Q. I've been playing around with different films and developers and combinations for the past couple of months. I want to branch out from HC-110 and see what else is out there, and what else I like.
I've read a lot about Rodinal not delivering full film speed, and I pretty sure that's what I'm encountering here. It seems like whenever I soup in Rodinal at the standard times given on the Massive Dev Chart (a good place to start, at least), the negatives come out around 2-3 stops dark. I don't care so much for test rolls, but I shot a portrait session with medium format PanF+, developed in Rodinal, and lost at least 4 or 5 frames that could have been great. They were just too thin to recover.
Anyone have any advice here? I just want my exposures to come out the way they would if I was using HC-110. I'm not underexposing in camera, it's definitely something to do with the developer. I'm using 1:50 so far, and souping as documented on my little blog I use to keep track of my experiments:
http://filmsanddevelopers.blogspot.com/2013/05/adox-adonal-rodinal-and-ilford-panf.html
http://filmsanddevelopers.blogspot.com/2013/04/adox-adonal-rodinal-and-ilford-delta-100.html
I'm sorry, let me clarify: The negatives are thin. The images themselves (after being scanned or printed) are dark. Meaning, underexposed. I didn't state that very well.
Thanks for the info though, I'll run some more tests.
I've read a lot about Rodinal not delivering full film speed, and I pretty sure that's what I'm encountering here. It seems like whenever I soup in Rodinal at the standard times given on the Massive Dev Chart (a good place to start, at least), the negatives come out around 2-3 stops dark. I don't care so much for test rolls, but I shot a portrait session with medium format PanF+, developed in Rodinal, and lost at least 4 or 5 frames that could have been great. They were just too thin to recover.
Anyone have any advice here? I just want my exposures to come out the way they would if I was using HC-110. I'm not underexposing in camera, it's definitely something to do with the developer. I'm using 1:50 so far, and souping as documented on my little blog I use to keep track of my experiments:
http://filmsanddevelopers.blogspot.com/2013/05/adox-adonal-rodinal-and-ilford-panf.html
http://filmsanddevelopers.blogspot.com/2013/04/adox-adonal-rodinal-and-ilford-delta-100.html
I'm sorry, let me clarify: The negatives are thin. The images themselves (after being scanned or printed) are dark. Meaning, underexposed. I didn't state that very well.
Thanks for the info though, I'll run some more tests.
A. Like more density on the negatives you work with do you?
A photographer in Alaska used black and white film which he exposed to have a minimum of emulsion left on the film back after developing.
If it was my roll of film, I'd have had a heart attack and died on the spot! And if I had survived that I would have had my light meters. handheld and built into cameras, looked at plus the shutter speeds and lens apertures and then the film developers!
But back to all seriousness, this fella, lets call him Bill, also modified his print processing procedure, buying and using a digital enlarger timer and with closing the enlarger lens down, printed some of the most grain free images with great tonal scale! Both pics taken out of doors and pics taken indoors in low light conditions
Most lab rats would close their enlarger lenses down a stop or two and use seconds to expose proof sheets and prints.
This fella closed the lens down a few stops more and used tenths and hundredths of seconds as exposure times!
Plus had many more pic taking opportunities than the rest of us using Kodak Tri-X films or Illford's similar b&w product, pushing films to a paltry asa 800, 1200 or 1600 and exposing films for shadow detail.
This I beleive is where Rodinal and other developers used for developing b&w films rated to higher asa's got their so called bad reputations. The photographers could not or did not know how to modify their print processing procedure to take advantage of ther film developers ability to make such delicate looking negatives and the higher quality grain free images that resulted.
A photographer in Alaska used black and white film which he exposed to have a minimum of emulsion left on the film back after developing.
If it was my roll of film, I'd have had a heart attack and died on the spot! And if I had survived that I would have had my light meters. handheld and built into cameras, looked at plus the shutter speeds and lens apertures and then the film developers!
But back to all seriousness, this fella, lets call him Bill, also modified his print processing procedure, buying and using a digital enlarger timer and with closing the enlarger lens down, printed some of the most grain free images with great tonal scale! Both pics taken out of doors and pics taken indoors in low light conditions
Most lab rats would close their enlarger lenses down a stop or two and use seconds to expose proof sheets and prints.
This fella closed the lens down a few stops more and used tenths and hundredths of seconds as exposure times!
Plus had many more pic taking opportunities than the rest of us using Kodak Tri-X films or Illford's similar b&w product, pushing films to a paltry asa 800, 1200 or 1600 and exposing films for shadow detail.
This I beleive is where Rodinal and other developers used for developing b&w films rated to higher asa's got their so called bad reputations. The photographers could not or did not know how to modify their print processing procedure to take advantage of ther film developers ability to make such delicate looking negatives and the higher quality grain free images that resulted.
How would I go about filming a documentary on my senior year?
Q. I'm about to enter my senior year of High School and I'd like to film the senior year of my friends and I from the last weeks of summer of 2013 till the day before we all leave for our respective universities. I've had this idea for quite some time but im not quite sure how to go about it like should i film in school? or could i even film in school? What aspects should i capture? If one of us mistakenly or purposely does something illegal could we get in trouble if it is on film?
I plan to show the film probably for our five year class reunion
Also, which would be the ideal camera for filming and what editing programs should I use. Any and all input is greatly appreciated!
