Words can’t explain how nice it was to watch a video on film photography that doesn’t blare generic hipster music with 80% of the video being b-roll of random places. Thank you for the awesome content sir!
Or B-roll of the camera being used. But again, can't be too hard on those folks. They have accepted the TH-cam life which is about selling out to whatever gets subs. Just the online world we live in.
You "rambling" is such a service for your viewers. Can't thank you enough. I shoot color neg on half frame for economical purposes. 72 shots/roll virtually halves the price of any film stock i buy. Thanks again for the information, you're helping me and so many others branch out!
I am in photography for over 50 years now. I knew them all all: Rodinal (with a lot of AGFA films) D-76 with TRI-X (1:3 15 min agitating all 30 sec. still know this out of my mind - thats crazy) or ILFORD PAN F with Perceptol for almost no grain. But I changed to digital many years ago. Your film made my fingers tingle to put film back into my old NIKON F2 and go out with it. Thanks for the wonderful inspiration!
I knew film developing was a complicated chemical process, it's how i started with photography. But i had absolutely no idea it was...like this! So interesting to listen to pure knowledge of something I've got no intention of delving in to.
So many early memories of shooting night football games on deadline and developing Tri-X, 2 min. @80º in D76. Negs were absolutely horrid, but they did fine in the paper. Then I moved to a different job where I learned fine processing from a former printer for Ansel Adams. That set the tone for the rest of my career. Love your channel.
Was shooting professionally from the seventies, and it’s a breath of fresh air to hear your take on photography. Teaching that everything has a place, is a hard lesson for the digital world !
People love to draw lines in the sand. Not just with film/digital, but with life in general. Good grief, look the political situation here in the US. Embarrassing. It's all great. Anything you use to be creative, good on ya.
Your video has so much information that my brain can possibly hold in one sitting. I don't know why but I can't stop listening to the end. Now, this is quality content. Definitely need to re-watch this later. Thank you.
On a side note, Amazon just released a new documentary, Some Kind of Heaven, on Prime. It's shot with a 4:3 aspect ratio on film, in order to replicate vintage 1970's photography, and I couldn't help but think while watching it that this film is right up your alley Dan. It's quite obvious that the director, Lance Oppenheim, and the cinematographer, David Bolen, have a great appreciation for documentary styled photography. Every shot composition feels like it belongs in a photo book. The film makes it feel as if I'm paging through a photo journal, brilliant images following brilliant images, one after the other. Some of those shots had me absolutely floored, stunned and left wondering how Bolen was able to capture out of this world imagery through motionless composition and have that translated onto the format of video. The film really feels as if it was made for this community! (It also deals with quite a unique subject matter, so the story it tells is super interesting and the choices behind the aspect ratio, shot composition and medium used serves to further support the narrative of the film!) www.amazon.com/Some-Kind-Heaven-Reggie-Kincer/dp/B08SQ9W7VR
Great lecture, I just happened to process a roll of tmax 400 with 1:50 Rodinal. Had a polarizer on the Nikon F4 and what a beautiful result. Thanks for the effort making this videos they are really helpful.
Thanks so much for these vlogs on using film Daniel, your enthusiasm and information provide the essence of what film has to offer. I am really keen to give this a go after shooting digital and printing for a few years now… I’m tiring of all the computer centric stuff and want a more organic approach. Can you suggest some documentation on how to process TX 400 and or TMax 3200 at home .. Especially in regards to exposure latitudes and process techniques with push/pulling etc.. Many thanks Anthony
Hey Anthony, wow. Where to start? There are so many film forums and groups around, not sure where to aim you. I love the idea of starting with ONE film and ONE chemical. TRIX in D76 was the classic for decades. TRIX is forgiving. You can then keep to the same film while experimenting with different chemicals. Xtol or HC110 or Rodinal. I would start there before exploding into all the other options.
@@DANIELMILNOR505 Thanks Daniel yes I’m realising like printing, film processing will require trial and error and experimentation. I appreciate you taking the time to respond… I’ll get started now.. thanks again. I’ve really enjoyed your work when you started a couple of years back.. keep ‘‘em comin.. cheers Anthony
I was reminded of a lot of things with this video. When I dropped 35mm and bought my Mamiya M645 I used to buy my film in "pro packs" which consisted of 5 rolls of 120 or 220. The Kodak Plus X always came with a sheet listing the speed as ASA 160 and Tri X as ASA individual hotographyrolls Anyway i went and bought a couple of rolls of Tmax 3200 which ill be using in the near future. You probably should have mentioned how economical Rodinal is to use. A little bit goes a long way even at the 25:1 dilution. Thanks for the trip in the way back machine - Rich Ball
Your bottle of Rodinal will be found by whatever species replaces us, and their kids will use it. I shoot TRIX at 250 or 320 and have been happy. Never really did like Plus X as I needed the speed of TRIX.
besides your videos, (reading) these comments are also a thing of beauty. so psyched i found your channel. continuing my geek out sessions over here...
Thanks Dan, thoroughly enjoyed that. A video made for "photographers" by a photographer. A rarity today on YT. 👍 I remember your Mexico work years agoalso the salt flats and seeing all that grain which I just couldn't understand at the time. Years later I see, understand and relish that grain.
I always shot TMY in my window light studio back in the 90's to about 2006 for the speed but also the smooth grain for portraits. I'd occasionally use TMZ in dimmer light or sometimes in the studio, but always at 1250 or 1600 in D-76 Stock or X-tol. Tri-X was and still is my go to film for documentary stuff along with TMZ occasionally. I always print with a diffuser enlarger (glass ANR neg. carrier) and make a master print which I scan on a flatbed for web use, publication, etc. All great films!! Great video, Thanks!!
@@DANIELMILNOR505 Yes, I still find doing a master print first (8x10 or 11x14) in the darkroom and then scanning it, is the best way to go for publication and other uses, at least for me and some of my client's books. Film scans, at least from 35mm, don't always get me the "look" that I want. BTW, if you really want "grainy" TMZ, shoot at E.I. 1250 ASA and Dev in Dektol 1:3 for 3 minutes at 75F.
Rodinol was the first developer I picked up. The guy at the camera store told me undiluted it would last forever, and what you said above about only needing a little. I'll damned if it isn't true! I didn't know it had those effects of the image though. Thanks for sharing!
High accutance but increased grain, Rodinal was my jam! I kept this beautiful brown glass bottle till the end of my darkroom. One bottle lasted 15 years!
Another rabid analog enthusiast here, but your videos cut through the crap that comes with that and helps us narrow in on what is important about this beautiful thing called photography!
Sam, none of this matters outside of "how is the take?" There is SO much nonsensical talk in the online photo world. The only thing that matters is what lives on those negs.
