New York 2018 February Camera Carnival/Meet-Up

Calzone said:
I was walking along, "minding my own business" when I shuffle stepped to avoid what I thought was another dog-turd, but it ended up being a black case about the size of a pack of cigarettes. It ended up being a Contax T-3 likely lost by some clueless hipster. LOL.

Cal
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That T3 story cracks me up, very lucky indeed. There is some lucky connotation with Turds in Hispanic culture, but good luck finding anything better than those.

Last year I went for a lazy bike ride and there was this large puddle taking the whole road except the side. Well, I take that right side and as soon I know there's this soft turd being projected all over...

Calzone said:
Maggie posted a shot that is from the book "American Romance" that will launch on May 10th. The two-door Mercedes 560SEL really matches my old vintage hipster style/image really well. Lots of comments. Got 15K likes right away within a few hours.

Cal
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That shot looks really good. Nice to see the warehouse keeping its Character and your outfit looks fantastic. Elegant & modern.
Checking street view I've seen the construction around Domino's sugar of that huge building, and blocking the view of your old condo from the bridge... added to what was in the works back then, the area must have more construction now.
 
Prest_400 said:
That T3 story cracks me up, very lucky indeed. There is some lucky connotation with Turds in Hispanic culture, but good luck finding anything better than those.

Last year I went for a lazy bike ride and there was this large puddle taking the whole road except the side. Well, I take that right side and as soon I know there's this soft turd being projected all over...


That shot looks really good. Nice to see the warehouse keeping its Character and your outfit looks fantastic. Elegant & modern.
Checking street view I've seen the construction around Domino's sugar of that huge building, and blocking the view of your old condo from the bridge... added to what was in the works back then, the area must have more construction now.
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Jorde,

The rooftop graffiti has been whitewashed over. I can't see the small 4 story building that use to be a burlap bag factory that I had a loft in anymore.

The location on the Williamsburg bridge where I got my panoramic views by leaning over the iron railing is now all fenced off. Now you can't jump off the Williamsburg Bridge to kill yourself anymore.

Lots of comments that are flattering on "Maggie's" blog. Got called a hunk by one follower. LOL. Maggie is so small, that's why I look so big. LOL.

Understand that the L train will be shut down for over a year. Subways are now more chaotic, with all the construction diversions, police activity, and signal difficulties the subway has become one big improv.

Cal

Cal
 
Looking forward to next Sunday. Was photographing today in Phily Chinatown and saw two guys with an interesting assemblage of gear: an M10 with the new 28/5.6, a 1920s Graflex (with a Polaroid holder and Type 55 film), a Bessa II, a Hasselblad 500 C/M, and I might have missed one or two. The fellow with the Graflex said he also shot wet plate.

Now a question for the group: has anyone shot the new Ferrania P30? I got five rolls (as a Kickstarter backer) and tried one today. It's really sensational. However, at ISO 50 I really missed an additional stop (100 would have been great). Does anyone know if it hold up if pushed a stop, and if so what time I should use for D76 at 1:1 (Massive Development Chart recommended 13 minutes for ISO 50, which was right on the money)?
 
"has anyone shot the new Ferrania P30? "
I just finished a roll in my R6 w/ 50mm Summilux. I shot it at ISO 100 -- Way to high and developed with Diafine. (Along with a roll of Tri-X shot at 640 - which was dead on). The P30 negs were very thin and did not scan well. I thought I had tested this out, but I was wrong. I had tried some before and liked the results, so . . . back to the drawing board. My conclusion is that this film needs a low ISO setting to bring out the best results. Even the box speed with Diafine may be to fast, and ISO 50 may be the best.
 
thambar said:
Looking forward to next Sunday. Was photographing today in Phily Chinatown and saw two guys with an interesting assemblage of gear: an M10 with the new 28/5.6, a 1920s Graflex (with a Polaroid holder and Type 55 film), a Bessa II, a Hasselblad 500 C/M, and I might have missed one or two. The fellow with the Graflex said he also shot wet plate.

