. Did you scan yourself?
Thank you, dear Thomas, once again for an inspiring video of yours! Wishing you both health and safety! Best Regards from Sweden
Two words Thomas: 'Negative Lab Pro' alright that's three, but that seems to be the best way of turning a colour neg into a positive with the least amount of voodoo magic stuff going on.
Great video, reminded me of some of the challenges back in my film days. Received my copy of your book and it's met my expectations and then some. Nice job and a great addition to my library.
As i remember from a photocorse meny years ago before the digital era, the teacher was photo by Haselblad and Leica....pupils standard Nikon, canon etc. But he had several back cassettes and I guess they was loaded with different kind of film's! Very nice video! Barbro Sweden
I've been shooting *lots* of Portra 400 over the past 6 months or so. I've been metering it at 50 (overexposing it by 3 stops) which removes the purple cast from shadows / darker areas, but the film has such amazing latitude that the highlights maintain details. This works really well in green and foggy landscapes too.
4k looks goood. I'm watching your vids on a TV, so keep them 4k vids coming
Thomas - do toot your horn!!! You’re an inspiration to almost half a million people! I know the lighthouse as I have family in backworth and always try to make a trip myself. Yeah its grimy and the camera seems to enhance the grime. As for film - will be interesting to see how you persevere. I can’t imagine going back to it. When time is limited and money tight it seems a bit high risk. I think the grain works well, and better than digital, on nostalgic scenes (including sepia and black and white), but that’s about it for me. Wish you success with the book!
A second film back is the only way you came make true film comparisons Thomas. Get well soon mate.
very personal video, was good fun to watch. So good to see that even the masters make mistakes. Also nice to be informed almost live about shipments of your books to Germany.
That's the colour of the grass seeds!! Different grasses, different colours, nothing wrong with the colour Tom.
Big up the fishermen’s friend!! Get well soon.
You mention your book.... I am so excited, it was delivered today to my home in Colorado. Looking forward to going through it page by page. I really enjoy your work and presentation in your videos.
Thank You!
Hi Tom. How about converting the first image to black and white, increasing the contrast a little and then taking a 16:9, or thereabouts, crop?
With film, when you think you're nailling it, that's when you find out that you don't nail it !
I have never been happy with my results with portra 400
Loving the video *so far*
Like that you are enjoying working with film. I may still be many many years away from ever having the desire to use it again.
Thanks for the video, I love watching your videos:)
Dont be so hard on yourself man, that woodland photo looks great!
Das mit dem Buch war jetzt klasse, ich habe es bestellt, ich sitze in Deutschland und Thomas zeigt auf mich persönlich, schaut mir in die Augen und sagt aus dem Monitor heraus: "Ich schicke ein Buch nach Deutschland. Das ist dein Buch". Ein kalter Schauer lief mir über den Rücken. :-)
Ich warte gespannt auf das Buch, jetzt erst recht.
So many things to consider when shooting film....the characteristics of various films, (B&W and / vs. color), developers..solutions AND times, color correction filters, metering both shadows and highlights, "expose for the shadows, develop for the highlights" (which will impact developer types, dilutions, and times...ALL DETERMINED BEFORE YOU TAKE THE SHOT). When you take the shot, it will be days/weeks before you know if it was usable or not! Digital, now that I have switched 6 years ago, and sold my large format equipment AND darkroom, is by far the fastest and surest way to go. I loved working in the darkroom, until I didn't have to, but I will never go back. Film is a great medium and discipline to have in one's past for sure. Going TO film FROM digital, I think, is working backwards. Reverse engineering doesn't work moving from digital to film. You must forget what comes natural for DSLR's, and start from scratch. Literally learning photography all over again. BTW, if any of you are considering such a journey, go 4x5 !! Equipment is FAR less expensive, and a larger negative (MEGAPIXELS).
Thank You! I got a new camera and like you still learning it. I received your book two days ago, I find the book of the utmost quality. Good Job!