Valuable inside also on the darkroom side. Wish everybody would be on those topics at this depth. Please share more on film photography. I have not printed TMZ in the darkoom. A friend of mine thinks tmz100 is the best film ever and her wet prints are amazing. In difference to you she thinks wet prints with Ilford fiber based warmtone papers are unmatched digitally. I am more of a Trix-x person after having tried a lot of different stock. It´s the most forgiving film I have ever seen. Great content. Keep it up.
I have to argue, at least a bit. Fiber darkroom and inkjet are just different mediums. I love them both for different reasons, but I wouldn't say one is better than the other. I just depends on your needs. I love TRI-X too.
@@DANIELMILNOR505 I was referring to your comment, if I got you right, that TMZ film is hard to print in a darkroom, which is why you would rather scan the film and go the digital road. And my friend uses this very film in particular for fiber based prints with great results and would not consider any other option. Two very different opinions. That's all.
Love that film shot it for years stood on the sidelines of sports fields in the depths of long dark cold murky miserable yorkshire winters great simple uncomplicated times. Too video as always mate cheers 📷❤️
There is nothing like standing in freezing slog shooting a football then watching as a photog down the line gets creamed by an out of control, 300-pound lineman.
Thank you for the Tmax3200 wisdom! Great film sir. I have a brick of it that is expired from 2014. Should I treat it differently when shooting? Thank you!
Bought a pack of 10 rolls of TMax 3200P a month ago. I've been experimenting at different iso to see what I can get out of it. This video is coming with a perfect timing for me. Thanks for sharing your knowledge on this.
Bravo for the outro Dan, I remember when film was all there was. A good trip down memory lane, I tend to shoot colour film more these days and convert in software when I want B&W.
Hi Daniel. Your assessment of TMZ is the only game in town for me. I've waded through the treacle of multiple 'reviews' of the film elsewhere that routinely begin with 'This is my first roll of TMZ and I'm going to tell you what my thoughts and conclusions are. Stone. The. Flamin'. Crows. In tandem with that, the supporting images are almost always poor to unbelievably inept. I guess that just because you can make a video doesn't mean you should... I was using Ilford XP-2 Super and Fuji Acros II up until I watched this episode and have been loading up TMZ ever since (rated at 800). I'm very much at the 'baby steps' stage and appreciate your observation of treating film as a language - it's right on the money. Take it easy - your channel is top drawer and I wish you and yours well going forwards.
@@DANIELMILNOR505 Cheers Dan. Yes, I’ll definitely try it to see how it compares at 1250. I have six rolls off for development at the minute and will use that as my jumping off point. From there, the next half dozen will be at 1250. Much looking forward to getting under the skin of TMZ. Keep on keeping on - hope you and yours are fine and well at this (still) difficult time.
Thanks for all your videos and actionable advice. I’ve come back to 35mm film and started making one-off books for myself (T-Max 400 was my go to years ago). The last 2 years I have been shooting just Tri-X 400 and processing exclusively with Rodinal. I thought I’d stop with Rodinal after 100 rolls but that was awhile ago and seems I’ve just scratched the surface. I would love to see a deep dive video on Tri-X sometime if you’re feeling generous. Keep up the good work.
Hi Dan, Andrew here in Ottawa, I can’t keep up with all the gems you share🙂, it would be great if you would write a book on your process in today’s blog. The process and the flow can be really great. I listen to your podcasts every week, you never fail to amaze me with your depth of knowledge and content but also you are a natural and you have Music in your voice. Thanks Dan
I barely have time to change my clothes. I'd love to write a book but my fear is it would be a truly horrendous novel. I am working on a new book however. Mostly images.
YES! THANK YOU! I thought I was the only lady loving grain! You just convinced me to try the TMZ! Grain is gorgeous!! Going to cling to film as long as possible!!! You rock Dude!
What a great video and story about T-Max an Leica M4! I basically stopped shooting anything else but Kodak T-Max. Mostly 100 and 400, just a few 3200. I did not like the grain to much so I rather used it at 800 or 1600. I process all my films at home and until recently, also printed them in the darkroom on Ilford paper. I personally made some good experiences with overexposing and underdeveloping the films a third of a stop, e.g. the 100 at 80. I prefer my M3 over my M4. Split grading: It is really hard to master and I am still a beginner but when done properly, it is amazing! Have a nice day!
A vote for stand/rodinal...and HC110. Just got a free 100ft roll of tmax100 in a old bulkloader off ebay. Ran 4 rolls and was shocked that its still good so your timing is perfect. Shooting Tri-x would be like a time machine..feels like 30 years ago. Heavy into Acros/Panf25/Rollei superpan. I love your dedication to TMZ. I always shot it a stop below box speed and only when I needed a tool to add interior/ night shots; and tried to smooth it out. You did it right. It's totally worthy in its own right. I really appreciate these clips! This one with a cup of coffee on a foggy day by the fire hit a homerun! Thank you from the bottom of my 4 spool tank....but use Hewes spools!!!
Hey Dan. Now I know you know how much I like you and your work but I admit it. I've had a dalliance with another. Alex Soth. He's made a video about William Eggleston's book The Democratic Forest. I really enjoyed it and reminded me about your book talks and the importance of editing. For me, your content is always spot on. Another great video.
Cool. Two well respected dudes. I'm working on a new book film with a sizable backstory that speaks not only about the book but the entire process of how it came to be. It should help those new to bookmaking, and perhaps others, about how complex and multifaceted this can be.
Really enjoyed that thanks. I've just spent a year finding something I can shoot at 3200 that gives me a clean look. HP5 in DD-X hits that perfectly. But when I do want the grain, it's P3200 in HC-110. Thanks for reminding me.
Yes, pushing HP5 in DD-X took me years to discover also but the discontinuation of Neopan 400 hastened this in the end. So glad I discovered the combo. HP5 at box speed in whatever? Nah, not for me.
Glad we’re back talking film hermano. My golden combo is T-Max 400 TMY2 [Hasselblad format] in Xtol 1:1.....the greyscale and grain is truly special. I like Xtol as easy to mix etc. I shot and designed a set of official Gibraltar stamps on it recently. Ilford 3200 [EI 1600] is also spectacular in grain.....beautiful film. I like the fact Ilford are being so proactive and innovative with their products and marketing. Kodak just sit on their laurels more. BW film + developers are like loads of language dialects that can be learned such as found going from north to south in any of the continents of the world.....
Kodak sent me preproduction rolls of the last gen TMAX 400 in 120. I worked it into my portrait business at the time and was blown away. And was also using Xtol at the time.
Great little nugget, this video! Thankfully Kodak brought back P3200. Amazing technology. Finicky, sure, but when you get it right it’s so crisp that it’s almost edible. Using a Heiland Splitgrade controller. Look it up, it’s a time saver :-)
Does someone say film? 😄I am immediately here. Awesome video! As I said 6 months ago in your last movie video. I love these stories where you worked at Kodak as there are few left who can share this information. especially on youtube.
