What's New at 120studio.com
2017 June 20
Free PalletsKodak Tri-X 400 @ EI 1600
Just a quick scan with lots more, when I get the chance. Been working on a number of metal projects, including some brazing repairs, fixing up a track anvil, etc. More soon, hopefully.
2017 June 15
Tech, Electricity, Weather
New Article: Open Neutral on the Utility Side. How to detect this very dangerous electrical problem before it does serious damage to your electronics, or you.
This problem can affect anyone at any time, so give this article a read.
2017 June 8
Fujichrome Velvia (35mm)
f/8 @ 1/2 or 1 second, I think
2017 June 7
Film, Metal & Shop
Here's a project and photo essay that combines Fujichrome Velvia with some metalworking fun.
New: 1979 Taiwan Bench Vise Upgrade! From an unwieldy pile of junk, to... well, it works, and the swivel base even works now, sort of.
This photo was taken with Fujichrome Velvia original. The vintage effect you see here is not a trick of Photoshop. The only thing I did on the computer was bring it out a bit in the scan.
So, how do you get this effect? This one is going to have to keep its air of mystery until I get an article ready, but for now, enjoy this article & gallery.
2017 June 2
This was the entry I was going to post on Friday, but I'm putting it up here now (June 6) instead.
Often we remind ourselves to slow down and make better pictures. This is good advice. Yet again, though, digital has instilled in me a careless approach.
When digital cameras weren't part of the mix, I'd usually take just one or two of any given subject, then move on to something else. There are exceptions, but I was looking at some autumn foliage pictures from this past season and it got me thinking. Five or six pictures of the same bunch of trees? No different angles? It's as though I was using a digital camera again.
In film photography, being selective is one of the most important skills. Look through the viewfinder, "see" deliberately, and skip the ones that you wouldn't want in an 8x10. I used to pass up a lot of scenes this way.
Is there any clutter near the edge of the frame? Is there negative space that doesn't really do anything for the picture? Did starlings, uh, "alter" the subject matter in some way that calls for a wire brush? There are a lot of things to consider with even the most basic composition. I know; the idea is to make it be "second nature", so you don't even think about it. But the reality is that we're always having to pay attention to what works and what doesn't. Otherwise you can end up with "a hundred pictures of what you had for breakfast this morning".
The other day a filter saved my AF Nikkor 50mm lens. It must have clanked into one of the big rusty pieces of iron that I like to photograph. I didn't even notice how it happened, but I'm sure glad that lens filter was on there.
And the reason it was on there is that it was a good filter. Not a top-top-priced one, but a good one nevertheless.
A cheap filter, with all its flare and ghosting, probably wouldn't have been on the lens.
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