Uncle Jonesy's Cameras Podcast #46: The Listeners Takeover!

 by Kevin Lane

Wayne and I finally got to record a type of podcast show that has been a dream of mine ever since the first UJC Podcast show aired back in 2017:  a show consisting only of listener-driven content. Our faithful listeners submitted some great questions, comments, tips, and stories, and we had a blast answering questions and giving highlight to what our listeners are doing with their photography. Our film photography community truly is filled with "wonderful people," as one of our listeners described them, and we dedicate this podcast to all of you with the hope that we all will learn something new (while having fun in the process!)

In the course of the show we cover a number of topics regarding darkroom workflows, enlarger types, water choices, contrast filter choices, the appropriateness of autofocus cameras, and films we'd love to shoot someday, as well as other interesting topics. I've included links to specific things and people that were mentioned below.

We'd love to hear from you before we record our next show. You can email us at unclejonesyscameras@gmail.com, and you also can find us on Instagram and Facebook, where you can post your questions, comments, tips, and stories. And if you do, you just might get your questions answered or hear your comment, tip, or story on a future show. It's all about community here at the UJC Podcast.

Thanks for listening and Happy Shooting!

Here is a link to a video tour of Wayne's darkroom.

And here is a look at Wayne's print washing setup that uses the Kodak Tray Siphon

Our good friend of the show Mark Gilliland is a talented professional photographer located in Ringgold, Georgia, near Chattanooga, Tennessee. You can find his work on Instagram here:  @magill3179.

Another friend of the show is Paul "Bear" Brown, who is a professor at Savannah College of Art and Design in Savannah, Georgia. You can find him on Instagram here:  @filmprofesorbear.

We mentioned Jr Wyatt's latest darkroom work with pinhole images. You can see that image on Instagram here:  @wyattshootsfilm.

Wayne mentioned the Photographer's Formulary, and online store that sells all kinds of chemistry ingredients for mixing your own photography-related chemicals. You can find them here.

I recently purchased a Giottos AA1910 Medium Rocket Air Blaster as an alternative to cans of compressed air to dust off negatives and lenses. You can find it as Amazon here (we don't do affiliate links.)

I really enjoy reading the Casual Photophile website! Here is a well-written article on the subject of "not-so-cool" autofocus SLRs and why we should be using them.

And here is the ariticle that introduced me to Agfa Codex Rapid black and white film (rebranded as Nanotomic -X. I definitely want to give this film a try.

I also really enjoy reading the Cosmo Foto website, and I write for them occasionally. Here is an article I wrote in which I review the immensely successful Minolta Maxxum 7000, the first autofocus 35mm SLR with the focusing motor in the camera itself.

Uncle Jonesy's Cameras Podcast #45: "The 4x5 Show!"

by Kevin Lane

The Uncle Jonesy's Cameras Podcast reached a milestone this week with show #45, and to celebrate, we are celebrating all things large format with a special "deep dive" show called "The 4x5 Show." In this two-hour show, Wayne and I go step by step through the process of starting a journey into large format photography. We cover camera types and the advantages/disadvantages associated with each, necessary accessories, lenses, film, techniques, developing, and printing. Along the way, we answer some great questions submitted to us by our faithful listeners. It's all about learning - which is what we like to do best here at UJC!

I've been using a Crown Graphic press camera as my gateway into 4x5 photography 

The shutter and aperture controls are on the lens, as well as the cocking lever,
a preview lever (which opens the shutter so that you can compose your
shot by looking at the ground glass on the rear of the camera), and cable release
socket. You must remember to close the shutter and stop down to your desired
f stop before you insert the film holder and remove the dark slide.

Necessary accessories:  a sturdy tripod, an exposure meter (preferably a
spot meter), a cable release, and a loupe for accurately focusing on the
ground glass.

A dark cloth is needed to compose your image on the ground glass. I'm 
using a nylon rain jacket that has a hood. The hood fit onto the Crown
Graphic perfectly.

You'll need film, of course. Wayne's favorite film is Ilford FP4 Plus (ISO 125).
I've been using Shanghai GP3 (ISO 100).

We covered way too much information in the show itself to repeat here in these show notes, but you will see some useful links below. It's not a complete resource list by any means, but these links have helped me in my journey into large format photography, which I began recently. Of course, the real expert here is Wayne, who has been shooting large format cameras and film for over forty years. If you have any questions that weren't answered in the show, you can email them to us at unclejonesyscameras@gmail.com. The same goes for any comments, tips, and stories you may have. We'd love to hear from you!

I want to demonstrate one thing we talked about in the show, and that is how load film holders. The first thing you need to know is that it has to be done in total darkness. If you don't have a darkroom, then you will need a changing bag. It's important to get this right, obviously (as I have found out the hard way), and it's something that can (and should) be practiced. 

To help keep dust out, keep the film holders in ziplock backs whenever they are
not being used. I like to use Post-It notes to identify which shots are in which
holders and to make notes regarding exposure that will impact they way I
develop the sheets.

