Top products from r/analog

https://www.amazon.com/Ultrafine-Unicolor-Powder-Developer-Liter/dp/B00OU6LXUGn - you can probably get 8 - 12 rolls out of this before it's used up. You'll need a lot misc supplies for at home dev; the more you do it the more items you "realize" you need. My current list:

• patterson tank (obviously) with reels
  
  
• high temperature accurate (105+ degrees) thermostat
  
  
• 3 1 liter amber bottles (for color dev, B&W requires different chems/bottles)
  
  
• graduated cylinders
  
  
• distilled water (not required, but strongly recommended to keep film clean as possible and without watermarks)
  
  
• rubber gloves (keeps hands safe. I have sensitive hand skin so for C-41 these are required personally, but if you're careful and have strong and healthy hands this might not be required)
  
  
• clothes hangers to hang film to dry
  
  
• can/bottle opener to open film
  
  
• timer
  
  
• film sleeves to store negatives
  
  
• (recommended) a jug to store used chemicals to dispose of at a chemical plant. I don't recommend dumping them down the sink. If you're gonna use old processes in a new world, best to do it responsibly.
  
  I probably missed something but that's all I can think of. Watch Ted Forbes' video on at - home C-41 dev to get a better idea of the routine. Hope this helps. I estimate I spent somwhere between 30-70 on the whole thing, but it's definitely worth it versus the 10 dollars per roll I have to pay at a lab.
  
  You also have to, though, factor in scanning. I have a scanner at my College's film lab that they let me use, but if you don't have access to one that's something else to consider. If you don't care too much about quality, most libraries have printers with decent scanners.
  
  Good luck!

I might try to do this, too. I'm just a photo student, but I have a decent amount of experience critiquing photos and being critiqued. (The photo program I'm in is small, the classes are smaller, and we're all essentially friends honestly critiquing each other so I like to think I've gotten good at critiques.)

And, you know, you're totally right about the lackluster bodies of work. I actually downvoted a couple people in here who are now kinda complaining about downvotes (but not whining, so respect to them). I went through. And one of the people I downloaded posted… an unedited contact sheet. But like, just that. Didn't ask for help editing. Didn't point out the photos they liked.

Just posted the contact sheet.

That's… lazy. Contact sheets are generally, just, they aren't 24 or 36 super amazing photos. Even in Magnum Contact Sheets, you generally only see a keeper or two per sheet. And these are largely super famous sheets.

Do you know that photo of the cloud of white butterflies engulfing a downed satellite? Pretty fucking amazing. Now look at (part of) the contact sheet.

It isn't enough to just… shoot film. I actually like this subreddit a lot. I haunt it more than daily. I plan to post more to it as I gain access to a scanner again. But, you know, just 'cause you're doing something uniquely analog, or just shooting film, doesn't mean what you're doing is all that interesting. Shit. I don't know. I want people to post! I do, I really do. But we don't have a community and there's just a bit too much saturated/unsaturated tumblr.com or 500px.com trendy trite. :/

can't really go wrong with new lenses, especially if they wont add too much extra bulk to all your gear, like the 35, but you could also spend that money on extra film and/or processing. also good to maybe have a small flash handy, you never know.

i travel pretty often, usually with a ton of gear and film, i would say carrying cases and bags are most important when traveling to protect your gear, and to stay organized so you dont accidentally leave stuff behind. try not to over pack though, could just get in the way of things.

as far as protecting your film, they say as long as its slower than 800, it should be fine in the carryon xray machines. never put undeveloped film in your checkins, the xrays used for checked luggage are much stronger, and will def ruin your film. i've never really had a problem with running film through a carry on xray screening, but if you really really want to, you can ask for handscreening of your film, most tsa will oblige actually, especially if you ask nicely, not so much in other countries outside the US. as an extra precaution, i usually travel with my film in a lead lined film bag, just in case, it's also handy for making sure i have all my rolls in one place. i use this one: http://www.amazon.com/Domke-711-15B-Large-Filmguard-Black/dp/B00009USZ5/ also comes in other sizes. hope that helped somewhat.

safe travels, and happy shooting.

> When you get your negatives developed at a local lab, if they have the option to scan the negatives and send it you as jpeg or tiff do you get both or one or the other?