Yes, four years at Eastern Coatrack Company. I served four years as we used to say. Loved it. Great people, great time and a company that we all owe huge props too. Kodak got the very beginnings of the Internet hate world we now all live in. It was very popular at one at time to bash Kodak for all photo industry woes.
i devour pretty every video you put out. but i seriously enjoy those film stuff the most. feels the most crafty. so pmax and tmax 400 are next on my list to try out. thanks for the work you put into making this content. highly appreciated. cheers from the former photokina-city, cologne germany.
Dude, I got chewed out by a hotel clerk in Cologne, for being late after my plane was delayed. I love Germany! I too love the film stuff but just don't get much time with it these days.
I worked at a daily paper with ten staff photographers. We shot colour as our go-to film but every once and a while someone would shoot a roll of t-max. We processed it in a large black kodak deep tank, I think it held 3 1/2 gallons of chemistry and had a floating lid. We would change the chemistry every six months, whether it needed it or not. It was t-max liquid developer and gave the most subtle tones with no grain. I've never bin able to repeat the process with the current developer and film. Is there any reason you can think of why this would work so well? I'm looking for fine grain for 120 portraits, not super big grain with darkroom prints. Should I keep working the t-max liquid or is there something else you would suggest for full tone and low grain.
Man, that latest generation Tmax 400 was so fine grained and so nice I was shocked. I used it in my Blad just as I was walking away from photography. Kodak sent me beta rolls and I thought it was grand. I used Xtol to process.
I never shot P3200 when it was first around, but now that it's back I can't shoot enough of it. I love it at 1600 in HC110, but haven't done too much experimentation yet. Thanks for the video, I love the film ramblings!
Thanks for another great episode! As a passionate amateur photographer, shooting mostly film, I really enjoyed this one. Have not tried Tmax3200 yet but its on top of my list of film to try out. During the dark winter period here in Iceland its kind of necessary to shoot films at higher iso. I have used TriX @1600 and love the look of it but I have terrible time scanning TriX because it cups too much for the scanner. Kodak Eastman Double X is giving me better, flatter negs to scan than TriX and it also has beautiful contrast.
What does "expose for the fireball" mean? Is that a spin on the sunny 16 mantra? Anyway I wanted to say that I love the high accutance grain I get from tri x in rodinal and is my favorite/most used combination now, and I almost didn't initially try it because of what I read on various forums while researching it, saying it was a bad combination etc, and hearing you mention it in a good light reinforces my love for the images I've made with it.
I loved the early tri x 5603 edge numbered film developed 1.1 in D76. I still have the negs from the 1970s and the 1980s. I used white velvet lustre Bromesko paper until Kodak stopped making it My photography life has had several mini bereavements caused by Kodak. Kodachrome especially 200, gone. I use Trix now and develop in Rodinal 1.50. Rodinal keeps for years. I used Xtol until covid and it became unavailable. My local lab used Xytol for all fims and have the same availability problems. I use a condenser enlarger and a Schneider Componon S 100mm f5.6 lens for 6x7 (Pentax) negs. I use a Schneider Componon S 50mm f2. 8 enlarging lens for my Nikon FE Trix negs. I have a Ricoh 8.1 megapixel GR digital camera and use it on high iso and black and white settings. It looks like Trix grain with supreme sharpness.
Shooting digital is fun, but when I was in school we shot on old praktica's and developed eveything from roll to picture, it was the only class I never skipped. 20 years later, I still own that same camera we used, an old disintegrating Praktica, but it still work and I love that camera. Maybe I should just buy some rolls and use it again (If there is something to replace the murcury battery with)
Daniel, I need my lightbulb moment with this film, please help! I understand the basic concepts of pushing and pulling. When my camera reads the DX coding on the cartridge it reads it at 3200. My lab (Richard’s Photo Lab in CA) processes the film at 3200. You say the actual film speed is around 1250. The Kodak spec sheet says it’s about 1000 but for ease of calculations rounds it to 800. So I know if I meter for 3200 Richards is going to process it at 3200. Now my question is, if I shoot it at the lower speeds (800, 1000, 1250, 1600, etc), is the recommendation to: a) meter for the lower speed and let it naturally be push developed at the labs 3200 or b) meter at the lower speed then tell my lab I need to pull process the film to the lower speed I.e. meter at 1600 and have the lab develop based on times for 1600. Thanks in advance!!!
I save money on the push and pull, just rate the film, and your meter at 1250 then shoot according to what the meter says. then just tell them to process "normal." All you are doing is giving those negs a little extra light, which it needs, because the film isn't actually 3200 in speed without a push. Does that make sense?
@@DANIELMILNOR505 I think so! Meter for 1250, essentially overexposing a stop and a half-ish to give it the extra light. When the lab processes at 3200 it’s essentially pushing it for you without the extra cost. And if I’m understanding correctly, metering at 3200 and developing normally at 3200 is basically under-exposing it, since it’s technically a slower film.
I never had a problem printing p3200, I love it. I was also shown the paper developer idea, only we used to do 1:1 dilution for 4mins the grain and contrast is crazy in a good way. I think :)
I really enjoy your takes on photography, It's pretty refreshing and It's made me focus on black and white more, as well as shooting with one camera and lens. I can't wait to get my darkroom setup started as well. Do you have any advice on getting access for documentary projects where you just have a concept in mind but haven't reached out to anyone yet?
Nope. You just research, find connections you think might have the patience to listen and you start. Just be prepared to hear "no." It's a modern affliction.
Hi Dan, great video on TMZ. I recently tried using it for the first time (based on an earlier vid of yours recommending) and the scans that came back were awesome, so thanks! Quick unrelated question, where would someone who wanted to buy your Sicily project book be able to find it?
I loved those films Tmax and Tri X Ilford was the one I used mostly toward the end before I changed to digital , there was a period there for a while when grain was a thing , people, wanted in their shots , I see Ilford have released a little camera looks interesting.
Its a sprite 35-11 with film a fixed shutter sp 120 and fixed ap @ f9 similar to the sprite released in the 60s very simple p&s film camera , love the idea of back to basics depreview have a review
I started with HC110 and Fuji Acros and then got heavily into Rodinal stand developing. Finally deved TriX in D76 for the first time last year and loved it. So backwards lol
Funny how I switched this video on just before developing two rolls of tri x in rodinal, photos taken with my m4! I discovered film after digital but I absolutely love it! I am gonna order a few rolls of p3200 and see how I get on. Given Ireland had dark winters this might be perfect rated at 1250 🇮🇪
I was either using TMax 400 or TMZ shooting in an Opera House. If I thought the overall lighting wasn't 'enough' then I'd use TMZ and expose it at 1600. For a newspaper review, it was totally fine!
@@DANIELMILNOR505 My main lens was a Nikon 80-200 2.8, heavy enough, and always handheld. Shutter speeds often were under 1/60, and I remember shooting as low as 1/4! Sometimes a blurry arm or body produced an artistic shot.
Ian, and even then you have to be prepared for all kinds of oddity. From "No problem, we love film," to "Every single flight to America is high risk so if you don't XRAY you can't board."