This sheet of 4x5 film has a notch code. hen that notch code is on the upper right corner, the emulsion
is facing you. Use gloves when handling fresh film.

Pull out the dark slide and fold back the flap on the other end of the holder, and slide the sheet underneath
the rails on both sides. If the notch code is on the upper right side, the emulsion side of the film will 
be facing the correct way.

Fold the flap down and push the dark slide all the way in, silver side out.

Insert the loaded film holder into the spring back.

Make sure it goes all the way in, and you will hear a click. Remove the dark slide when you are
ready to press the shutter button. After you have made anexposure on this sheet, reinsert the dark slide black side out.

Most large format cameras come with a standard back called a Graflok back. This back will accept non-standard film holders like the Grafmatic six-sheet holder and the various roll film backs.

This Graflok six-sheet film holder makes it possible to shoot six sheets without having to change
holders. Great for handheld press photography!

The Graflox six-sheet holder The six septum each hold one sheet, and a spring system inside the holder
moves an exposed sheet to the read so that an unexposed sheet is ready to shoot. 

A Graflok back also accepts roll film holders like this Horseman 6x12. With this, you can shoot 120
roll film in your 4x5 camera and get frames that are 6x12cm. Horseman also made holders for shooting
6x4.5, 6x6, 6x7, and 6x9.

Like other large format film backs, the dark slide must be removed then exposing the film.

Large Format Photography Links

Mat Marrash's YouTube channel has been immensely helpful to me, and I cannot recomment it enough:  https://www.youtube.com/c/MatMarrash/featured

Just about every aspect of large format photography has been covered and discussed at the Large Format Photography Forum. https://www.largeformatphotography.info

Ilford seems to be the film manufacterer most dedicated to large format photography, and you can explore their LF film offerings as well as chemistry and paper supplies here:  https://www.ilfordphoto.com

The Film Photography Store also is a great resource for film and darkroom supplies:  https://filmphotographystore.com

Although you have to dig around some to find it, B&H sells large format film from a variety of makers such as Kodak, Ilford, and Foma. https://www.bhphotovideo.com

The Shanghai GP3 4x5 film that I have been using is available from Amazon Prime here:  https://www.amazon.com/gp/product/B07FKJC4VG/ref=ppx_yo_dt_b_asin_title_o01_s00?ie=UTF8&psc=1

Uncle Jonesy's Cameras Podcast #44: SR-Teeerrific!

After some horrible recording conditions and some uploading shenanigans courtesy of yours truly, Wayne and I are back with a new show that we think is terrific - SR-Teerrific, that is! I start the show by discussing my purchase of a new (to me) camera, a black Minolta SR-T 102. I have two many cameras already (and I am currently trying to reduce that number - see below), but I made an exception for this camera, and if you listen to the show, you will find out why. You may even find yourself wanting one, because the Minolta SR-T camera line was really quite remarkable then and still so now. My camera came with some issues, however, and I discuss how I repaired the meter system in the show. If I can do it . . . 

I bought this camera to use!

The rear CdS cell has become unglued from the 
prism. And look how cloudy the glue is!

I re-glued it with clear epoxy, and now both cells are working
as they should.

The remainder of the show consists of what we hope is the future for the UJC Podcast:  listener interaction! Wayne and I tackle some great listener feedback and questions from some of our favorite "nephews and nieces" about resin coated photographic paper and toning, our favorite types and brands of photographic paper, and the ever-popular subject of pushing and pulling film - how to do it and when should you do it. Our goal for each show is to give all of us a chance to learn something new that can be useful and maybe even fun! 

Of course, to have a show that is based on listener interaction, we need your feedback in the form of questions, comments, tips, and stories. Sharing is caring, and you can share with us by sending us an email at unclejonesyscameras@gmail.com. Voice memos are welcome, too! Also, I try to keep all our listeners informed about future shows on our Facebook page, you can post or comment of one of our posts there. Finally, we are on Instagram, and we hope you will follow us. There is something truly special about the film photography community and how we freely share our knowledge and experience so that the community will continue to thrive. So please feel free to make Uncle Jonesy's Cameras your "community room."

Here is the link to a The Rokkor Files, a fabulous website devoted to Minolta manual focus cameras. Highly recommended.  

Although we are not a camera store or even a business at all, both Wayne and I have cameras for sale. You can see Wayne's Automatic Rolleiflex ("Baby Rollei") here.

You can see my Rolleicord Va here.

You can see my Holga 120N here.

Here is a link to a UJC blog post on pushing black and white film.

Here and here are two UJC posts about pushing color negative film.

Happy Shooting!

Uncle Jonesy's Cameras Podcast #43: Focusing on Focus

Focus, exposure, and composition represent perhaps the three most basic elements of photography technique, yet because most people today take photographs with smartphone cameras, very little thought is given to the idea of controlling focus and using it as a creative tool. Those of us who use vintage film cameras, however, usually have much more control over exactly what in the frame is in focus and what is not. So, Wayne and Kevin are here in this show to discuss focus aesthetics and how to achieve them. As a large format photographer, Wayne has complete control of focus and tends to want everything in the frame to be as sharp as possible. Kevin, on the other hand, shoots mainly 35mm film and often wants to make the background blurry while keeping the subject sharp. Learning how to control focus can become another creative tool that can take our photography to the next level.