If they have the option, it's generally going to be one or the other.

> Do you think it's worth the extra cost to get a tiff and post process the image more through Lightroom/Photoshop or do you already like how the labs develop the photos and just go for jpeg?

I've done tests comparing images scanned with both of my own scanners, scanning as jpeg and as tiff (at the same resolution) and then testing to see if there's any difference in the amount of data available. In those tests, the images came out exactly the same. I manipulated them, moving slides into crazy positions in Photoshop, and the results were always equivalent.

Maybe that's not 100% definitive, but in my experience a scanned jpeg vs tiff is not the same as digital jpeg vs raw. The latter makes a huge difference. The former makes none. Of course, those are with my scanners and not with lab scanners.

> Can you ask local labs to push/pull your negatives?

You have to ask your lab. They're all different.

> Does that cost extra?

Yes., usually a couple of dollars per stop.

> What are reasons for wanting to push/pull your film? What is the major difference?

Pushing film means you're leaving it in the developing solution for longer than the normal amount of time. Pulling means you're taking it out sooner. It's usually (though not always) done in connection with overrating or underrating the film (setting the camera's EI to a value other than the ISO printed on the box). There are a number of reasons why you'd want to do this. If you're in a position where you need an ISO 1600 film because of the light levels and all you have is ISO 400 film, you can overrate it to 1600, and later ask the lab to push process 2 stops. It's also useful for contrast control when you have a difficult scene. Exposing for the shadow areas and then developing for the highlights allows you to set the "boundaries"of your tone and allow the middle tones to fall into place between them, increasing or decreasing the contrast as the case may be.

The side effects depend on which way you're going. Overrating and pushing increases contrast and grain, can kill shadow detail, and in C-41 films may result in color shifts. Underrating and pulling film reduces grain and contrast, but is hardly ever done with C-41 film because you can overexpose it a lot without changing the development and still get perfect results.

My advice? Don't get ahead of yourself. Be comfortable with an emulsion before you start changing variables. People love to jump on the bandwagon and start push processing before they know what they're doing, and it's really easy to be disappointed in the results.

> I mostly shoot portraiture so any film for portraits would be great! Both black and white and color. Or any 35mm films in general that are just spectacular?

It seems obvious, but the Portra films (160, 400, 800) are designed for that kind of work. Fuji 400H is also nice. These are all professional grade films, so they cost more. If you want to make cheaper decisions for messing around and learning, look into Agfa Vista Plus 200, Kodak ColorPlus 200, or Fuji Superia 400.

For B&W, Ilford HP5+ and FP4+ are my primary films, but I also use Pan F+ and Delta 3200 when appropriate. Fuji Acros is also a great film.

That's a great deal if the camera works. The SRT 102 has a match needle meter system, but you can operate the camera fully manually without a battery in it, as it is a fully mechanical shutter and aperture system.

In terms of what to check for for the SRT-102 specifically.

1. About half way through the production (or early on, I'm not sure of the details), Minolta stopped making them with the mirror lockup option. If that's important for you, make sure the one you're looking at has it.
   
   
2. Check to see if the mirror is stuck. As mentioned, if your model has a lockup, make sure that isn't engaged. If the mirror sticks after shooting, it may be that the bumper is degraded.
   
   
3. Shutter issues - the SRT102 has a cloth shutter, so make sure it's in good condition. If you have access to the camera before buying it, I'd highly recommend you shoot blanks (without film with the back open) to verify the magnitude of the shutter speeds (ie, 1/8 isn't the same sound as 1/250 isn't the same as 1/1000). Also look to see if the entire shutter curtain operates properly.
   
   
4. Check the light sealing, as it may need to be replaced.
   
   
5. Check the depth of field preview to make sure it's smooth and functioning. The SRT-102's works on a toggle. Push the tab in, and it will preview the DoF and button remains depressed. Press it again to release it (kind of like a ball point pen).
   
   
6. If the camera is mechanically sound (shutter is fine, film advance is smooth and not grindy, DoF preview is good) then I'd say 90$ is a great price for it, especially with that Rokkor-X f/1.4 nifty fifty. Is the glass clean?
   
   
7. If you care about the meter, verify its function both by using/bringing a mercury replacement cell and using the "B.C." function on the bottom of the camera. Also look through the glass to see if your exposure is approximately right (use sunny 16 or an external meter to verify). Also, this is a good opportunity to check if the battery terminals are mucky and shitty.