@@DANIELMILNOR505 Amazing. This is photography. The “digital revolution “ is atrophying our brain and swindling our hard earned money. You are becoming a rare species. A person with a brain. Well done ! Caula
I love listening to this, though I haven't clue what you're on about. Much like I Iove reading poetry, without any know-etry And IHC-110. If we're talking film languages I'd guess this is like Serbo-Croat.
CTX 5000 will cook a film first pass. I see them inside terminals from time to time but they are mostly used for checked bags. I have had TMZ base fogged but only after multiple exposures. Airport security rarely know their game and often lie about film.
002 your best yet, love the passion and what a dream to have choices in film and development until you found your grove eccentric and excellent, thank you 🙏
TMax 400 + Xtol 1:1 was my all-time favorite combo. I was able to do 100-6400 just with that! There is only one drawback of Xtol I've experienced. When ready to use solution may "die" at any time, no matter how good you kept it stored. Other than that - it's perfect match to Tmax 100/400.
Nope. I don't really share much. But then again, I haven't worked as a photographer in a decade and my job isn't about photography much anymore so there isn't much to share. I do have this site, which I've had for years but it's what I call a lifestyle site without the style. And photography is only a small part. shifter.media/
I can print P3200 OK when it’s developed right. Had to change how I shoot it and develop it to make it printable in the darkroom. Not as straight forward as Tri-X but definitely doable once you get the hang of it.
Great film on film. Thank you, keep up the good work. New Q for your next Q&A, not about books or photography. Tangentially about bikes. Or answer here if you're feeling froggy, just interested in your answer. You are awarded a 2 week trip studying a craft alongside a skilled artisan in an exotic locale. At the end, you come home with that knowledge and the thing you built with your hands. Rank these 3 in the order you'd think they'd positively enhance your life experience - building a guitar in Argentina, building a brass bell in Japan, or building a bamboo bicycle in India.
Great question. I'll take India first so that I can use the bike on the subsequent trips. Then to Argentina while I'm still feeling spry. Finally, Japan where I would then remain until I was fluent and partially submerged in the culture.
I spent 2020 getting reacquainted with film after an 8 year break, and it turned out that tmax 100 + rodinal (1+50, 18 minutes) is my favorite combination out of all the Ilford and Kodak b&w films. The tonality is just beautiful, and the grain is obvious and pleasant. Same for tmax 400. Haven’t tried p3200 yet. “The Film Developing Cookbook” (Troop/Anchell) recommends using HP5 now instead of Tri-X since the 2007 reformulation. Kodak Alaris is unfortunately not afraid of messing with a classic product. The economic disorder in the world doesn’t help film either as investors dump fiat currency into precious metals like silver.
Companies began pulling heavy metal and silver out in the 90's. The papers before that were incredible. The papers after, not as much. Rodinal is so thrilling.
I shoot hp5 because it is several dollars cheaper than TriX and has a huge range so for street, I get always get usable negs and it is not as contrasty so I can add that in post.
@@mrca2004 you can adjust the contrast of either film by playing with the exposure, developer, agitation, and development times. Lots of fun, but time consuming to sort it all out. For less contrasty Tri-X, overexpose and underdevelop. Then there’s stand development… have fun.
Words can’t explain how nice it was to watch a video on film photography that doesn’t blare generic hipster music with 80% of the video being b-roll of random places. Thank you for the awesome content sir!
Or B-roll of the camera being used. But again, can't be too hard on those folks. They have accepted the TH-cam life which is about selling out to whatever gets subs. Just the online world we live in.
Haha, so true Justin.
I don’t mind the video content they make, I mind that all their work looks the same
You "rambling" is such a service for your viewers. Can't thank you enough. I shoot color neg on half frame for economical purposes. 72 shots/roll virtually halves the price of any film stock i buy. Thanks again for the information, you're helping me and so many others branch out!
I still have my Yashica half frame. Love that thing.
You had me at Tmax!
I am in photography for over 50 years now. I knew them all all: Rodinal (with a lot of AGFA films) D-76 with TRI-X (1:3 15 min agitating all 30 sec. still know this out of my mind - thats crazy) or ILFORD PAN F with Perceptol for almost no grain. But I changed to digital many years ago. Your film made my fingers tingle to put film back into my old NIKON F2 and go out with it. Thanks for the wonderful inspiration!
AGFA. Good grief how fantastic was their offering? Film, paper, chems. All of it.
👏👏👏👏👏👏👏👏👏👏👏🤜🤛great movie!!!👍👍
I knew film developing was a complicated chemical process, it's how i started with photography. But i had absolutely no idea it was...like this! So interesting to listen to pure knowledge of something I've got no intention of delving in to.
it's another language.....
So many early memories of shooting night football games on deadline and developing Tri-X, 2 min. @80º in D76. Negs were absolutely horrid, but they did fine in the paper. Then I moved to a different job where I learned fine processing from a former printer for Ansel Adams. That set the tone for the rest of my career. Love your channel.
More, more, more. Please, more. We really are rabid.
Was shooting professionally from the seventies, and it’s a breath of fresh air to hear your take on photography.
Teaching that everything has a place, is a hard lesson for the digital world !
People love to draw lines in the sand. Not just with film/digital, but with life in general. Good grief, look the political situation here in the US. Embarrassing. It's all great. Anything you use to be creative, good on ya.
Your video has so much information that my brain can possibly hold in one sitting. I don't know why but I can't stop listening to the end. Now, this is quality content. Definitely need to re-watch this later. Thank you.
Film is an odd thing. So many layers.
Interesting stories, thanks for sharing.
Nice work all around. Thank you for the time in sharing knowledge and experience. You continue to inspire...
On a side note, Amazon just released a new documentary, Some Kind of Heaven, on Prime. It's shot with a 4:3 aspect ratio on film, in order to replicate vintage 1970's photography, and I couldn't help but think while watching it that this film is right up your alley Dan. It's quite obvious that the director, Lance Oppenheim, and the cinematographer, David Bolen, have a great appreciation for documentary styled photography.
Every shot composition feels like it belongs in a photo book. The film makes it feel as if I'm paging through a photo journal, brilliant images following brilliant images, one after the other. Some of those shots had me absolutely floored, stunned and left wondering how Bolen was able to capture out of this world imagery through motionless composition and have that translated onto the format of video. The film really feels as if it was made for this community!
(It also deals with quite a unique subject matter, so the story it tells is super interesting and the choices behind the aspect ratio, shot composition and medium used serves to further support the narrative of the film!)
www.amazon.com/Some-Kind-Heaven-Reggie-Kincer/dp/B08SQ9W7VR
Wow, that sounds heavenly. Thanks for sending. All over that.
I love your love for tmax 3200. I share the same feelings for Fuji Natura 1600. Appreciate the vid.
Great lecture, I just happened to process a roll of tmax 400 with 1:50 Rodinal. Had a polarizer on the Nikon F4 and what a beautiful result. Thanks for the effort making this videos they are really helpful.
