New York January NYC Meet-Up

[Calzone]

Wow! Especially that Contax T3 probably lost by some hipster, those machines held up a lot of value.

When disposable income goes up here, I may as well do the same. Only rescued a Nikon F80, it cannot complain much because I take it down to the beach quite a bit.
Today I was overtaken by a "Californian" spirit and rode a mile over the sand with the low sunset sun... Not so fun was the scrubbing afterwards to take all the sand off the bike geartrain. I can imagine it could wreck havoc in classic camera innards... So if I see Film AF Canikons for $20 or less, I grab them for that careless use. 😀

Bikes are a different thing, but I have a softspot for 80-90s MTBs and spent quite a while browsing classifields for such bikes earlier this year. Thankfully it's not practical and I already have Dad's 1982 MTB to commute in town.
I'm still in a limbo under a student budget so I still have to keep things simple.

NYC being a good center for film photography (Japan was but the prices for film really rose), I went both to B&H and Adorama to grab some goods while I was there.

B&H was quite "guided", grabbed some Portra and I was directed to the cashier and not let to roam free the store. Amusingly they send me the catalogue across the pond.
Adorama was surprisingly more personalised. In both I didn't get very close to the used cameras. Told myself to keep a tight budget on the NYC trip so no room for GAS.

Being younger/internet demographic makes me distant of the physical store experience.

Jordi,

I appreciate the insights on film availability. Perhaps that is why I'm seeing a drop in film camera prices. I still hold many treasures, but it seems that the pricing has become soft.

As far as vintage mountain bikes, somehow I have a collection. LOL. Back in the day I actually broke a titanium frame and had it repaired (Litespeed). They replaced the entire front triangle, and they used oversized tubing that stiffened up the ride. Somehow I now have a Litespeed that is a one off.

I also have that Ti IBIS Mountain Trials that is likely a one-off. What a crazy responsive bike that is. I currently have it set up as a single speed with a freewheel and slicks for urban single track, which is darting through traffic with the cars.

This bike weighs 17 1/4 pounds, the wheels are lightweight for instant acceleration, and the fork, cranks and the front brake were really designed for use on a tandem. The wheelbase is 40 inches and the rear wheel is only 24 inches. Riding position is way back almost right over the rear wheel so the handling is almost like a unicycle. LOL. This bike is kinda dangerous because the handling is very hyper.

It seems that eventually I will be printing from digital negatives. Piezography Pro is really that good. I will have to limit print size due to lack of studio. Very crazy, but I like it.

Cal

 

[Calzone]

So I just kinda invented a term I call a "Chain-Folio" that kinda riffs off of the idea of a chain-letter, except it is really about compiling a list via PM of snail-mail addresses. I will pay the initial postage, hope the folio will get forwarded to the next, and hopefully eventually I will get my folio back at the end of the list.

Anyways this is very much a social experiment, and all kinds of things can go wrong. Oh-well. The prints I'm sending off are a dozen 8 1/2x11's that demonstrate the new printer driver that allows me to blend three curves. Pretty amazing the amount of flexability in managing tonal ranges and adding detail to a print.

There are a half dozen 13x19's to display the scaling up of image sizes: 10x15; and full 13x19. For a headache read the Piezography Pro thread I created. LOL.

I will be bringing this folio to the Meet-Up to present my results. Know that I already marked these prints as WP/NFS, and I will document these prints so resale or future damage to my body of work or reputation will be limited.

The 10x15's definitely show how a contact print from a digital negative might look like. Really not much of a jump here, except down load some curves, buy some overhead projection film, and buy a small contact frame.

Cal

 

[stompyq]

Why do you need Piezography Pro to make digital negatives? People on LFforum have been doing this for a long time with photoshop and a regular inkjet printer.

 

[Calzone]

Why do you need Piezography Pro to make digital negatives? People on LFforum have been doing this for a long time with photoshop and a regular inkjet printer.

Pro-Mone,

I am a lazy slacker, and basically I have the digital negative capacity as a bonus that costs me nothing.

I am very well aware of how others use Mark Nelson's process, and how others are using other ways to make digital negatives. It is not so easy to linearlize a system, but with Piezography Pro it is less involved, less complicated, and kinda turnkey.