I've read the 'holy trinity' (The Camera, The Negative, The Print) but I've found that I like Way Beyond Monochrome (second edition) much more. It's more modern and covers why multigrade papers are so awesome, Ansel only covers this slightly in The Print while WBM covers in in detail.

Also, for printing in general, Larry Bartlett's B&W photographic printing workshop is the best piece I've ever written. The technical side of things is covered better in other books (and here it's only covered in a few pages in the introduction chapter), but this book is a description on how a master printer approaches and prints several tricky images, as well as more normal images. I've read it several times and will most likely read it several times again.

The technical bits are easy, however. Better read photography books, for portraiture I really like the work of Inta Ruka (People I know is...magic) and Gregory Heisler (50 portraits).

The best way to attach a strap is to get an original set of lugs and an original strap. There are also good aftermarket straps such as a number of OP/TECH straps that come with lugs.

I actually like the RZ67 and 645AF straps the best for my 1000S, and you can still get them new. I got a new-in-plastic black RZ strap, with a gold embroidered "Mamiya" logo and lugs, on eBay for ~$25.

I've never heard that there are different lug sizes out there, but that wouldn't surprise me -- Mamiya made the 1000S for like 15 years. Most of the changes happened in the first few years though, such as the shift from the "Mamiya" logo to the "Mamiya 645" logo, the introduction of the "S" accessories (updates to the originals, like the WLF S, PD Prism S, Extension tube #3 S, the 55/2.8 S and the 45/2.8 S), and the replacement of the original 105-210 with the updated one, for example. After about 1980 the system was pretty stable.

Yes! I forgot to add this. I bought the V600. It's $200, but it's pretty nice. You can get nice, cheap, compact ones too, but I had used this before, so I was more comfortable shelling out the extra cash for it.

I just bought a Powder C-41 Processing Kit and I have first-time developing questions:

1. The instructions that came with the developing kit require that the temperature of the chemicals to be at 102°F. Is there a benefit to keeping the chemicals at a certain temperature?
   
   
2. After each chemical process, do I just pour the previous chemical back into it's respective bottle and then pour the next chemical process in?
   
   Any help and advice is very much appreciated! If there is also anyone who can who has experience with developing with this kit, I would love to get in touch!

Hi everyone- long time reader, first time caller.

B&W Development

I'll be using HC-110 (liquid concentrate), tap water for a quick "stop" bath, and Ilford Rapid Fixer. I bought my current liter of HC-110 concentrate back in 2017 and I've maybe used ~5% of the bottle. If I only ever use Dilution B, some quick math says it's good for a total of 64 rolls of film (35mmx36 or 120). Some Googling tells me that it'll last forever in concentrate form, even if it isn't airtight. My bottle has some dark brown spots and streaks in the air portion of it and for the time being, I've squeezed the air out.

Question 1: What do y'all think about the HC-110? It should be fine, right? I'm going to get one of those accordion bottles and transfer the concentrate I have out of the original bottle and into one of those. (Unless anyone has an alternate suggestion?) I leave all my chemistry in a fairly dark cabinet in a relatively dry part of the house, but given that I shoot so little film, I'd prefer not to have to rebuy chemistry every year if I can avoid it.

Ilford's documentation for the Ilford Rapid Fixer is that a single batch diluted to 1+4 is good for 600 rolls, but if it's stored AIRTIGHT, it should be replaced after 12mo. Knowing that 12mo will always elapse long before I get through 600 rolls and because I couldn't think of a way to keep it airtight before stumbling across those accordion bottles, I basically use it as a single shot liquid, just like developer.

Question 2: Does fixer last longer in concentrate form? Should I leave it as a concentrate and dilute as needed? Does anyone have any suggestions other than those "accordion" bottles for fixer? It's been a full calendar year since I used what I have on hand and, frankly, I just don't trust it anymore so I want to be smart about how I use the next set that I buy.

Question 3: I've heard that developer and fixer shouldn't be put down the drain. I've been collecting spent developer and "spent" fixer in additional jugs; can anyone tell me how I could go about figuring out where I can take this stuff?


