On October 26th, we kicked off Raquets ‘10,000 Rolls’ gallery, celebrating their new lab, the fact they have developed over 10,000 rolls, we would say Racquet Film has a very bright future ahead of it indeed. With the help of the legends at Green Beacon, Parliament Skateshop, Walkens and all their amazing customers, Raquet curated a gallery of submitted images and came up with their very favorites, which will be on show until November 30th during normal trading hours.
Ray Barbee's film ‘A COMMON THREAD’ is about finding enjoyment in things that are challenging. This is a captivating insight into a humble yet remarkably talented skateboarder, musician and photographer who believes that all 3 passions are crafted by various factors outside of the artist's control. From making prints in a darkroom to making music in a studio, Ray embraces the imperfections of analogue formats.
Filmed and Edited by Exploredinary (Sarah Reyes and Daniel Driensky) Original Music by Richard Carpenter with Outro/End Credits Remix by Ray Barbee Modular Synth Jam by Ray Barbee Studio Jam by Vulcho Bonev, Ray Barbee, and Matthew Roi Rainwater End Credits photos on ILFORD HP5 Plus film by Daniel Driensky Special Thanks to Ray Barbee, Michael Bain, Matt Parry, Vulcanic Studioz, and Contact Photo Lab
Source(ILFORD Photo Youtube)
Process your own C-41 color film at home is easy with these 2 simple liquid chemistry mixtures. No special equipment needed!
Processing your own color film doesn't have to be complicated or expensive! This liquid chemical, two bath processing kit can be used at a variety of temperatures with the same equipment you already process your black and white film with at home. No darkroom or automated processor required!
Source (The Brothers Wright Vimeo)
Local WECC member Nick Bedford has published another huge post of B&W Kodak TRI-X street and personal doco photos. He's been shooting with the Nikon FA but just got his Leica M7 back.Read More
In this video, I go over my film scanning workflow using VueScan software and an Epson V500 and then compare the results with Epson Scan. I've only been using VueScan for a short period of time, but I've been incredibly happy with the results, and feel like I finally have a workflow for scanning at home that produces the results that I'm after.
Source ( Youtube)
WECC member and film photography enthusiast Nick Bedford has finally decided to jump into large format with an Intrepid 5x4 Mark III view camera.Read More
We at WECC have been great fans of everything Racquet Films do, and getting a Public Darkroom off the ground is something we are going to cheer and yell about. With a few more "secrets" in the works, this is just the start of what we hope is a great ANALOG revival for all Brisbane Film Fans. We call all to arms and encourage all FILM shooters to help get this well-needed service off the ground ....workshop anyone.
Racquet Film began as a comission-free agency to help photographers make more money without paying fees. We've since expanded rapidly, with the opening of our full service lab (C41, B&W, E6 in 135, 120 and 220 formats, all done in-house). The demand for a public darkroom has become apparent, and the building directly next door of Racquet Film's lab and gallery is currently on hold. Racquet Film are willing to match the amount donated to cover the $18,000 bill to rent the space, and are taking donations to build a pro-grade darkroom that the entire Brisbane community can use. We'd be so greatful for any donation, big or small, whether it be money or darkroom equipment. Having spent four months in the shop, we've witnessed first hand the growth of film in Brisbane, and we want to continue to nurture this advancement, and think the expansion of services for the Racquet community is an amazing way to do this.
100% of the funds will go toward darkroom equipment, associated bills and the other expenses it takes to make a professional darkroom worthy of public use. As previously mentioned, any donations would be greatly appreciated, and we are truly passionate about advancing film photography in Brisbane (the old school way).
Thanks in advance for your support, and feel free to contact us with any questions or suggestions.
An unusual feature to note on the R-D1 is that it is a digital camera that has a manually wound shutter with a rapid wind lever. The controls operate in the same way as film-based rangefinder cameras.
Data such as white balance, shutter speed, picture quality, and shots remaining are all displayed with servo driven indicators on a dial like a watch face (made by Epson's parent company Seiko). With the rear screen folded away, it is not obviously a digital camera.
R-D1 and all of the subsequent modifications of the camera have been using the same 1.5x crop factor sensor, interline-transfer CCD (Sony ICX413AQ). The same sensor as used in Pentax *ist D, Nikon D100. Sensor originally dates to 2002.
Single frame taken above strait from camera, the one below ,Lightroom and a VSCOFILM 'Portra' preset added. Holds up very well for a 6 megapixel sensor.
Source words (https://en.wikipedia.org) image (image (http://theonlinephotographer.blogspot.com.au))
James Joseph Marshall (February 3, 1936 – March 24, 2010) was an American photographer, often of rock stars. He had extended access to numerous musicians through the 1960s and 1970s, including being backstage at The Beatles' final paid live concert in San Francisco's Candlestick Park, and was chief photographer at Woodstock.
Source ( Reel Art Press Vimeo)
I've finally developed all of my latest rolls of film from before and during my Japan trip. Here's everything worth sharing. I did shoot a decent amount of colour, but it's off for developing so I think I'll just use that in my essay in the near future.
