Arista Film from Freestylephoto

[Rick A]

Mebbe the gals are too busy doin' it and don't need to talk about it.

 

[scheimfluger_77]

Oh! We're not going to admit that.

Mebbe the gals are too busy doin' it and don't need to talk about it.

 

[Jenni]

Look everyone, she's channeling Sarge!

Sarge is a H.S. friend of mine on the f/295 pinhole forum, he's the first one I heard use that phrase.

BTW, I lament the dearth of women in the forums too, I want to see more of you practicing this art form. Then again the forums may be so testosterone laden that they are keeping their distance.

Steve

Actually I was quoting the famous line from Apocalypse Now, it's Kilgore's quote "I love the smell of napalm in the morning" I love the lighting in that move some of the best lighting on the silver screen. I didn't love the movie though but I do use that quote for many different things. I'll bet you a dollar Sarge got the quote from the same movie.

I do notice one thing different, and this is only an observation I have seen. Women tend to photograph portraiture, while men are more apt to do nature and architecture. I could be wrong. But from what I can tell women want the human connection. I have not poked around ya'll galleries to see if I'm right but I'd wager on that too.

So back on track, thank you all for your advice and help with me troubles, Thank you very much I shall soon be a ninja in the darkroom .

 

[Felinik]

Look everyone, she's channeling Sarge!

Sarge is a H.S. friend of mine on the f/295 pinhole forum, he's the first one I heard use that phrase.

BTW, I lament the dearth of women in the forums too, I want to see more of you practicing this art form. Then again the forums may be so testosterone laden that they are keeping their distance.

Steve

H.S. ??

 

[Rick A]

H.S. ??

High school. Here in the states we do elementary for 1-6 grades, junior high 7-9, and high school is 10-12, those aren't ages, most kids are 18 yrs old upon graduation.

 

[scheimfluger_77]

High school. Here in the states we do elementary for 1-6 grades, junior high 7-9, and high school is 10-12, those aren't ages, most kids are 18 yrs old upon graduation.

In some states like here in Missouri the jr./sr. High schools are split 7-8/9-12.

Steve

 

[Katie]

I notice the same thing jenni. By the way, my sister is a Jenni - although now that she's a grown up (40), she goes by Jennifer... But I still get to call her Jenni. I like Jenni.

I am trying to become a different type of shooter; moving on from portraiture and on to more PJ stuff and arty conceptual things. I cannot shoot anything without an emotional attachment, though. Most women are like that, I think.

Actually I was quoting the famous line from Apocalypse Now, it's Kilgore's quote "I love the smell of napalm in the morning" I love the lighting in that move some of the best lighting on the silver screen. I didn't love the movie though but I do use that quote for many different things. I'll bet you a dollar Sarge got the quote from the same movie.

I do notice one thing different, and this is only an observation I have seen. Women tend to photograph portraiture, while men are more apt to do nature and architecture. I could be wrong. But from what I can tell women want the human connection. I have not poked around ya'll galleries to see if I'm right but I'd wager on that too.

So back on track, thank you all for your advice and help with me troubles, Thank you very much I shall soon be a ninja in the darkroom .

 

[Jenni]

I notice the same thing jenni. By the way, my sister is a Jenni - although now that she's a grown up (40), she goes by Jennifer... But I still get to call her Jenni. I like Jenni.

I am trying to become a different type of shooter; moving on from portraiture and on to more PJ stuff and arty conceptual things. I cannot shoot anything without an emotional attachment, though. Most women are like that, I think.

I do go by Jennifer it's just in the apug world that I am Jenni :0)

Nice to meet you Katie (the name of my second daughter should I be blessed with one). I too have been wanting to branch out. I've been shooting portraiture for the last 22 years and I feel it's time to try doing some things that are still feminine but still life. You know the flowers and the fruit type of thing.

 

[Thomas Bertilsson]

I do go by Jennifer it's just in the apug world that I am Jenni :0)

Nice to meet you Katie (the name of my second daughter should I be blessed with one). I too have been wanting to branch out. I've been shooting portraiture for the last 22 years and I feel it's time to try doing some things that are still feminine but still life. You know the flowers and the fruit type of thing.

Jennifer (I'll stop using Jenni even though Katie likes it... )

If you want to branch out and do something different, can I recommend looking at the work of Marianne Priest? She's an APUG subscriber since the beginning of time (almost), and does some really interesting things. She goes by Mayfair710 here; you should be able to find her gallery contributions pretty quickly by visiting her profile.

 

[Jenni]

Jennifer (I'll stop using Jenni even though Katie likes it... )

If you want to branch out and do something different, can I recommend looking at the work of Marianne Priest? She's an APUG subscriber since the beginning of time (almost), and does some really interesting things. She goes by Mayfair710 here; you should be able to find her gallery contributions pretty quickly by visiting her profile.

Thanks! I took a look at her gallery! Very nice work. There is a subtext to her work... Very nice. Thanks for sharing!

 

[Thomas Bertilsson]

Thanks! I took a look at her gallery! Very nice work. There is a subtext to her work... Very nice. Thanks for sharing!