It is not a matter of need at all. If you want an uncomplicated system that has been made easy to use then likely Piezography Pro is the way to go. I do not need a Photometer to evaluate test targets, but know that with Piezography Pro I can use the "canned" profiles. I also have the option to pay for software so I can use a Photometer and targets already exist, as well as a full support system.

In alternative processes non PP users utilize UV blockage that utilize colored inks, and everything kinda gets abstracted and rapidly complicated. These digital negatives do not use density to block light like Piezography does. The Piezography process is more like a traditional negative.

Anyways it is a matter of choice. Jon Cone is not claiming he invented the digital negative, but his approach is very well engineered and if anything is more traditional in being like traditional negatives regardless of process. Also know that Piezography does not use a color inkset, uses many more shades of black, and is higher resolution than Epson OEM printing.

Cal

 

[stompyq]

Pro-Mone,

I am a lazy slacker, and basically I have the digital negative capacity as a bonus that costs me nothing.

I am very well aware of how others use Mark Nelson's process, and how others are using other ways to make digital negatives. It is not so easy to linearlize a system, but with Piezography Pro it is less involved, less complicated, and kinda turnkey.

It is not a matter of need at all. If you want an uncomplicated system that has been made easy to use then likely Piezography Pro is the way to go. I do not need a Photometer to evaluate test targets, but know that with Piezography Pro I can use the "canned" profiles. I also have the option to pay for software so I can use a Photometer and targets already exist, as well as a full support system.

In alternative processes non PP users utilize UV blockage that utilize colored inks, and everything kinda gets abstracted and rapidly complicated. These digital negatives do not use density to block light like Piezography does. The Piezography process is more like a traditional negative.

Anyways it is a matter of choice. Jon Cone is not claiming he invented the digital negative, but his approach is very well engineered and if anything is more traditional in being like traditional negatives regardless of process. Also know that Piezography does not use a color inkset, uses many more shades of black, and is higher resolution than Epson OEM printing.

Cal

I think you tailor the digital negative to the process. A digital negative used for Platinum/palladium would be completely different from one that can be (effectively) used for Kallitypes. There are entire books written on this. I don't understand how a turnkey solution in this case can be any better

 

[Prest_400]

Jordi,

I appreciate the insights on film availability. Perhaps that is why I'm seeing a drop in film camera prices. I still hold many treasures, but it seems that the pricing has become soft.

As far as vintage mountain bikes, somehow I have a collection. LOL. Back in the day I actually broke a titanium frame and had it repaired (Litespeed). They replaced the entire front triangle, and they used oversized tubing that stiffened up the ride. Somehow I now have a Litespeed that is a one off.

Indeed the film community and availability does have changes, but I wouldn't say it declines, rather shifts.

NY has a fantastic film source for Kodak film specially. Japan toughened on prices quite a bit in 3? years. With Brexit I have found a UK source that has Kodak cheap. Germany has a couple distributors/stores with excellent price.
In Spain film used to be expensive but there's a lab that sells all film at distributor prices.

Labwise there are quite a few modern labs that work with mail, scan and cloud for the scans; for lack of better words Find, Indie, etc. Whose customers seem to be mainly "wedding" and modern crowd, and are loud about liking film.

Prices for certain coveted pieces of equipment took the opposite way and soared. Jonmanjiro's post about the Mamiya 7 kind of shows it, and recalling also that one discussion about the P67II.

Contax 645's, Contax T, P67 105's, Plaubel Makinas, Mamiya 6 & 7, Rolleiflex. All of these seem to be quite appreciated and there's kids in youtube praising some of these, which doesn't help prices to lower. (More ideas for camera futures, ha!) Noted also that it seems to happen mainly on MF. As my case is, people appreciate film but want neg for the buck and having the grittier 35mm on the side.

As of bikes, I like the line of classic (until late 90s) MTB with the round tubing. I do have a modern 29er which is fantastic for rolling distance but there's quite a difference in design with the thicker curvy frames. At times an older thing is just more fun to take.

So I just kinda invented a term I call a "Chain-Folio" that kinda riffs off of the idea of a chain-letter, except it is really about compiling a list via PM of snail-mail addresses. I will pay the initial postage, hope the folio will get forwarded to the next, and hopefully eventually I will get my folio back at the end of the list.

Anyways this is very much a social experiment, and all kinds of things can go wrong. Oh-well. rhead projection film, and buy a small contact frame.