Steve sent through to our Facebook page some test results after shooting some Kodak Tri-X for a bit of latitude experiment ... enjoy and thanks Scott
Thought this might be of interest. I conducted some Tri-X 400 135 tests of film latitude and behavior for over and under exposure. Unlike color negative, I wasn’t certain that one could safely over expose the film, particularly with regard to grain/latitude.
All was developed for ISO 400 in D76, scanned by Fotofast and tweaked in lightroom to tweak blacks / whites and exposure to give as much consistency as possible. See
I’ve provided a link to a Dropbox with 2 scenes in it. Exposure was typically measured with a Lumu light meter and cross-checked against the Leica M6 built in meter and Sunny 16 (if applicable). For each of the two scenes I’ve made 7 exposures, progressively from 2 under-exposed, to target exposure (for ISO 400), right through to 4 stops over exposed. I metered for the bike scene (above) at the basket and for the beach scene (below) in the shadows of the tree (hence why not much loss of detail even 2 stops under).
The results are pretty clear and I think can be summarised:
- Anything less than a stop under-exposed dramatically increases grain and drastically reduces shadow detail. Note the bike scene was selected for the varying light in the background room but the scene was metered at the bike basket so the background shadows would be about 2 stops lower again.
- Butter zone is similar to colour neg, 0 to 2 stops over looks good
- Can easily go up to 3-4 stops over with little detriment to the scanned image and only a very minor, almost imperceivable, loss in latitude.
- Over-exposure seems to have little effect on increase in visual grain
A short video on loading the Yashica Electro GSN
WECC member Nick Bedford, has been shooting a lot of film lately on his new Nikon FA compact film SLR with a 50mm F1.8 pancake lens and he's loving it. In this post he discusses how he arrived at his decision to start shooting some of his serious work on film, in particular black and white Kodak TRI-X.
In tenth grade in the early 2000's, a class I was taking at school introduced us to the analog side of photography. Capturing a roll of film with the goal of developing and printing was the lesson of the day, and while I don't remember most of the details, I do remember printing a photograph of a BMW sitting in the carpark in black and white. It was a real photo print made in the school's darkroom. I never had a clue photography would be for me what it is today, but I always remember this.
Over the years I've spent photographing, my appreciation for film has grown from little more than the acknowledgement that it still exists, to frustration and half-baked attempts at shooting it and binned rolls, to a resounding epiphany at the very start of this year that I can't not shoot it.
WECC member Nick Bedford has recently picked up a mint condition Nikon FA with a pancake 50mm F1.8 AI-s standard lens to shoot portraits in black and white along with his professional DSLR work.
Shooting TRI-X, we knew the images would look great but we decided to change up the dev process a little and try out a stand develop with a pre-soak, all at 20ºC. Here's the dev process in bullet points:Read More
We looove film and when Hillvale released their Sunny 16 branded film we thought .... review time.
The specs are as follows, 35mm Colour Negative Film, ISO 400 - 27 exposures. We attended CameraExpo in Brisbane last year and grabbed a few rolls from a stand.
Fuji Superia ????? very close if not EXACT. Great price point and hey its comes in a nice box. Hats off to Hillvale for going the extra mile, a nice usable FUJIESQUE film stock in a pretty blue box. If your're interested you can purchase SUNNY 16 HERE
I had not used my Razzle (Polaroid 5x4 conversion) in some time and decided to take it with me this morning to meet up with fellow WECC members Nick, Rocky, Jeremy & Hannah. If you're not aware, conversions of various Polaroid Land cameras are a great way of making the process of shooting with 5x4 a pleasing and very simple thing. I had my Polaroid converted by the late Dean (Razzle) of Melbourne a few years ago. You can read all about that here.
I had two dark-slides with me which had been sitting in my Crumpler Mild Enthusiast* (old version) for God knows how long. So when I shot through both slides I had absolutely no idea if there was even film in them until I got back to WECC headquarters. Luckily 15 minutes later with my dark bag, Paterson Tank and Mod54 (video available here) and yes we have film and the negatives are ready, one at least.
Rocky grabbed the negative and placed a white peace of paper behind it and held it up to the sun. Using my D600 and Macro 85mm lens he did a quick DIY copy job of the negative which Nick took into Lightroom for some basic post processing.
The first thing I noticed was that I had missed focus. Large format cameras and low apertures are terrible. You really need to close down if you're attempting to hand hold or better yet, use a mono-pod or tripod. I was hand-holding as I feel that is the point of the Razzle Polaroid conversion. What I should have done was pushed the film a couple of stops (400) and closed the aperture down to say f/11 to ensure a better focus. Anyway I screwed up, but for this post it is fine.
Nick grabbed the SD card from the Nikon and opened up Lightroom on his MacBook. Above is the results, from left to right, the negative, basic inversion and adjustments and the final image with a little more contrast to live up the tonal range.
What can I say? Awesome. For all you pixel peeping people, stop what you're doing and shoot some large format film. Now, getting a really great scan is another story.