Any developer that allows for the use of a syringe is good in my book.
10 seconds into the video...already hyped!
Thanks so much for these vlogs on using film Daniel, your enthusiasm and information provide the essence of what film has to offer. I am really keen to give this a go after shooting digital and printing for a few years now… I’m tiring of all the computer centric stuff and want a more organic approach. Can you suggest some documentation on how to process TX 400 and or TMax 3200 at home .. Especially in regards to exposure latitudes and process techniques with push/pulling etc..
Many thanks Anthony
Hey Anthony, wow. Where to start? There are so many film forums and groups around, not sure where to aim you. I love the idea of starting with ONE film and ONE chemical. TRIX in D76 was the classic for decades. TRIX is forgiving. You can then keep to the same film while experimenting with different chemicals. Xtol or HC110 or Rodinal. I would start there before exploding into all the other options.
@@DANIELMILNOR505 Thanks Daniel yes I’m realising like printing, film processing will require trial and error and experimentation. I appreciate you taking the time to respond… I’ll get started now.. thanks again. I’ve really enjoyed your work when you started a couple of years back.. keep ‘‘em comin.. cheers Anthony
I was reminded of a lot of things with this video. When I dropped 35mm and bought my Mamiya M645 I used to buy my film in "pro packs" which consisted of 5 rolls of 120 or 220. The Kodak Plus X always came with a sheet listing the speed as ASA 160 and Tri X as ASA individual
hotographyrolls
Anyway i went and bought a couple of rolls of Tmax 3200 which ill be using in the near future. You probably should have mentioned how economical Rodinal is to use. A little bit goes a long way even at the 25:1 dilution.
Thanks for the trip in the way back machine - Rich Ball
Your bottle of Rodinal will be found by whatever species replaces us, and their kids will use it. I shoot TRIX at 250 or 320 and have been happy. Never really did like Plus X as I needed the speed of TRIX.
besides your videos, (reading) these comments are also a thing of beauty. so psyched i found your channel. continuing my geek out sessions over here...
Comments are always fun. Even the troll comments.
so many comments thanking you for your insights and sharing your knowledge, heres one more 🤪thanks for helping to keep film alive
I am doing little. There are many others who are carrying the flag now, luckily.
Found you by accident, won't give you up by choice. Good DAMN video (s).
Thanks bud. Glad you are here.
I love your film work, evokes Miron Zownir for me
Do'n't know that person but will look them up. Thank you.
Thanks Dan, thoroughly enjoyed that. A video made for "photographers" by a photographer. A rarity today on YT. 👍
I remember your Mexico work years agoalso the salt flats and seeing all that grain which I just couldn't understand at the time. Years later I see, understand and relish that grain.
I got lucky and got the "grain gene." Don't think I'll ever shake it.
@@DANIELMILNOR505 Top man! 👍😁
Thanks Daniel, this was so interesting to watch, and I learnt a lot too 👍
Really enjoy your videos about film and what I believe film is making a come back 🤞🏼
Fingers crossed.
Sooo good! ¡Thank you señor Milnor! Such great info (as usual) also....now I’m hungry for pozole!
I just had some homemade. It's the perfect winter food. This was veggie and was still great.
I always shot TMY in my window light studio back in the 90's to about 2006 for the speed but also the smooth grain for portraits. I'd occasionally use TMZ in dimmer light or sometimes in the studio, but always at 1250 or 1600 in D-76 Stock or X-tol. Tri-X was and still is my go to film for documentary stuff along with TMZ occasionally. I always print with a diffuser enlarger (glass ANR neg. carrier) and make a master print which I scan on a flatbed for web use, publication, etc. All great films!! Great video, Thanks!!
Scanning flatbed prints....made my day. Just the thought of it.
@@DANIELMILNOR505 Yes, I still find doing a master print first (8x10 or 11x14) in the darkroom and then scanning it, is the best way to go for publication and other uses, at least for me and some of my client's books. Film scans, at least from 35mm, don't always get me the "look" that I want. BTW, if you really want "grainy" TMZ, shoot at E.I. 1250 ASA and Dev in Dektol 1:3 for 3 minutes at 75F.
Bravo Dan, thanks for sharing your knowledge! Just bought a couple of rolls of TMax 400, my first try with the TMax line. Let’s go!
I think you will dig it.
Rodinol was the first developer I picked up. The guy at the camera store told me undiluted it would last forever, and what you said above about only needing a little. I'll damned if it isn't true! I didn't know it had those effects of the image though. Thanks for sharing!
Oh ya, that bottle will a good long while.
High accutance but increased grain, Rodinal was my jam! I kept this beautiful brown glass bottle till the end of my darkroom. One bottle lasted 15 years!
Another rabid analog enthusiast here, but your videos cut through the crap that comes with that and helps us narrow in on what is important about this beautiful thing called photography!
Sam, none of this matters outside of "how is the take?" There is SO much nonsensical talk in the online photo world. The only thing that matters is what lives on those negs.
Valuable inside also on the darkroom side. Wish everybody would be on those topics at this depth. Please share more on film photography. I have not printed TMZ in the darkoom. A friend of mine thinks tmz100 is the best film ever and her wet prints are amazing. In difference to you she thinks wet prints with Ilford fiber based warmtone papers are unmatched digitally.
I am more of a Trix-x person after having tried a lot of different stock. It´s the most forgiving film I have ever seen.
Great content. Keep it up.
I have to argue, at least a bit. Fiber darkroom and inkjet are just different mediums. I love them both for different reasons, but I wouldn't say one is better than the other. I just depends on your needs. I love TRI-X too.
@@DANIELMILNOR505 I was referring to your comment, if I got you right, that TMZ film is hard to print in a darkroom, which is why you would rather scan the film and go the digital road. And my friend uses this very film in particular for fiber based prints with great results and would not consider any other option. Two very different opinions. That's all.
Love that film shot it for years stood on the sidelines of sports fields in the depths of long dark cold murky miserable yorkshire winters great simple uncomplicated times. Too video as always mate cheers 📷❤️
There is nothing like standing in freezing slog shooting a football then watching as a photog down the line gets creamed by an out of control, 300-pound lineman.
@@DANIELMILNOR505 see that a few times 😂😂
Thank you for the Tmax3200 wisdom! Great film sir. I have a brick of it that is expired from 2014. Should I treat it differently when shooting? Thank you!
Not really. Depends on a little on how it was kept. Shoot a test roll.
Bought a pack of 10 rolls of TMax 3200P a month ago. I've been experimenting at different iso to see what I can get out of it. This video is coming with a perfect timing for me. Thanks for sharing your knowledge on this.
Best of luck with that. Enjoy.
Loved this Dan :-) Thank you :-)
Bravo for the outro Dan, I remember when film was all there was. A good trip down memory lane, I tend to shoot colour film more these days and convert in software when I want B&W.