Cal

Suggerstion for the camera beauty contest, to make it more savage and Medieval. He who wins trimphs over all others and who loses is deposed of his/her cameras, and sent to be roaming amongst RFF. 😀

Now, on a more serious note I was reading about the GF670/Bessa III and (if I didn't get it wrong) in Australia they did a Travelling camera with one of these. It's an interesting initiative and I think nothing wrong went with theirs.

 

[Calzone]

I think you tailor the digital negative to the process. A digital negative used for Platinum/palladium would be completely different from one that can be (effectively) used for Kallitypes. There are entire books written on this. I don't understand how a turnkey solution in this case can be any better

Pro-Mone,

Things have evolved to the point that Piezography has specific "turn-key" systems for silver wet prints using Ilford Gallory; a seperate "turnkey" system for Platinum/Paladium; and a separate system for other alternative processes.

The "tailoring" you mentioned has already been performed for you and can be deemed "canned."

Of course there is a $150.00 software package that allows one to print supplied targets and use a I1 Pro to create one's own calibrated system.

The thing here is that things have really advanced here. The old ways that have been done earlier by others is now old. This is a new spin on things and really shows how things have advanced to the point where it really isn't that complicated anymore. Systems are now "turnkey." Pick your system, and if you want to tweak it or recreate it even the tools to do so are "canned."

Anyways I'm not trying to dis the old way, all I'm saying is that there are new ways, and they are really-really advanced to the point that tey are "turn-key." There seems to be some real good engineering, design, and heavy lifting going on here. The old photography you know has advanced a lot, and that is the point I am trying to make.

Cal

 

[Calzone]

Indeed the film community and availability does have changes, but I wouldn't say it declines, rather shifts.

Prices for certain coveted pieces of equipment took the opposite way and soared. Jonmanjiro's post about the Mamiya 7 kind of shows it, and recalling also that one discussion about the P67II.

Contax 645's, Contax T, P67 105's, Plaubel Makinas, Mamiya 6 & 7, Rolleiflex. All of these seem to be quite appreciated and there's kids in youtube praising some of these, which doesn't help prices to lower. (More ideas for camera futures, ha!) Noted also that it seems to happen mainly on MF. As my case is, people appreciate film but want neg for the buck and having the grittier 35mm on the side.

Jordi,

I own a Pentax 67II with the AE Prism. The TTL with dedicated flash is deadly accurate and the 6 segment metering is a wonder, but I hate the film loading. Kinda sucks.

Anyways I was shocked to find that no Pentax 67 II's are available in the U.S. on EBAY. It seems one has to secure one from Japan. And then I was surprised by the leap in prices.

The problem is that I don't really use mine. I still like the camera, but I have so many. Also know that I own the rare Pentax 75/2.8 AL.

As far as other medium format cameras the Pentax is least likely to get used, even though I love the results. My favorite Hipster Medium Format camera is a Rollie 3.5 F "Whiteface" that I rescued from Adorama for $999.00. I had to have it "Fleenored," meaning overhauled, and while I was at it I got a Maxwell screen upgrade.

Anyways add onto this the compounding nature of buying a Nikon LS 8000 film scanner and scanning film: something I once said I would never do. LOL. Oh-well.

Here in NYC film is very much a live and well. As far as film schools go the three best in the U.S. are UCLA, NYU, and Columbia; so NYC has two out of the three best film schools in the U.S. Plenty of hipster action here in NYC. It is young people here in NYC that make the city so vibrant. Only some old people are young at heart.

For me the physics of big wheels of 29'ers translate into larger flywheels that take more energy to spin and accelerate. I understand that I can ride over more rugged terrain, or have more control on downhills, but for singletrack, climbing or just plain long-long rides give me that old school bike with 26 inch wheels without the disc brakes.

Cal

 

[stompyq]

Pro-Mone,

Things have evolved to the point that Piezography has specific "turn-key" systems for silver wet prints using Ilford Gallory; a seperate "turnkey" system for Platinum/Paladium; and a separate system for other alternative processes.

The "tailoring" you mentioned has already been performed for you and can be deemed "canned."

Of course there is a $150.00 software package that allows one to print supplied targets and use a I1 Pro to create one's own calibrated system.

The thing here is that things have really advanced here. The old ways that have been done earlier by others is now old. This is a new spin on things and really shows how things have advanced to the point where it really isn't that complicated anymore. Systems are now "turnkey." Pick your system, and if you want to tweak it or recreate it even the tools to do so are "canned."