Color Development

Full disclosure: I've never done color development before. BUT we got a sous vide recently and some Googling confirmed that it can be used to get chemistry up to temp reliably for C41 processing, so I want to give it a shot. Now, I see these C41 "kits" that include developer, blix, and stabilizer and they say that the developer is good for 8 rolls.

Question 4: Since it all comes in a kit, am I correct in assuming that all three fluids should be replaced after 8 rolls? Also, they specifically say 8 rolls of 35mmx36, which according to my back-of-the-envelope math, is the same as 8 rolls of 120. Do I have this right? And since its only 8 rolls, I plan on just putting this stuff in some amber 1L bottles I have laying around from back when I attempted to make Kombucha. Do y'all have any thoughts on this?

Thanks everyone!!

Wein Cell makes a great replacement for the original mercury battery. I'll provide the link below. The battery is the only one that is accurate, and is not too costly. I don't know how long the battery lasts, I hear it usually goes for 3 months before the battery wains. The camera can also shoot fully manual, with no battery in the camera at all. It's very handy for learning to shoot film, and also if the battery runs out you're not completely out of luck. I'd highly recommend the camera, I found it for $70 on eBay in very good condition, only needed new light seals. I love my camera, definitely look into it. http://www.amazon.com/WeinCell-MRB625-Replacement-Battery-PX625/dp/B00009VQJ7

I can’t speak to the F3, but I love my Canonet. I have an earlier model QL17 with a 45mm lens. I have only used the wein cell battery and my light meter has been very accurate. I usually point towards the ground to meter for shadows and then manually set my exposure.

Previously, I have only shot on canon DSLRs. I have really enjoyed working with a rangefinder. I did a first impressions post in the rangefinders subreddit and all of my posts on analog have been from my Canonet.

Just my 2 cents!

All of the comments sound like good advice to me too. Standardising the processing is a good plan also - to my mind there are far more interesting parameters to experiment with. I'd also endorse looking at Adams' zone system - The Negative, it's mainly intended for sheet film, but he's an easy read and it gives a really thorough grounding in what can be achieved with film - I'll bet it improves your digital work too

I've always liked the weighted metal clips, they work fine and really hold the film. They've been the standard for, like, ever.

I run the shower in the bathroom on hot (to settle any airborne dust down) and clpi a spring clip to the shower curtain rod, and hang the film clip from that, close the door, and come back in two hours. (Before I clip the film, I dry the top of the strip with a kim wipe, hang and squeegie it with my wet fingers, and then dry the bottom of the strip with a kim wipe since lots of water pools up there. How many times have you thought your film was dry but it's still wet under the clips?)

BTW, I find it massively easier to sleeve my film with cheap white cotton jeweler's gloves. I use the regular print file sleevs and a good pair of scissors.

I just found an led light pad used for tracing that works well as a portable light box; works pretty well for proof sheets: http://www.piccoach.com/tipsandtricks/make-proof-sheets-without-scanner/

I don't know anything about this scanner but it's cheap and has pretty good reviews: http://www.amazon.com/Jumbl-High-Resolution-22MP-Scanner-Digitizer/dp/B00ICOB78K/

Make sure it's not in A mode when testing. If you don't have a battery it and it's in A it won't fire the shutter. It should when in manual mode though. If it works $50 is a nice price. It's a great camera. I like mine a lot. I stopped putting a battery in mine though, it's not really worth it and the meter probably need calibration. You can get a Wein cell from Amazon though.

I too have a copy of Way Beyond Monochrome and it is excellent. It's also >2" thick and is $60. I started shooting and developing 1980, in 4th grade. I've read a ton of books and articles on photography and Way Beyond Monochrome is an astounding resource. I would not recommend it to a beginner.

You may want to get a used copy of John Hedgecoe's Complete Photography Course or Photographer's Handbook, both of which can be had for pennies (get pre-2000 editions).

I just picked up the newly published The Film Photography Handbook and it's a great intro that covers traditional and hybrid (shooting film, digital post).

I've been using a Gossen Digisix for years and have been happy with it. It's tiny, weighs almost nothing, has done a fine job as far as I can tell with giving accurate readings, and has survived a few falls onto concrete. I could have sworn when I bought it I got it for only ~$100, so maybe it's cheaper elsewhere?