You are not alone.
Hi Daniel. Your assessment of TMZ is the only game in town for me. I've waded through the treacle of multiple 'reviews' of the film elsewhere that routinely begin with 'This is my first roll of TMZ and I'm going to tell you what my thoughts and conclusions are. Stone. The. Flamin'. Crows. In tandem with that, the supporting images are almost always poor to unbelievably inept. I guess that just because you can make a video doesn't mean you should...
I was using Ilford XP-2 Super and Fuji Acros II up until I watched this episode and have been loading up TMZ ever since (rated at 800). I'm very much at the 'baby steps' stage and appreciate your observation of treating film as a language - it's right on the money.
Take it easy - your channel is top drawer and I wish you and yours well going forwards.
Thanks bud, glad to hear that. That film is a language all by itself! It really is. I would shoot it at 1250 and process normal.
@@DANIELMILNOR505 Cheers Dan. Yes, I’ll definitely try it to see how it compares at 1250. I have six rolls off for development at the minute and will use that as my jumping off point. From there, the next half dozen will be at 1250.
Much looking forward to getting under the skin of TMZ.
Keep on keeping on - hope you and yours are fine and well at this (still) difficult time.
Thanks for all your videos and actionable advice. I’ve come back to 35mm film and started making one-off books for myself (T-Max 400 was my go to years ago). The last 2 years I have been shooting just Tri-X 400 and processing exclusively with Rodinal. I thought I’d stop with Rodinal after 100 rolls but that was awhile ago and seems I’ve just scratched the surface. I would love to see a deep dive video on Tri-X sometime if you’re feeling generous. Keep up the good work.
Matt, it's coming. I wish I still had access to my darkroom. Lyme took it away from me, which is okay.
Hi Dan, Andrew here in Ottawa, I can’t keep up with all the gems you share🙂, it would be great if you would write a book on your process in today’s blog. The process and the flow can be really great. I listen to your podcasts every week, you never fail to amaze me with your depth of knowledge and content but also you are a natural and you have Music in your voice. Thanks Dan
I barely have time to change my clothes. I'd love to write a book but my fear is it would be a truly horrendous novel. I am working on a new book however. Mostly images.
YES! THANK YOU! I thought I was the only lady loving grain! You just convinced me to try the TMZ! Grain is gorgeous!! Going to cling to film as long as possible!!! You rock Dude!
Cling my friend, cling. Let's keep it alive.
What a great video and story about T-Max an Leica M4! I basically stopped shooting anything else but Kodak T-Max. Mostly 100 and 400, just a few 3200. I did not like the grain to much so I rather used it at 800 or 1600. I process all my films at home and until recently, also printed them in the darkroom on Ilford paper. I personally made some good experiences with overexposing and underdeveloping the films a third of a stop, e.g. the 100 at 80. I prefer my M3 over my M4.
Split grading: It is really hard to master and I am still a beginner but when done properly, it is amazing!
Have a nice day!
Tinkering, that is what it is all about. I always liked a negative a little on the thin side.
Bravo, keep it coming Dan!
A vote for stand/rodinal...and HC110. Just got a free 100ft roll of tmax100 in a old bulkloader off ebay. Ran 4 rolls and was shocked that its still good so your timing is perfect. Shooting Tri-x would be like a time machine..feels like 30 years ago. Heavy into Acros/Panf25/Rollei superpan. I love your dedication to TMZ. I always shot it a stop below box speed and only when I needed a tool to add interior/ night shots; and tried to smooth it out. You did it right. It's totally worthy in its own right. I really appreciate these clips! This one with a cup of coffee on a foggy day by the fire hit a homerun! Thank you from the bottom of my 4 spool tank....but use Hewes spools!!!
This is like slang. If unknowing civilians read these messages we would surely be reported.
Ha!! Secret handshake would mimic the rewind spool on a 'M'!!
My first bulk roll was Tmax 400, love it
Mine was TRIX. Scratches and all.
Hey Dan. Now I know you know how much I like you and your work but I admit it. I've had a dalliance with another. Alex Soth. He's made a video about William Eggleston's book The Democratic Forest. I really enjoyed it and reminded me about your book talks and the importance of editing. For me, your content is always spot on. Another great video.
Cool. Two well respected dudes. I'm working on a new book film with a sizable backstory that speaks not only about the book but the entire process of how it came to be. It should help those new to bookmaking, and perhaps others, about how complex and multifaceted this can be.
@@DANIELMILNOR505 Perfect. Thanks for this. Couldn't ask for more.
thank you so much for sharing your passion for film photography ✨ it is so inspiring ;))
Really enjoyed that thanks. I've just spent a year finding something I can shoot at 3200 that gives me a clean look. HP5 in DD-X hits that perfectly. But when I do want the grain, it's P3200 in HC-110. Thanks for reminding me.
So many memories here.
Yes, pushing HP5 in DD-X took me years to discover also but the discontinuation of Neopan 400 hastened this in the end. So glad I discovered the combo. HP5 at box speed in whatever? Nah, not for me.
great video, I love tri-x in 4x5, It does have tons of latitude!! I process in Rodinal , or Pyrocat HD.
Glad we’re back talking film hermano. My golden combo is T-Max 400 TMY2 [Hasselblad format] in Xtol 1:1.....the greyscale and grain is truly special. I like Xtol as easy to mix etc. I shot and designed a set of official Gibraltar stamps on it recently. Ilford 3200 [EI 1600] is also spectacular in grain.....beautiful film. I like the fact Ilford are being so proactive and innovative with their products and marketing. Kodak just sit on their laurels more. BW film + developers are like loads of language dialects that can be learned such as found going from north to south in any of the continents of the world.....
Kodak sent me preproduction rolls of the last gen TMAX 400 in 120. I worked it into my portrait business at the time and was blown away. And was also using Xtol at the time.
Great little nugget, this video! Thankfully Kodak brought back P3200. Amazing technology. Finicky, sure, but when you get it right it’s so crisp that it’s almost edible. Using a Heiland Splitgrade controller. Look it up, it’s a time saver :-)
My darkroom days are behind me. Figures there is something that would have made my life easier.
Does someone say film? 😄I am immediately here. Awesome video! As I said 6 months ago in your last movie video. I love these stories where you worked at Kodak as there are few left who can share this information. especially on youtube.
Yes, four years at Eastern Coatrack Company. I served four years as we used to say. Loved it. Great people, great time and a company that we all owe huge props too. Kodak got the very beginnings of the Internet hate world we now all live in. It was very popular at one at time to bash Kodak for all photo industry woes.
Finally episode 2!! Gonna make my lab watch it
I pity them. Listening to me for a half hour is cruel and unusual.
Please make a video on using Tri-X! There's so much to learn for a film newbie like myself.
i devour pretty every video you put out. but i seriously enjoy those film stuff the most. feels the most crafty. so pmax and tmax 400 are next on my list to try out. thanks for the work you put into making this content. highly appreciated. cheers from the former photokina-city, cologne germany.