Anyways I'm not trying to dis the old way, all I'm saying is that there are new ways, and they are really-really advanced to the point that tey are "turn-key." There seems to be some real good engineering, design, and heavy lifting going on here. The old photography you know has advanced a lot, and that is the point I am trying to make.

Cal

Hmm. Interesting. Would like to see some results. I'm still skeptical

 

[Calzone]

Hmm. Interesting. Would like to see some results. I'm still skeptical

Go to Piezography.com and see how printing has evolved.

Understand that I started with Piezography two years ago, and since then a lot has developed.

I'm really amazed how I can blend three profiles: cool; neural; and warm instead of printing with one paper/ink profile. On top of that I can also adjust the tonality further in the highlight, mids and shadows for each curve. The same tiff can express details and tonality by a crazy amount of control in a printer driver.

As an early adopter this Piezography Pro is not available to the general public yet, so while information is available many examples are not, but I will be be bringing some prints to the meet-up. I am still learning...

Also know there are earlier systems that Jon Cone developed, but these systems required ink changes, blending inks, or dedicating a printer to digital negative. There are some rather big time printers sharing their work and experience. Things are really evolving on a level I never thought of either.

If you don't believe me: listen to them.

Cal

 

[Calzone]

Sunday the 15th at Lorelie's.

I have some small prints I made with the new Piezography Pro. Very different from Piezography K7. More contrast, a wider dynamic range, and the blackest black I have ever seen.

Cal

 

[Range-rover]

And My scarf!

 

[Pentode]

for singletrack, climbing or just plain long-long rides give me that old school bike with 26 inch wheels without the disc brakes.

That era was the apex of MTB design for me. Well aware of the many advantages of modern materials and technological advances, I'll still stick with the four bikes -circa 1993 to 1997 - cluttering my basement. They're classy looking and fun to ride. Also, I'm stubborn and refuse to give up my 8-speed thumb shifters and cantilever brakes!

Interesting but hardly surprising that so many people with a fondness for old cameras would also have one for old bikes.

 

[jsrockit]

See you fools on the 15th... make sure to have beer!

 

[Calzone]

That era was the apex of MTB design for me. Well aware of the many advantages of modern materials and technological advances, I'll still stick with the four bikes -circa 1993 to 1997 - cluttering my basement. They're classy looking and fun to ride. Also, I'm stubborn and refuse to give up my 8-speed thumb shifters and cantilever brakes!

Interesting but hardly surprising that so many people with a fondness for old cameras would also have one for old bikes.

Pentode,

Might you have a fondness for tube stereo or guitar amps?

I'm a big fan of Suntour thumbshifters. Realize that my bikes are all tricked out with retro aftermarket parts from Cook Brothers, Grafton, and Paul. People freak out over my museum bikes that go back to the day when the best Mountain Bikes were made in the USA. Know that I am a weight weanie and that I only weigh 150 pounds. My old steel IBIS came with 6 speed Suntour Thumbshifters. Remember Microdrive?

A decade ago I ran the NYC Marathon "off the couch" in under 5 hours at the age of 49. A friend overtrained and was too sick to run, he offered me his bib, so I had one full day to get ready to run a marathon.

Also know that I "timed the lights" going uptown on Third Avenue from 79th Street to 101st. Because of "Vision Zero" the speed limit was lowered to 25 mph, but realize that on that section of Third Avenue has no bike lanes so basically I'm singletracking through traffic. Anyways this was last summer. LOL.

Cal

 

[Calzone]

See you fools on the 15th... make sure to have beer!

John,

A fool I am. Now an old one. LOL.

Cal

 

[Calzone]

And My scarf!

Bob,

The famous vintage scarf.

I'll also be bringing that new D3 battery. How about $40.00?

I have some other stuff to bring: a Nikon AH-4 hand strap if "Scottie" shows up.

It seems Maggie now has an agent, she might have a TV gig, and she has 65K followers.

Although I get no credit or rarely so, my photography is widely published in all these fashion magazines.

I'm going through another printing binge. So far I have a $100.00 a week habit to feed for paper. I have been printing almost every day this year.

Cal

 

[MrFujicaman]

Cheaper than pack a day smoking habit in NYC, Calzone!

 

[Calzone]

Cheaper than pack a day smoking habit in NYC, Calzone!

