Commenti per IN TheDarkroom

Commenti su Ansel Adams: noi l’abbiamo visto così di Estiven

Estiven — Sun, 29 Apr 2012 17:42:29 +0000

First you can go out on the Internet and search for sites that feuatre black and white images. Soon you will find that you are drawn to different subjects and the styles of the various photographers.Other than the subject and composition of your images, you will need to be sure that you expose your film as near to perfect as possible and then develop it keeping the temperatures between baths and the wash as close to the same as possible. While developing tables tell processors to keep the temperatures in Color development within a half a degree F, it is not mentioned in the black and white literature which comes with the film. Once you have dried the film in a dust free place, you should be able to print (the perfectly exposed and developed film) without having too much trouble, given that the subject was evenly lit (no more than a 4:1 lighting ration between highlights and shadow area).What you might want to do with your landscape shots is shoot some of them using a 25A red filter. The cloud/sky contrast will be more dramatic.Above all have fun. No one is going to yell at you if your first few rolls of film are not perfect, in fact hope they are not, because you need to see what certain mistakes look like in order to become consistent in your film exposures.

Commenti su A lezione dal maestro Ansel Adams di Josefina

Josefina — Sun, 29 Apr 2012 17:11:48 +0000

I agree with you Steve. But I think that most of these in the camera’ pelpoe are what I call Photo Hippies, they know nothing about the history of photography.Photographers spent a lot of time in the darkroom, dodging, burning and masking negatives. Most serious photographers had a darkroom (but not all, Cartier-Bresson wanted nothing to do with processing prints for example). I did, I had tanks, enlargers and various other equipment.But that only lasted for the first 150 years or so of photography, once we got to the mid 1970 s new color processes were taking over the photo world. And these processes required chemicals and equipment in the darkroom that were just out of the reach of most photographers.So from, say, 1975 to 2000 photographers were ejected from the darkroom and had to make sure it was just right in the camera. People who grew into photography during that period had no idea of what darkroom work was, they did their shots and sent the film off which came back in a week or so as prints, like magic they thought. They had no contact with the printers in most cases. There were custom labs where the photographer could at least make requests of the printers but these were very pricey.Thus the generation of photo hippies was created, they had little contact with the technical end of print making and think that once they clicked that shutter button their work was done.Now digital comes on the scene, inkjets become available and make good prints and all of a sudden, Photoshop is invented and photographers have complete control once again like they did for the first 150 years of photography.The photo hippies are upset since in a strange twist they think that they are traditionalists. This actually has practical affects on digital photographers since these hippies are doing their best to block access to contests and local art shows for digital photographers. Based on their foolish interpretation of photo history and their aversion to competition.

Commenti su Kodak, il popolo del web si divide di Michele Pero

Michele Pero — Thu, 26 Jan 2012 19:25:29 +0000

Negli anni 90 Kodak annunciò al mondo e a gran voce la fine dell'era della pellicola. Erano gli anni delle collaborazioni con Nikon. Ricordo le primissime fotocamere digitali Nikon F5 con i dorsi Kodak DCS nel 1997 in Albania, durante i disordini civili che seguirono al crollo delle piramidi finanziarie. Guardavamo tutti ai tre fotografi mandati da grosse agenzie internazionali con queste fotocamere da 60 milioni di lire al collo e pensavamo a cosa potessero servire, noi che scattavamo in Tri-X ed Ektachrome. La reazione alle dichiarazioni furono immediate. In tanti si gettarono sul neonato digitale. Alla svolta del secolo Kodak annunciò a sorpresa l'introduzione delle nuove pellicole Portra, riviste nella tecnologia. In tanti pensammo la stessa cosa. Alla Kodak si erano accorti di quello che avevano fatto. Fu come svegliarsi da un sogno. Dopo aver vissuto per più di un secolo sulla pellicola, da padroni incontrastati, si resero conto di aver fatto tutto da soli. Di aver gettato al vento e in tutta fretta un patrimonio immenso. In tanti piangemmo alle varie notizie di "product discontinued" che si susseguivano: Panatomic, Technicla Pan, High Speed Infrared, Plus-X, Tri-X Pan, Azo, Fine Art, Portra Endura, tanto per citare alcune pellicole e carte che hanno fatto la storia della fotografia e che sono scomparse per sempre. La Kodak ci ha traditi. Non possiamo soprassedere. Abbiamo tuttavia perso qualcosa e di questo siamo tristi. Oggi so che se voglio l'eccellenza della qualità in pellicola posso comprare Fujifilm. Fuji, il gigante giapponese che entrò nel mondo digitale in punta di piedi, che non ha mai smesso di produrre pellicola e carta fotografica, oggi sorride e ringrazia la (ex) Kodak.