Dude, I got chewed out by a hotel clerk in Cologne, for being late after my plane was delayed. I love Germany! I too love the film stuff but just don't get much time with it these days.
I worked at a daily paper with ten staff photographers. We shot colour as our go-to film but every once and a while someone would shoot a roll of t-max. We processed it in a large black kodak deep tank, I think it held 3 1/2 gallons of chemistry and had a floating lid. We would change the chemistry every six months, whether it needed it or not. It was t-max liquid developer and gave the most subtle tones with no grain. I've never bin able to repeat the process with the current developer and film. Is there any reason you can think of why this would work so well? I'm looking for fine grain for 120 portraits, not super big grain with darkroom prints. Should I keep working the t-max liquid or is there something else you would suggest for full tone and low grain.
Man, that latest generation Tmax 400 was so fine grained and so nice I was shocked. I used it in my Blad just as I was walking away from photography. Kodak sent me beta rolls and I thought it was grand. I used Xtol to process.
I'm an HP5+ man but I'll try a couple of roll of Tmax you got me!
This latest gen was really nice.
I never shot P3200 when it was first around, but now that it's back I can't shoot enough of it. I love it at 1600 in HC110, but haven't done too much experimentation yet. Thanks for the video, I love the film ramblings!
I'm just stoked people are using this stuff. So fantastic.
Thanks for another great episode! As a passionate amateur photographer, shooting mostly film, I really enjoyed this one. Have not tried Tmax3200 yet but its on top of my list of film to try out. During the dark winter period here in Iceland its kind of necessary to shoot films at higher iso. I have used TriX @1600 and love the look of it but I have terrible time scanning TriX because it cups too much for the scanner. Kodak Eastman Double X is giving me better, flatter negs to scan than TriX and it also has beautiful contrast.
Icelandic winter seems like the perfect place for high ISO>
Tri x @ 100-320 and rodinal for 11 minutes. Cooked to hell. Love it.
Shazam!
What does "expose for the fireball" mean? Is that a spin on the sunny 16 mantra? Anyway I wanted to say that I love the high accutance grain I get from tri x in rodinal and is my favorite/most used combination now, and I almost didn't initially try it because of what I read on various forums while researching it, saying it was a bad combination etc, and hearing you mention it in a good light reinforces my love for the images I've made with it.
Ah, it's just a joke a friend of mine used to say. TRIX and Rodinal is gorgeous.
I loved the early tri x 5603 edge numbered film developed 1.1 in D76.
I still have the negs from the 1970s and the 1980s.
I used white velvet lustre Bromesko paper until Kodak stopped making it
My photography life has had several mini bereavements caused by Kodak. Kodachrome especially 200, gone.
I use Trix now and develop in Rodinal 1.50. Rodinal keeps for years.
I used Xtol until covid and it became unavailable.
My local lab used Xytol for all fims and have the same availability problems.
I use a condenser enlarger and a Schneider Componon S 100mm f5.6 lens for 6x7 (Pentax) negs.
I use a Schneider Componon S 50mm f2. 8 enlarging lens for my Nikon FE Trix negs.
I have a Ricoh 8.1 megapixel GR digital camera and use it on high iso and black and white settings.
It looks like Trix grain with supreme sharpness.
Good God. TRIX in D76 1:1. That is magic. Just think how many people used that model.
Ever work with Scala, the black and white positive film? I did in 4X5, loved it.
Oh ya. There was a Scala lab near my house. Cool, cool stuff.
I don’t shoot film anymore but I loved this. Took me back to the joys and frustrations of the darkroom. Excellent, thank you.
I rarely do either but it's such a grand way to spend time.
Shooting digital is fun, but when I was in school we shot on old praktica's and developed eveything from roll to picture, it was the only class I never skipped. 20 years later, I still own that same camera we used, an old disintegrating Praktica, but it still work and I love that camera. Maybe I should just buy some rolls and use it again (If there is something to replace the murcury battery with)
Sure, give it a shot. See what happens.
Mesh thong speedo makes me grin every time. Yes, I’ve watched this more than once. Pray for me.
Daniel, I need my lightbulb moment with this film, please help!
I understand the basic concepts of pushing and pulling. When my camera reads the DX coding on the cartridge it reads it at 3200. My lab (Richard’s Photo Lab in CA) processes the film at 3200.
You say the actual film speed is around 1250. The Kodak spec sheet says it’s about 1000 but for ease of calculations rounds it to 800.
So I know if I meter for 3200 Richards is going to process it at 3200. Now my question is, if I shoot it at the lower speeds (800, 1000, 1250, 1600, etc), is the recommendation to: a) meter for the lower speed and let it naturally be push developed at the labs 3200 or b) meter at the lower speed then tell my lab I need to pull process the film to the lower speed I.e. meter at 1600 and have the lab develop based on times for 1600.
Thanks in advance!!!
I save money on the push and pull, just rate the film, and your meter at 1250 then shoot according to what the meter says. then just tell them to process "normal." All you are doing is giving those negs a little extra light, which it needs, because the film isn't actually 3200 in speed without a push. Does that make sense?
@@DANIELMILNOR505 I think so! Meter for 1250, essentially overexposing a stop and a half-ish to give it the extra light. When the lab processes at 3200 it’s essentially pushing it for you without the extra cost. And if I’m understanding correctly, metering at 3200 and developing normally at 3200 is basically under-exposing it, since it’s technically a slower film.
I never had a problem printing p3200, I love it.
I was also shown the paper developer idea, only we used to do 1:1 dilution for 4mins the grain and contrast is crazy in a good way. I think :)
Yes, that is what I heard. Not subtle but it works.
I really enjoy your takes on photography, It's pretty refreshing and It's made me focus on black and white more, as well as shooting with one camera and lens. I can't wait to get my darkroom setup started as well.
Do you have any advice on getting access for documentary projects where you just have a concept in mind but haven't reached out to anyone yet?
Nope. You just research, find connections you think might have the patience to listen and you start. Just be prepared to hear "no." It's a modern affliction.
Hi Dan, great video on TMZ. I recently tried using it for the first time (based on an earlier vid of yours recommending) and the scans that came back were awesome, so thanks! Quick unrelated question, where would someone who wanted to buy your Sicily project book be able to find it?
Glad it worked out. Sicily book isn't for sale. I"m so sick of looking at that work I can't stand it. Sorry
Yay for green chicken pozole!
I loved those films Tmax and Tri X Ilford was the one I used mostly toward the end before I changed to digital , there was a period there for a while when grain was a thing , people, wanted in their shots , I see Ilford have released a little camera looks interesting.
Wow, they released a camera? I'm so out of the loop.
Its a sprite 35-11 with film a fixed shutter sp 120 and fixed ap @ f9 similar to the sprite released in the 60s very simple p&s film camera , love the idea of back to basics depreview have a review
I started with HC110 and Fuji Acros and then got heavily into Rodinal stand developing. Finally deved TriX in D76 for the first time last year and loved it. So backwards lol
Yes, that is "what is old is new."