I also used this light meter through my school, but I've never owned one. I recall not liking something about the design quite as much (no idea what since it's been years), but it worked well for me.

I have no idea if those are the best on the market for that price range, but those are the ones I've personally used.

Is this the Superia you are talking about?

Seems pretty cheap; worth a shot!

Thanks for the recommendation!

Film tends to be personal taste, but for a first time user Kodak Gold 200 or Fuji Superia 200 colour negative films are decent all round films tend to be fairly available in a lot of countries. You said you like the aesthetic of film, any examples i can look at to maybe make a specific recommendation?

I live in the UK so i'm not sure where you get film or develop it in Canada, the only Canadian film shooter i know of is /u/azrielknight , any other Canadians here who could help?

>Where do you recommend I get my lens from?

You can still buy it new on Amazon if you want, or hunt for a used one on ebay, look at the sold listings like i said and see what they are selling for.

I love contact sheets! Looking through mine really brings me back to the time I took the pictures.

Also, check this book out. It's massive, probably the highest density of photography-per-page and by far my favorite photo-related book.

the film will receive more radiation on the flight itself than through three bag scanners in a row.

also, parcel post gets scanned unless shipped accordingly, AND i would very very highly recommend not to ship anything that's of personal importance from anywhere that isn't a trusted forwarder.

as in, literally, you will be absolutely completely fine to keep it in your bag. you can also put them in these safeguard bags and leave them in your checked luggage.

https://www.amazon.com/gp/aw/d/B000KZBRG6/ref=mp_s_a_1_11?ie=UTF8&qid=1506528168&sr=8-11&pi=AC_SX236_SY340_QL65&keywords=sekonic+light+meter one of these little guys and a lot of luck.

Edit: I'm guessing you're also asking what kind of metering I used. I used incident light up close to the plant, the sand was so bright in the midday sun that the sky came out too.

Edit 2: I mean it when I say I was lucky. This was my first serious outing with the big boxy camera and 60% of the shots were so overexposed as to be unusable.

Bought this off Amazon, works pretty well.

You just won't be able to use the light metering. I have the same camera, and this is the battery I use. Works like a charm

http://www.amazon.com/gp/product/B00009VQJ7/ref=oh_details_o03_s00_i00

Re: the blue 9sometimes looks red) line:

What kind of scanner are you using? I use an Epson V600 and get those lines occasionally. Turns out it is from dust on the calibration spots, which on my scanner are small clear squares just off the edge of the scanner glass at the very back (near the hinge). I use an Ilford Antistaticum (http://www.amazon.com/Ilford-1203547-ILFORD-Antistatic-Cloths/dp/B0000AE6AG) to clean them (gently!) and the scanner glass at the beginning of each scanning session and the problem hasn't appeared in a while.

Re: the Newton rings, I put my cupped film into archival holders and lay those in a coffee-table book between the pages, then stack some more books on top and leave it somewhere warm-ish for a few days (or longer) and the film flattens out -- solves that problem, but creates the new one of not wanting to wait for scans!

I've been using this strap. It's pretty comfortable with the padding and for $15 it's hard to beat even though it doesn't look amazing.

I also use a tripod 75% of the time but find no issue with hand holding with speeds of 125th and up. It isn't a camera you get for quick street shooting imo.

This little light meter is great if you're new to film. Mine has been so accurate and durable that I haven't bothered to replace it. That said, it's not great for low-light or very unusual lighting conditions.

I don't suppose that it's possible to use a different software instead of Silverfast? Or do all scanned images have to go through the Silverfast software first?

Edit: Also, how would you say a scanner like that compares to one such as this?

This is the one I’m currently using. It’s $170, which I think is a fairly good price.

https://www.amazon.com/Tracing-AGPtek%C2%AE-Artcraft-Sketching-Animation/dp/B00YA9GP0G

Yeah, I had ordered a V600. I did some research and decided to cancel the order and buy the light table and a tripod for it. The scans are a pain to learn, but once it's learned, they are 100% better looking.

Any suggestions for replacing an old mercury px625 battery for a Canonet QL17? So far the best I can find is a Weincell but they're expensive and I hear don't last very long.

Right off the bat it sounds like your meter may be broken. However, there are a few things to check first before declaring that.