What I like about her work is that it isn't as 'usual' as a lot of still life work is. Like you say, a subtext, or voice, comes through in all of her work. Glad you liked it!

 

[Jenni]

I had so much fun testing my film that I tested ALL of it!!! The results are great, now I know what I need to do to each type of film to get proper negatives. I'm shooting Thursday--- a couple of models and I'll try printing next week. wish me luck!

 

[Thomas Bertilsson]

I had so much fun testing my film that I tested ALL of it!!! The results are great, now I know what I need to do to each type of film to get proper negatives. I'm shooting Thursday--- a couple of models and I'll try printing next week. wish me luck!

All right!

 

[Jenni]

All right!

I emailed you.

 

[kbrede]

I had so much fun testing my film that I tested ALL of it!!! The results are great, now I know what I need to do to each type of film to get proper negatives. I'm shooting Thursday--- a couple of models and I'll try printing next week. wish me luck!

Jenni,
Could you share how you did the tests?
Thanks,

 

[Jenni]

There are many different ways. Thomas is the one who should tell you how to do it. He is the one who told me. I feel I'd be plagiarizing if I told you.


Thomas may I share your instructions?

 

[Katie]

Thomas is da bomb, is he not? He is so helpful And just a wonderful person to "know".

 

[Thomas Bertilsson]

There are many different ways. Thomas is the one who should tell you how to do it. He is the one who told me. I feel I'd be plagiarizing if I told you.


Thomas may I share your instructions?

Sure, it's no secret.

 

[Thomas Bertilsson]

Thomas is da bomb, is he not? He is so helpful And just a wonderful person to "know".

Blush...

 

[Jenni]

These are the instructions Thomas gave me. "- Film and film developer: This is where it all happens, where most of your darkroom technique will matter in obtaining a good work print. If you expose too much, you will get very dense negatives and gobs of shadow detail. Unless you compensate for it by developing a little less, you may block up the highlights. If you expose too little, you will not get enough shadow detail, and while you can compensate somewhat by developing longer, you can never rescue lost shadow detail. Developing less time means less contrast, and developing more time means more contrast. These are variables that you use to your advantage to create negatives that print with ease.

1. What I do is that I find a scene of average contrast, and I shoot many exposures of the same scene, but I use different exposure. If I were shooting Foma 200 like you do, I'd start at EI (exposure index) 50, and then shoot additional sheets at EI 100, EI 200, and EI 400. Then I would develop those according to the manufacturer's instructions, or some arbitrary time that doesn't seem out of whack.
2. Print all of the negatives as a simple proof print, using Grade 2 filtration. Four 4x5 negs fit on one 8x10 sheet. Expose and process this proof print enough so that the edge of the negative basically disappears and is completely black. Do the 3 minute developing here.
3. Now evaluate the contact sheet / proof print with your eyes and determine by looking at shadow detail only which exposure you prefer. Do not look at mid-tones or highlights at this point. It is not important yet. Only shadows. Pick one that you feel have ENOUGH shadow detail for you and your aesthetic.
4. Next step is to expose yet another similar scene (or the same one if the light is similar) at your chosen film speed, let's say it's EI 100 for now.
5. Now process one of the sheets. Print the negative (again grade 2 contrast filtration) so that you have still have the maximum black through the film rebate. At this time you evaluate the entire print, from shadows to highlights, and you determine whether you think you have too little or too much contrast. If you have too little, you develop next sheet 25% longer. If you have too much you reduce by 20%.

Repeat step 5 until you have a print with nice shadow details, good highlights, and decent midtone separation. This is how you dial in your film and film developing to fit your paper. Of course, if you switch paper or film you have to go do it all over again, so try to remain constant with the materials you use.

It will NOT help to switch papers in search of a better print. It will NOT help switching film or developers either, to get a better print. The only thing that will get you there is technique, and that's the harsh truth."

Thank you Thomas for your direction!

 

[NDP_2010]

Has anyone tried arista ultra 100 in ilford LC29? Im finding it difficult to get info anywhere on the specific combo. I'm guessing 7.5min at 20 C for 1+19 would be ok or should i expect a longer development time?
thanks.

 

[viridari]

I bought a box of Arista.EDU Ultra 400 from Freestyle last Autumn. There is no blue tint on my negatives, but I did pre-rinse the antihalation layer off before developing.

No prints yet as I'm not yet set up for LF printing or negative scans.

 

[John Wiegerink]

I bought a box of Arista.EDU Ultra 400 from Freestyle last Autumn. There is no blue tint on my negatives, but I did pre-rinse the antihalation layer off before developing.

No prints yet as I'm not yet set up for LF printing or negative scans.

I can't say for sure, but I think Foma changed the base some and it's not blue anymore. I also thought the blue tint was in the base material itself, but I could be wrong. I have three 120 rolls of Arista 100 EDU and will find out shortly. JohnW

 

[viridari]

If it wasn't clear, as I wasn't explicit, my observations were for 4x5 sheets, not for roll film.

 

[ntenny]

If it wasn't clear, as I wasn't explicit, my observations were for 4x5 sheets, not for roll film.

I don't think the sheets (or 35mm) have ever had the blue base.

-NT