It would be nice to have a link in the description that goes to your photos with ~1200px on the long edge.
Only images of my mine online anywhere. shifter.media/photography/
Film and a mesh thong.....now that's a visual....Love it. Great video Dan.
Scary, I know.
Funny how I switched this video on just before developing two rolls of tri x in rodinal, photos taken with my m4! I discovered film after digital but I absolutely love it! I am gonna order a few rolls of p3200 and see how I get on. Given Ireland had dark winters this might be perfect rated at 1250 🇮🇪
You are gonna love it.
I was either using TMax 400 or TMZ shooting in an Opera House. If I thought the overall lighting wasn't 'enough' then I'd use TMZ and expose it at 1600. For a newspaper review, it was totally fine!
We use to have to shoot it at 6400 with a 300mm f/2 Nikon lens. Not 300 2.8. But a 300 f/2 which has a front element the size of a dinner plate.
@@DANIELMILNOR505 My main lens was a Nikon 80-200 2.8, heavy enough, and always handheld. Shutter speeds often were under 1/60, and I remember shooting as low as 1/4! Sometimes a blurry arm or body produced an artistic shot.
A mesh thong speedo! There must be a story behind that. 🤣
Who me? Never, never.
Love your TSA tips, I did this all the time, 2 1/4 transparencies, one big ziploc, show up early be polite, beg for hand check
Ian, and even then you have to be prepared for all kinds of oddity. From "No problem, we love film," to "Every single flight to America is high risk so if you don't XRAY you can't board."
@16:52 "This is harsh..this is like washing your car with sandpaper..." - *spits wine onto Ezio Monitor in laughter*
I've tried it. Not recommended.
Think we are going to have to get you to model those string bathing suites and film cases . Monies on those shots going viral !!😬😬😬😬
If I was a "normal" TH-camr hunting likes and subs I'd be wearing it now and using it as my thumbnail. #shameless.
How do you meter with the M4?
Thanks
Caula
Mostly with my eyes and brain. Once you shoot a film long enough you can judge exposure just by looking.
@@DANIELMILNOR505 Amazing. This is photography. The “digital revolution “ is atrophying our brain and swindling our hard earned money. You are becoming a rare species. A person with a brain.
Well done !
Caula
I love listening to this, though I haven't clue what you're on about. Much like I Iove reading poetry, without any know-etry And IHC-110. If we're talking film languages I'd guess this is like Serbo-Croat.
Just film stuff.
You have to try D76 1+3. With this dilution, it changes from a compensator developer to a high acutance one. Like Rodinal, but better...
Sound right up my alley. I rarely, however, process film these days. Or shoot for that matter.
Do you shoot the hole roll at the same iso or can you switch within the same roll
Same ISO for entire roll.
@@DANIELMILNOR505 thanks kinda a figured that . But thought maybe you had something different going on.
Thanks for responding.
I once had TMZ rolls I shot in Venice ruined going through airport x-ray...
CTX 5000 will cook a film first pass. I see them inside terminals from time to time but they are mostly used for checked bags. I have had TMZ base fogged but only after multiple exposures. Airport security rarely know their game and often lie about film.
002 your best yet, love the passion and what a dream to have choices in film and development until you found your grove eccentric and excellent, thank you 🙏
Choices, that we have. Can sometimes be a challenge to make a decision but that's a good place to be.
I wish you had stoppeed longer while showing your prints... I am all for darkroom prints.
Ya, I probably should have. Next time.
You've convinced me, I'm going to go get me some pozole.
you can't go wrong.
😎😎😎 I agree Tri X is a really good film I also loaded my bag with Tri x 400 here
Hard to go wrong with that film.
@@DANIELMILNOR505 Absolutely and never understood why some do not like grains 🙂🙂🙂
So, what do you think about TMZ?
Impartial.
TMax 400 + Xtol 1:1 was my all-time favorite combo. I was able to do 100-6400 just with that! There is only one drawback of Xtol I've experienced. When ready to use solution may "die" at any time, no matter how good you kept it stored. Other than that - it's perfect match to Tmax 100/400.
The latest gen TMAX 400 is very nice.
Any hope for p3200 in medium format?
Nope.
NICE！
I only shoot film and Rodinal and HC-110 are my goto developpers... Gotta love Rodinal soup! :)
the best
Caffenol for me. Simple, cheap and kinda environmentally friendly.
Are you on instagram? If not, where do you share your work?
Nope. I don't really share much. But then again, I haven't worked as a photographer in a decade and my job isn't about photography much anymore so there isn't much to share. I do have this site, which I've had for years but it's what I call a lifestyle site without the style. And photography is only a small part. shifter.media/
What's the watch? Guess you could also do a film about that..
Seiko Chronograph solar
I can print P3200 OK when it’s developed right. Had to change how I shoot it and develop it to make it printable in the darkroom. Not as straight forward as Tri-X but definitely doable once you get the hang of it.
That's right. Take experimenting. TRIX is a dream.
Great film on film. Thank you, keep up the good work. New Q for your next Q&A, not about books or photography. Tangentially about bikes. Or answer here if you're feeling froggy, just interested in your answer. You are awarded a 2 week trip studying a craft alongside a skilled artisan in an exotic locale. At the end, you come home with that knowledge and the thing you built with your hands. Rank these 3 in the order you'd think they'd positively enhance your life experience - building a guitar in Argentina, building a brass bell in Japan, or building a bamboo bicycle in India.
Great question. I'll take India first so that I can use the bike on the subsequent trips. Then to Argentina while I'm still feeling spry. Finally, Japan where I would then remain until I was fluent and partially submerged in the culture.
I spent 2020 getting reacquainted with film after an 8 year break, and it turned out that tmax 100 + rodinal (1+50, 18 minutes) is my favorite combination out of all the Ilford and Kodak b&w films. The tonality is just beautiful, and the grain is obvious and pleasant. Same for tmax 400. Haven’t tried p3200 yet.
“The Film Developing Cookbook” (Troop/Anchell) recommends using HP5 now instead of Tri-X since the 2007 reformulation. Kodak Alaris is unfortunately not afraid of messing with a classic product. The economic disorder in the world doesn’t help film either as investors dump fiat currency into precious metals like silver.
Companies began pulling heavy metal and silver out in the 90's. The papers before that were incredible. The papers after, not as much. Rodinal is so thrilling.
I shoot hp5 because it is several dollars cheaper than TriX and has a huge range so for street, I get always get usable negs and it is not as contrasty so I can add that in post.
@@mrca2004 you can adjust the contrast of either film by playing with the exposure, developer, agitation, and development times. Lots of fun, but time consuming to sort it all out.
For less contrasty Tri-X, overexpose and underdevelop. Then there’s stand development… have fun.
Love me some tmaxx with my Leica stuff