1. Make sure you use the correct battery. As /u/iamthejeff_ pointed out, the OM-1 natively takes a battery that is no longer available. A weincell or a hearing aid battery will give you the proper voltage. You don't 100% need an o-ring to center the hearing aid battery. The cap should do a good job keeping it on the contact tab.
   
   Once you've gotten a battery of the correct voltage you can test the meter again. One thing of note is that the meter movement itself is mechanical. It will respond to the aperture ring and shutter speed movement even if the meter itself is dead. The meter only reads from around 2EV to 17EV so make sure you test this in sunlight to see if the meter is actually functional. If you're in a lit room it's possible that the meter simply isn't sensitive enough for the light in the room.
   
   
2. If you have a regular OM-1 not the n or MD variant (though I think this MAY apply to some MD variants, I can't recall) then you can also take off the bottom plate by removing the 4 bottom screws and check the battery contact screw. On early models this was made of nylon and is easily broken. This can cause improper electrical contact and make the meter appear inoperable. If you have an n model they all used metal screws so this wouldn't be the case.
   
   If all of this checks out and the meter is inoperable then I'd say it's pretty safe to call your meter dead. If you have an interest in reviving the meter you can send it to John Hermanson to do a CLA on the camera. I'm pretty sure he can replace the meter cells.
   
   His website is here.
   
   However, given your circumstances that's probably too slow and too expensive.
   
   
   You can also simply use the camera without a meter. It's a mechanical camera and doesn't need the meter to take photos. You will simply need to employ an external light meter or use Sunny16 or similar exposure rules.
   
   If a light meter in-camera is a must then buying another OM-1 is quite cheap on eBay.
   

All exposure meters are built to work with reference to a certain reflectivity—specifically 18%, hence the grey cards of that tone—with the idea that with the indicated exposure and “normal” processing of film and “normal” printing in the darkroom the area of the print corresponding to the metered area will have the same reflectivity.

For an averaging meter it's the whole scene that's measured. With a spot meter it is a small area. So, spot meter off a shadow and, without adjustment, it will come up at 18% grey and the highlights will be blown. Spot meter off a bright area and the shadows will block up.

Meter off a shadow area and then reduce the exposure by a few stops, and we can get the shadow to not quite block up and still show detail. The full explanation of this is in Ansel Adam's book The Negative, and the technique is known as the Zone System.

There are adapters. And if you don't like buying extra stuff, you could just compare it to a known good camera and compensate with the ISO dial.

thank you! I actually got a camera from my father, a Cannon ae-1 but its not in working condition.
Is this film worth checking out?
https://www.amazon.com/Fujifilm-1068620-Superia-X-TRA-400/dp/B00004TWLZ/ref=sr_1_1?s=photo&ie=UTF8&qid=1469489165&sr=1-1&refinements=p_n_feature_browse-bin%3A172451

I actually just bought the whole kit and started to develop at home again since I am no longer able to access the college darkroom facilities.

I will link you everything I bought (which was on B&H/amazon/walmart) in USD.

FOR B/W:

• Large Changing Bag $23.95
  
• Kodak D-76 Developer $6.95
  
• TF-4 Fixer $13.95
  
• [Delta 1 Chemical Storage Bottle] (https://www.bhphotovideo.com/c/product/70862-REG/Delta_11140_Datatainer_Chemical_Storage_Bottle.html) $7.95
  
• Two measuring cups $0.88 x2
  
• Paterson Tank $26.75
  
• Can opener $5.22 (but you can find these at thrift stores/good will for 50 cents or your parents might have one)
  
• scissors (you have this)
  
• additionally you can get a thermometer, PhotoFLO, and clips to hang your negatives.
  
  
• Total cost: $81.81 put aside $100 for everything.
  
• Cost for just chemicals: $20.90
  
  You can get around 20 rolls of film per 1 liter dev of D76 1:1 & TF-4 Fixer. This means you'll be spending 1 dollar per developed roll
  
  
• ps. TF-4 Fixer is amazing. It takes 3-4 minutes to fix, no need for stop bath (use water), no need for hypo clear. Just two chemicals and you're done!
  
  FOR C-41 COLOR:
  
  
• C-41 $29.95
  
• 32 oz Bottles $11.98 for 2 pack (you need 3)
  
• thermometer; very important to have for constant temp when developing
  
  
  Check out the side bar for how to develop B/W & C-41. Or check out youtube videos.

