mmeador

I still shoot film, mostly medium format b & w. I have a Yashica 124g and a Diana F+ for that. I also shoot IR with a Nikon N6006 from time to time.
I have an old Durst enlarger for prints or I can scan my negatives into my computer.
For about $100 you can get the chemicals, a thermometer and a can for developing film.
I use Photographers Formulary.
This year I am going to get into tintype, it doesn't have to be the latest and greatest to have fun.

rpavich Loc: West Virginia

I shoot film exclusively and love it.

I shoot lots of 35mm with my favorite camera; the Olympus Trip 35 and also shoot a couple of Holgas with 120 film, a Holga wide pinhole camera and a really nice pinhole 4x5 camera from Reality So Subtle.

Oh yeah...I have a couple of Nikon FM2's for when they are needed.


I shoot mostly black and white and do my own developing and darkroom printing but I also develop and print color darkroom prints also.

burkphoto Loc: High Point, NC

As long as there are humans... and maybe robots...

Spirit Vision Photography Loc: Behind a Camera.

I shoot film exclusively.

sabrejet

Would like to know what scanner you use? Thank you.

Shutterbug57

I shoot film, mostly B&W, but also some MF color.

BebuLamar

You don't think there is another technology invented before 100 years?

burkphoto Loc: High Point, NC

Here's a different take... Use a digital camera to record raw files of your slides and negatives. Then process them in Lightroom or Photoshop (etc.) to create a final image.

These images were copied from film (two Kodachrome 64 slides and two Ilford B&W negatives — probably FP4 film) using a Lumix GH4 Micro 4/3 camera and a 30mm f/2.8 Lumix macro lens.

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burkphoto Loc: High Point, NC

It's quite possible, but I think there's plenty of life left in microprocessor technology and digital sensors.

An iPhone has at least 100,000 times the computing power of the computer onboard the 1977 Voyager spacecraft. That's a NOVA show quote from one of the engineers who worked on the project.

If we can improve computing power that much in 40 years, where will it — and sensor technology — be in 40 more years? Imagine how good photos of the outer planets would be with the 40+ Megapixel sensors available today?

Shutterbug57

What is your set-up for shooting your negatives/slides? I see the camera/lens info, but are you using a light table, some sort of holder to mount the film to the camera, something else? I am quite interested in how you are doing this as my scanning in a roll of film takes many times the amount of time as developing it using my scanner. I could shoot the whole role in under 30 minutes and that would include the set-up/break down time. I appreciate your input.

ORpilot Loc: Prineville, Or

I still shoot some film. Only B&W. I get my supplies from Freestyle Camera in California. Some of the developers I make myself from the raw chemicals I still have from teaching at the University of Alaska. I still do private classes teaching traditional film technology. I do 35mm, 120, and 4x5. I still have all my publications from Kodak, Ilford, and Agfa. I also have the "bible" Photo Lab Index. If you have questions, just ask. Happy shooting.

speters Loc: Grangeville/Idaho

I too shoot with a 5D MIII, and as you, I do prefer film as well and shoot with it often, I do however do not have a darkroom, so I have to send my film out for developing!

Darkroom317 Loc: Mishawaka, IN

Most of work is film 35mm, medium format and 4x5. I also work with alternative processes such as dry plates and cyanotype. I am a professional darkroom printer working at a regional history museum. I use digital at my job sometimes and for professional work for clients.

Summerbud Loc: California

Yes. Many years ago I was a sports photojournalist and also did a few portfolios for some San Francisco club comedians. I'm addition to my Hasselblad system I favored Canon slrs and lenses. I had a studio in my home, as well as a complete darkroom. A few years ago I bought some digital cameras (dslr and compact and pocket--and, of course, my phone), and I use them all from time to time. But I missed film, so I bought some good used 35mm Canon equipment, some film developing reels and tanks, and Rodinal. I love Tri-X, HP5+, etc., all together in the same tank for one hour standing in Rodinal 1:100. I send out the occasional color film to the Darkroom. Long live film. BTW, My photography these past years has been just "hobby" subjects in my leisure. My Flickr page is https://www.flickr.com/photos/pattrent/

burkphoto Loc: High Point, NC

I built this rig out of an enlarger negative carrier, a flash bracket, some old magnets, tape, glue, popsicle sticks, the cardboard backing from a legal pad, and scrap wood from the box frame a ping-pong table came in. The light source is a 5000K CFL in a fixture made from a porcelain socket in a 100' 35mm film can. It's diffused with several sheets of translucent paper. It works great. I will probably build a better light box and use milk plexiglass to diffuse multiple lamps, for smoother and brighter illumination. For color work, I'll probably switch to photo grade LED lights for their better spectral output.

One thing I have learned... To maximize sharpness, the emulsion of the film MUST face the camera (as it would in any optical printer). You can flip the images in software.

For negatives, I invert images in Photoshop, or invert the curves in Lightroom. Then I flip the images, rotate them, crop them, and adjust them. I have saved several presets to automate some of this.

The raw files give me plenty of latitude to pull just about anything out of the negative or slide that is there. The tools in Lightroom allow tonal adjustments with a granularity that is not possible in any conventional photo lab. If you print to a high end (such as the Epson SureColor P series) inkjet printer on fine art paper, canvas, or inkjet photo paper, the result is a print that can last five times longer than conventional silver halide prints.

The Lumix does a fine job. It reproduces the film grain sharply, and appears to make just as sharp or sharper image than I made optically with an EL Nikkor enlarger lens, several decades ago, from the same negatives. Using noise reduction and careful sharpening in Lightroom can retain sharpness while subduing the effect of the film grain.

I'm exposing in raw mode at around 1/250 @ f/4, ISO 200. f/4 is definitely the sharpest aperture on my macro lens. I use the camera in electronic shutter mode, for vibrationless, silent operation. I trip the shutter with the Panasonic Image App on my iPhone. So there is NO vibration. It's a mirrorless camera, with an electronic shutter, with a WiFi remote... and the table rests on heavily padded carpet.

One advantage of using Micro 4/3 for this rig is that 1:1 on a Micro 4/3 mirrorless is just 1/4 of a 35mm film frame! So if I want to crop part of a slide or negative, I just slide the camera closer (It's on a makeshift rail).

This was an easy design for me, because I spent 8 years making slides for multi-image slide shows. I had a Bowens Illumitran 3c, a commercial slide duplicator. I also had another rig consisting of an inverted 4x5 Beseler enlarger color head, a "slide compound" that had vernier controls that could move a slide in 1/1000" X,Y increments, and a specially modified Nikon F3 with a pin-registered back and precision viewfinder reticle (composition grid). With both rigs, I used a Bogen 60mm wide angle enlarger lens on a bellows, mounted on the Nikon. My assistant and I copied thousands of slides, and composed hundreds of complex images using multiple exposure techniques.

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