Now a question for the group: has anyone shot the new Ferrania P30? I got five rolls (as a Kickstarter backer) and tried one today. It's really sensational. However, at ISO 50 I really missed an additional stop (100 would have been great). Does anyone know if it hold up if pushed a stop, and if so what time I should use for D76 at 1:1 (Massive Development Chart recommended 13 minutes for ISO 50, which was right on the money)?
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Jim,

I was not part of the original Kick-Starter, but somehow I got gifted mucho rolls of P-30 even before the original kick-starters got their initial delivery. How annoying is that. LOL.

In fact I still have a roll at home I need to expose. I used various developers: Diafine; DDX and Rodinal.

I'll bring my negatives to the Camera Carnival for you to examine. I have to check my records on the negative files, but I believe I got wonderful results with Rodinal at 50 ISO; great results with Diafine 4+4, and an honest 80 ISO with DDX.

I think I could be happy shooting P30 and 5222 for 135 films. Love the look and the old thick silver emulsons that are such old school. With 5222 I use Diafine and get 400 ISO. Thick silver emulsions with mucho lattitude. Understand I like dense negatives for wet printing.

I'll check my results tonight.

OFF TOPIC: 447K followers. There is a new Uniquo video that features "Digital Influencers" from around the world promoting shirts. "Maggie" is the encore and "Queen Bee" in this group. Really high production value. Shot in Japan.

Cal
 
dshfoto said:
"has anyone shot the new Ferrania P30? "
I just finished a roll in my R6 w/ 50mm Summilux. I shot it at ISO 100 -- Way to high and developed with Diafine. (Along with a roll of Tri-X shot at 640 - which was dead on). The P30 negs were very thin and did not scan well. I thought I had tested this out, but I was wrong. I had tried some before and liked the results, so . . . back to the drawing board. My conclusion is that this film needs a low ISO setting to bring out the best results. Even the box speed with Diafine may be to fast, and ISO 50 may be the best.
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Steve,

I'll check tonight. I think I got an honest 80 ISO with Diafine, but I developed 4+4 (overdeveloped by 25%).

I believe I got 80 ISO with DDX.

Basically I got nice negatives at 50 ISO with Rodinal. I then knew where everything else would fall into place. Rodinal generally is low speed and with Diafine and DDX I was able to coax out a gentle push.

Thanks for the post of the 70mm "Monster" reel. BTW Dunkirk in 70mm has to be experienced. Talk about a heightened reality.

Cal
 
Ferrania P30 R6 w/ 50mm Summilux. I shot it at ISO 100 Developed in Diafine. -- Link to photo here -- on Flickr.com -- https://www.flickr.com/photos/10147978@N04/39672474114/in/dateposted-public/
I still think that the negative was a little thinner than my scanner would have liked (Imacon II) However the image from the scanner came out at 300 dpi, 11" x 20" and the film grain hardly noticeable.
 
Dunkirk was also shot entirely on 65mm and 70mm IMAX.
Almost entirely handheld.
The IMAX cameras weigh 56lbs BEFORE being loaded with 400ft magazines.
Those are monster cameras.

Phil Forrest
 
Phil_F_NM said:
Dunkirk was also shot entirely on 65mm and 70mm IMAX.
Almost entirely handheld.
The IMAX cameras weigh 56lbs BEFORE being loaded with 400ft magazines.
Those are monster cameras.

Phil Forrest
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Phil,

A heavy camera is a steady camera. This is a film of few words. The visuals are stunning.

Also the ballistics were true to life: basically rounds from a long gun don't get stopped. I hate on TV how they show cops taking cover behind a car door where even a 9mm handgun will shoot through a car door, especially at close range.

I think there were only a few sentences spoken in the entire film. Also an amazing story that involved mucho courage.

Cal
 
Calzone said:
Steve,

I'll check tonight. I think I got an honest 80 ISO with Diafine, but I developed 4+4 (overdeveloped by 25%).

I believe I got 80 ISO with DDX.

Basically I got nice negatives at 50 ISO with Rodinal. I then knew where everything else would fall into place. Rodinal generally is low speed and with Diafine and DDX I was able to coax out a gentle push.

Thanks for the post of the 70mm "Monster" reel. BTW Dunkirk in 70mm has to be experienced. Talk about a heightened reality.

Cal
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Jim,

I check my negatives last night. Originally I tried 125 with Diafine and got thin negatives. I did get an honest 80 ISO with Diafine 4+4, but realize that I minimize aggitation and extend development by 25%.