I plan to show the film probably for our five year class reunion
Also, which would be the ideal camera for filming and what editing programs should I use. Any and all input is greatly appreciated!
A. If you really want to know how its done then just go out their and do it. That is really the best way to learn.
1:
It might cost you some money but if you go to Radio Shak (or shop around on the net) you could see about getting some sort of little camera that you can conceal like in your hat or something. I would suggest using two cameras at all times film your documentary, one that is concealed and one is a small handheld.
2:
When filming just be casual and relaxed don't act nervious or suspicous because this will draw unwanted attention to yourself. Just act normal, you are not really doing anything wrong anyway.
3:
The first thing you should think about is that you don't need to make a spectacle of the fact that you are making a documentary, the less people who know the less oppisition you will have from anyone.
4:
You don't even have to tell people right away (around or after graduation) because it will be more of a surprise to everyone when you show it for reunion.
5:
Your filming should focus on all of the fun things including your friends and teachers who are close to you. Don't forget to included yourself if you also want to be in your documentary, maybe have someone else take turns filming for you.
6:
Try and make people feel special and capture the special moments even for the social outcasts, just generailly try and make people feel good about themselves.
7:
Stay away from contraversial issues. don't film anything that would hurt anyone because this will just turn something good into something bad.
8:
You should film all the major events like dances, homecoming etc etc.
9:
When filming try and be within a reasonable range so that you get really good sound and picture quality.
10:
Be really mindful of the fact if you are moving around a lot, up and down etc. etc. then the video is going to be very shaky and no one likes watching shaky, bouncy, bad quality video.
Try and use a tripod whenever possible probably at like events.
11:
whatever footage you get you should upload it to your computer daily that way in case someone does attempt to keep you from filming a documentary you will still have some footage. YOU SHOULD SAVE AND UPLOAD THE FOOTAGE YOU GET ON A DAILY BASIS.
INDIEGOGO .COM is a very popular crowdfunding website among independent /short film producers, this might prove to be an invaluable resource to you as well.
It would probably help for you to read this list of books
1: The Pocket Lawyer for Filmmakers: A Legal Toolkit for Independent Producers
by Thomas A. Crowell (Paperback)
2: All I Need to Know about Filmmaking I Learned from the Toxic Avenger
by Lloyd Kaufman (Paperback)
Any of the books by Lloyd Kaufman, he is somewhat of an authority on independent filmmaking.
3: Motion Picture and Video Lighting
by Blain Brown (Paperback)
4: The Filmmaker's Eye: Learning (and Breaking) the Rules of Cinematic Composition
by Gustavo Mercado (Paperback)
5: The Filmmaker's Handbook: A Comprehensive Guide for the Digital Age
by Edward Pincus (Paperback)
1:
It might cost you some money but if you go to Radio Shak (or shop around on the net) you could see about getting some sort of little camera that you can conceal like in your hat or something. I would suggest using two cameras at all times film your documentary, one that is concealed and one is a small handheld.
2:
When filming just be casual and relaxed don't act nervious or suspicous because this will draw unwanted attention to yourself. Just act normal, you are not really doing anything wrong anyway.
3:
The first thing you should think about is that you don't need to make a spectacle of the fact that you are making a documentary, the less people who know the less oppisition you will have from anyone.
4:
You don't even have to tell people right away (around or after graduation) because it will be more of a surprise to everyone when you show it for reunion.
5:
Your filming should focus on all of the fun things including your friends and teachers who are close to you. Don't forget to included yourself if you also want to be in your documentary, maybe have someone else take turns filming for you.
6:
Try and make people feel special and capture the special moments even for the social outcasts, just generailly try and make people feel good about themselves.
7:
Stay away from contraversial issues. don't film anything that would hurt anyone because this will just turn something good into something bad.
8:
You should film all the major events like dances, homecoming etc etc.
9:
When filming try and be within a reasonable range so that you get really good sound and picture quality.
10:
Be really mindful of the fact if you are moving around a lot, up and down etc. etc. then the video is going to be very shaky and no one likes watching shaky, bouncy, bad quality video.
Try and use a tripod whenever possible probably at like events.
11:
whatever footage you get you should upload it to your computer daily that way in case someone does attempt to keep you from filming a documentary you will still have some footage. YOU SHOULD SAVE AND UPLOAD THE FOOTAGE YOU GET ON A DAILY BASIS.
INDIEGOGO .COM is a very popular crowdfunding website among independent /short film producers, this might prove to be an invaluable resource to you as well.
It would probably help for you to read this list of books
1: The Pocket Lawyer for Filmmakers: A Legal Toolkit for Independent Producers
by Thomas A. Crowell (Paperback)
2: All I Need to Know about Filmmaking I Learned from the Toxic Avenger
by Lloyd Kaufman (Paperback)
Any of the books by Lloyd Kaufman, he is somewhat of an authority on independent filmmaking.
3: Motion Picture and Video Lighting
by Blain Brown (Paperback)
4: The Filmmaker's Eye: Learning (and Breaking) the Rules of Cinematic Composition
by Gustavo Mercado (Paperback)
5: The Filmmaker's Handbook: A Comprehensive Guide for the Digital Age
by Edward Pincus (Paperback)
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