I have an older version of this:

https://www.amazon.com/Epson-Perfection-Negative-Document-Scanner/dp/B002OEBMRU/ref=sr_1_1?ie=UTF8&qid=1494538591&sr=8-1&keywords=epson+film+scanner

You need to get a film holder as well (if it doesn't come with it):
https://www.amazon.com/Epson-Perfection-V600-Negative-Positive/dp/B011Z47MCI/ref=sr_1_7?ie=UTF8&qid=1494538591&sr=8-7&keywords=epson+film+scanner


Basically - they're a regular flatbed scanner, but instead of having the light shine from below (for documents), they also have another light above that shines down through the film to illuminate it.

This [battery adapter] (https://www.amazon.com/Battery-Adapter-Camera-Exposure-Mercury/dp/B00CTNZ9H0) will allow you to use modern batteries so your meter will work.

The old F-1 and F-1n take a PX625 mercury battery which is no longer produced. This is the modern replacement, but it's a zinc-air battery with a shorter lifespan. There are battery adapters that allow the use of common silver batteries.

The new F-1 with a battery compartment on the front takes a 6V lithium (Duracell 28L) or alkaline (Energizer A544).

I purchased mine on amazon: https://www.amazon.com/Canon-CanoScan-9000F-MKII-Scanner/dp/B00AGV7TQG/ref=dp_ob_title_ce

I think I paid $130 at a point when it was on sale

The Ansel Adams series

Camera

Negative

Print

Learn how to use the camera at your own pace then learn about processing at your own pace. And finally printing if you want to do that at your own pace.

There's basically a whole chapter devoted to this in the classic Ansel Adams book, The Negative.

Basically you take the meter reading and add a few stops. But I don't live in a place with snow either, so my personal experience isn't the best.

I've heard that Magnum's Contact Sheets is really incredible.

I just use these, then store them in a binder.
https://www.amazon.ca/Archival-Storage-Sheets-35-7B25-Negatives/dp/B00009R90P

For a purpose built tool: https://www.amazon.com/Leader-Retriever-PICKER-Cassettes-Extractor/dp/B00DN1080U

I'm gonna start developing for the first time in a couple of weeks, any tips for first timers? Also, I've been looking at this V600 for my scanning needs, so any thoughts?

Fujifilm Superia X-TRA 400 35mm Film -4 Pack

http://www.amazon.com/Fujifilm-1014258-Superia-X-TRA-400/dp/B00004TWLZ/

Close to $2 a roll.

I'm under $6 a roll doing this:

• Buy cheaper color film (Fujifilm Superia for $2.50 a roll: http://www.amazon.com/Fujifilm-1014258-Superia-X-TRA-400/dp/B00004TWLZ/ref=sr_1_8?ie=UTF8&qid=1344296327&sr=8-8&keywords=fujifilm)
  
• Get it developed at a drugstore/costco, etc.
  
• Just get low-res scans and only get hi-res scans when you really need them. You can always get a roll scanned again later.

You can get archival sheets from Amazon.

The Epson V600 is a go to for home scanning. I'm going to be picking up one myself in the near future.

I used a Canon 9000F markII flatbed scanner
https://www.amazon.com/Canon-CanoScan-MKII-Negative-Scanner/dp/B00AGV7TQG/ref=sr_1_1?ie=UTF8&qid=1520995242&sr=8-1&keywords=canon+canoscan+9000f+mark+ii

I use this and this. You can get the sleeves in several different sizes. I have enough 120 negatives that I need to invest in a separate binder.

Do you own a DSLR and a macro lens? If so, you can get results that rival professional drum scanner, and beat the typical (Epson V700) consumer level scanners. It's kind of a PITA to set up though, and you have to do a bunch of post processing if you do the multi-shot/stitch method for higher resolution. I just do them as a single frame since I'm not making prints or anything. Here's my setup in action.

I also did a bunch of experimenting with different backlights etc. trying to get my regular all-in-one printer scanner to get decent results, but nothing came out anywhere near as good as just taking a picture of a picture.

I am curious if anyone has tried one of those cheapie negative scanners you can get on amazon for under $100.