Very true. Printing though will likely extend my life rather than shorten my life. Anyways that is my hope. LOL.

Yesterday I went to B&H to buy another hundred dollars worth of paper. Since I know so many people there by first name it never is a short trip. LOL. I smuggled in a museum box full of recent prints. Pedro at the door told me to just go in, so I did not have to check my parcel.

So I whip out some prints to show my friends at the used department. Brent just looks at the top print, thinking because they are inkjet prints that they are fragile, and perhaps thinking I am kinda nutz transporting them in a box not interleaved stacked on top of each other. I then wet my finger with spit and wipe the surface of the print, and the squeege the wet print with my palm of my hand to encourage him to handle my prints like silver wet prints.

A bit of a flash mob assembles and everyone is kinda blown away by the blacks, the tonality, and the detail. Anyways it was mucho flattering. Someone asked me if night shooting is what I do, but I explained I only picked a series of night shots because I wanted to see what this new inkset could do with mucho black. Another question was if I used a tripod because of the resolution.

So last night I printed some small prints and two 12x18's. WOW.

Anyways I apologize for public-Cal-Lee masturbating, and I promise to be humble again, but it was really flattering to get feedback and a great response from people who I consider hard core photographers with highly trained eyes.

Cal

 

[Phil_F_NM]

That era was the apex of MTB design for me. Well aware of the many advantages of modern materials and technological advances, I'll still stick with the four bikes -circa 1993 to 1997 - cluttering my basement. They're classy looking and fun to ride. Also, I'm stubborn and refuse to give up my 8-speed thumb shifters and cantilever brakes!

Interesting but hardly surprising that so many people with a fondness for old cameras would also have one for old bikes.

2015 and 2014 saw me purchasing TWO of my dream mountain bikes. The last issue of the Tange Prestige Stumpjumpers. I bought one frame on craigslist locally then a few months later, another in the same size wandered in to the shop I was working at. I got it for $25. Turns out the shop also had a large stock of uncut, NOS rigid (suspension geometry corrected) Prestige Direct Drive forks IN THE SAME COLOR for those frames. So my basement has two of them, on is in bits, the other is built up as a two speed. I built it with Suntour XC Pro cantis, levers and cranks. Replaced the outer ring on the crankset with a steel rockring and the "middle" ring spot holds a 36T Salsa chainring. This drives a Sturmey-Archer Kickback (freewheel) hub so I get a 2:1 drive and 2:.88 (IIRC on the ratio switch.)
The other Stumpy is possibly going to go to Bethanne but she loves her 1958 Rudge so I'm not going to force that. It will be a 1x7 full XT grouppo. Shifter will be the last gen 7sp thumbshifter (that was the apex of shifting technology, if you ask me.)

I'm a big fan of Suntour thumbshifters. Realize that my bikes are all tricked out with retro aftermarket parts from Cook Brothers, Grafton, and Paul. People freak out over my museum bikes that go back to the day when the best Mountain Bikes were made in the USA. Know that I am a weight weanie and that I only weigh 150 pounds. My old steel IBIS came with 6 speed Suntour Thumbshifters. Remember Microdrive?

Cal

Cal, back when I waas working at Via (I left only at the end of October) we had a box full of XC Pro thumbshifters. We couldn't give them away. They are only good for weirdos who want to run a Suntour freewheel in Ultra spacing in 6 or 7 speed. The microlite/microdrive system was ok but still not as good as the freewheels. "Microdrive" is still in normal use as standard gearing on bicycles today but the Suntour stuff has gone the way of the Dodo. I know of a few Microlite freewheels sitting in a flat file at Via. No one will ever buy them. As for the Suntour cassette system, there are lots of those cassettes and hubs rolling around. The problem is that once they are worn out, they are done. So we couldn't sell any of those parts as regular drivetrain options because of the whole shifter/derailleur/cassette can of worms. If you use any one of the parts, you have to use them all if you want index shifting. Suntour's derailleurs had a different slope and rate from Shimano's but friction shifting works fine.
My touring bike is a full Suntour Superbe Pro / Cyclone GT equipped ride. I shift with Suntour Symmetric friction shifters and the bike is perfect. I'll be running 6sp Suntour freewheels until I can't ride anymore. I think I have four freewheel bodies and enough cogs to rebuild them a few times.
Suntour was great for a while and it's a shame they departed when they did, how they did.

Phil Forrest