At 50 ISO I get nice dense negatives with mucho shadow detail for wet printing. Really nice contrast that can be straight printed with exploiting Diafine's compensating effect that resembles HDR but with film.

This film has that old school thick emulsion look.

I'll bring the sheet that began with 80 ISO and in the last third went 50 ISO. For wet printing 50 ISO is best, even with the push from Diafine.

Cal
 
Yesterday at 3:43 PM I got notice I was not selected to be one of the hundred that would be offered a New York Times Portfolio Review.

2.8K applicants for two pools: one of a hundred; and 60 reserved for people under 28 years of age.

The judges were four photo editors from the NYT.

I submitted my 20 images which was a great exercise. I learned a lot about who I am and critically found a position for my work. Although my work is documentary in nature, it is not really photo journalism, and more or less I'm anchored in being two different kinds of artists: a fine art photographer; and a fine art printer.

Although it would have been wonderful to be selected, I understand the limitations of my work, and it was great to be part of this. Not sure I fit in, and if I was given the opportunity to get on a metro beat as a photographer, I'm not sure I would want the job even though it would be an honor because that is not who I am.

Well I already have a day-job for the pay and benefits. I did discover many other possibilities by data mining the list of reviewers. I found a gallery that my work would fit in. I'm pretty much a traditional photographer, and it seems that many galleries and photo galleries support work that is so processed and abstracted that someone like me could say it is no longer photography.

The next notification comes sometime in March for the En Foco Fellowship. My thinking on this is that I might be one of the ten selected. I could use the exposure provided by the group show, and the $1K stipend would come in handy as I already spent $1.5K since January 2018 on loading up on paper and ink. This small stockpile should get me through the spring and I await another summer sale at InkJetMall to load up some more.

In May I'll find out about the Dumbo Studio Residency. Only 17 studios available, but I hope to win one and would move in September for a year. I would really have to shift gears to exploit this opportunity.

Anyways these two above opportunities if they happen could change my life. Also know that here at work it it obvious that things are winding down. My boss is at full retirement age, the 3.5 million dollar cyclotron I operate and maintain is already over 15 years old and the life expectancy of this machine is only about 20 years.

My plan is to be in austerity mode and to be ready as I can for retirement by the age of 62 which is less than two years away. I have to be ready for the possibility of being shown the door at work. Hopefully I don't give my boss another heart attack. I still need him for a few more years...

Cal
 
Yeah, the director cut out much of the dialog because the cameras sound like jackhammers. But that is the only way to get that result.
There are photos of the production that show the DP being supported by another person on the camera side. Holding up a 65lb weight on one shoulder for 20 minutes at a time is guaranteed to cause fatigue and then the shakes. Oh yeah, none of that steadicam garbage was used either. Just a master DP with his tools.

Phil Forrest
 
Phil_F_NM said:
Yeah, the director cut out much of the dialog because the cameras sound like jackhammers. But that is the only way to get that result.
There are photos of the production that show the DP being supported by another person on the camera side. Holding up a 65lb weight on one shoulder for 20 minutes at a time is guaranteed to cause fatigue and then the shakes. Oh yeah, none of that steadicam garbage was used either. Just a master DP with his tools.

Phil Forrest
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Phil,

Thanks for these details. This film deeply impressed me. There is something very stark that makes Dunkirk a visceral experience of survival and courage.

In this film there is a lot of just "nat-sound" that adds to the heightened reality.

Anyways, it seems that everything about this film was brutal. I asked a pilot about the "dead stick" Spitfire scenes. I read a review of someone who had the opportunity to fly a vintage Spitfire. Evidently it was a very capable plane.

To maintain glide to attack that German bomber the Spitfire pilot would have sacrificed a lot of altitude to accelerate to shoot down that enemy. Perhaps making it to the beach would not have happened. Also dead stick landings usually are crashes, but the Spitfire evidently was a good plane to try a dead stick landing. Its controls were said to be rather intuitive.

There's a lot to obsess about in this film. I would like to see it again. Of course in 70 mm.

Cal

POSTSCRIPT: Dead Stick is a pilot's term for flying without engine power. Pretty much a state of emergency where crashing and the potential for death is eminent.
 
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