I'll say if you get a 50mm 1.8 avoid the pancake and AI-s ones if you want to shoot wide open, i have both of those and they are truly awful at f/1.8.

I'd be tempted to get the AF-D 50mm 1.8, it's a fifth of the weight of your 1.2, you can still buy that new, even looking at the used section on amazon you can get it for about $90. It will meter fine on the FM, the only downside i can see is the smaller focus ring on it, but it's still bigger than the old 50mm pancake focus ring. If you have a local camera shop with one of those on the shelf you could take it down and try it out.

So would this battery suffice as a replacement or no?
WeinCell MRB625 Replacement Battery for PX625/PX13 https://www.amazon.com/dp/B00009VQJ7/ref=cm_sw_r_cp_api_q3BLBbJ8ED3SD

I have a cheap lightbox from Amazon, which I setup on a table. I use a large Vanguard tripod which has a tilt-head so I can hang the camera directly over the lightbox. I level both the lightbox and the camera with a small bubble level.

I'm using an OMD EM5 (mk 1), with the Olympus 60mm macro lens. I turn off IS, switch to manual focus, manual exposure, f8.0. I use the 2 second self timer to avoid camera shake.

I've been laying the negatives down with a piece of glass to hold them flat, but it is causing me some issues, and I've been advised to ditch the glass and rig up another way to keep the negatives flat. Sounds reasonable, but I don't have a good solution in place yet.

While shooting I use the MF magnification option to set focus, and check it every few negatives in case I bumped something. Using f8 gives you a little latitude there. I turn the histogram on and make sure that my exposure is right in the middle - this gives you density correction because you can just keep making the shutter speed longer to let as much light through the dense negative as you want.

In processing, I crop in photoshop to the image boundaries, then use the photoshop actions from this blog post, which work very nicely. I then export a TIFF (LZW compression, no layers), and import into Lightroom for final cleanup, exposure tweaking, and dust removal.

Then, put that shit on instagram.

I'm new to the film scanning side of it, but I've been doing macro capture for other scenarios for a long time, and this method is quick and easy to setup. Took about 30 minutes including fiddling-around time and setup to scan through two rolls of 120 film the other day.

If there is no film leader protruding from the cartridge it's possible it has already been exposed as stated by edwa6040. Other possibility is that someone accidentally rewound it back into the cartridge (it happens more often than you'd think) and in that case you would want to use a film picker to retrieve the film leader from the cartridge.

This will give you a film leader to work with and be able to load you film camera and begin shooting film. If you have an auto load camera, follow the instructions on the inside of the camera as they often have a sticker inside where the film leader is placed.

https://www.amazon.com/Black-White-Darkroom-Dataguide-Publication/dp/0879856025/ref=sr_1_2?s=books&ie=UTF8&qid=1492160981&sr=1-2&keywords=Black+and+white+darkroom

https://www.amazon.com/Film-Developing-Cookbook-Darkroom-Vol/dp/0240802772/ref=sr_1_4?s=books&ie=UTF8&qid=1492161106&sr=1-4&keywords=Black+and+white+darkroom

https://www.amazon.com/Way-Beyond-Monochrome-Traditional-Photography/dp/0240816250/ref=sr_1_1?s=books&ie=UTF8&qid=1492161323&sr=1-1&keywords=way+beyond+monochrome

And, of course, Ansel Adams trilogy, The Camera, The Negative, and The Print.

You can still hack it, it'll just suck a little bit more.

Prewind cameras basically roll the entire film onto the takeup spool when you load the film, then reel each exposure back into the cassette as you take them. The advantage of this is that the camera always knows exactly how many exposures you have remaining, and that if you accidentally open up the back you won't lose any photos you've already taken.

The downside is that prewind cameras shoot images "backwards" compared to other cameras (in a "perfect" 36exp roll, you'd get your first capture on frame 36 instead of frame 1), which makes switching rolls a between cameras a bit annoying.

For your camera-- what you can do is manually trigger the rewind using a pencil or just fire blank shots yourself until the roll ends, and use a leader retriever to fish out the leader once the cassette's wrapped up.

Pop your film back into the camera when you want to switch back. The camera will again prewind and reset to the beginning of the roll. You need to fire black frames again to the number of shots you took before, +1 or +2 for safety, and then continue as normal.