Photo by Kevin, who was not happy about the out-of-focus foreground in the upper right.

Also in this show, Wayne discusses his experience with his Automatic Rolleiflex 4x4 twin lens reflex camera. This camera looks just like a smaller version of the classic Rolleiflex, and it shoots 127 film, a roll film that was quite common at one time but is not common today, although it is still made. Developing and printing the film requires equipment that Wayne does not have, so developing the roll and making a print from it was a serious challenge that made for a frustrating day in the darkroom. 

Photo by Wayne Setser with his Automatic Rolleiflex

Finally, Wayne and Kevin answer a listener question about flash sync and how it works. 

As always, you can be a part of the show by sending us a question, comment, or tip. You can reach us by email at unclejonesyscameras@gmail.com. You can also post a question or comment here or on our Facebook page or Instagram feed. We would be thrilled to hear from you!

Until next time, Happy Shooting!

Uncle Jonesy's Cameras Podcast #42: Welcome to Wayne's World

It's a new year, and we have a new show and a new host. We are thrilled to have Wayne Setser on the show today and even more thrilled that he is joining the UJC team along with Kelley and Kevin. We are dedicated to making a lot of great shows on the subject of film photography in 2022, so find us in your favorite podcast app and subscribe.

In this show Wayne takes the lead on an important topic for anyone who loves to hunt for old film cameras: how to test an old camera. Putting a camera through a multi-step inspection can save you some disappointment and money. And while we all love to find amazing treasures at bargain prices, it is important to keep emotions in check so that you don't walk away with a camera that needs more work than it is worth.

Kevin and Wayne answer some listener questions in this show, including one about the right camera to take on that "once in a lifetime trip." Also, we are in a goal setting mood regarding the new year. 

While it's not easy to pick one photograph that represents a "best work," both Kevin and Wayne discuss their favorites, and you can see them right here.

Here are Wayne's three favorites

And here are Kevin's favorites.

Finally, we give away the Minolta AF-Sv, otherwise known as "The Talker." Listen to the show to find out who is the lucky winner.

That's all for this show. Happy Shooting!

Holiday Happenings and Mishaps with the Minolta Hi-Matic AF-2

The days leading up to Thanksgiving Day all the way through Old Christmas (January 6) are among my favorite times of the year. I love them so much that I usually have a major withdrawal in the cold and wet season of January and February in southeast Tennessee. Perhaps this is why I do all I can to preserve the feelings of love, joy and peace that, to me, are at the heart of the holiday season. And for me, the best way to do this is to take a lot of photographs.

This season was no different. I shot some Polaroid film in my SX-70 SONAR One Step, and when I ran out of that, I loaded up my go to 35mm autofocus point and shoot camera, the Minolta Hi-matic AF-2 with some color negative film (more on that later). The Hi-Matic AF-2 is, in my opinion, the best 35mm point and shoot camera Minolta ever made. Its 38mm f2.8 lens is very sharp, and the moderate wide angle focal length gives it a lot of versatility. It's great for photographing groups of people, like one would do at holiday gatherings, but it also would be perfect for travel and street photography. and although I have never done this, one could put a yellow, orange, or red filter on the 46mm filter mount for black and white photography.

For indoor shooting, I have found the built-in flash to be powerful yet effective in getting a good exposure, even in a medium large room. Just be prepared for extreme reactions from subjects who have grown up in the camera phone era and have never experience a "real" photo flash. The flash recharges quickly if you have two fresh AA batteries installed. And who doesn't love a camera that uses AA batteries!

The autofocus is easy to use; just press the shutter halfway.  The autofocus system is accurate, as long as you focus on your subject. For example, if you are photography a group of people, then choose someone and focus on that person. Do not merely aim and shoot, because the camera will focus on whatever is in the little rectangle in the center of the viewfinder. If it is the background, it will be in focus, but your subject(s) may not be. This is a good practice to follow with any autofocus camera.

I really like this camera for a reason that may seem strange to you:  it's lack of automation. For a start, there is no motorized film advance. You advance the film with a lever. Why do I like this? It makes the camera quiet. You could use this camera at an outdoor wedding and not be noticed. Furthermore, the film is rewound in the traditional way of pressing a button on the bottom of the camera and and turning a rewind crank. No one will ever shh at you when you are changing film. Another valuable lack of automation is the ISO setting, which is set by turning a ring around the lens. Why do I like this? I can change the ISO for individual shots for exposure compensation as dictated by certain lighting situations. For example, if I am shooting 400 ISO film, and I want to photograph a backlit scene, I could increase the exposure by turning the ISO ring from 400 to 200 (plus one stop) or even 100 (plus two stops). Just remember to reset the ISO to the correct setting after making the shot.

This manually set ISO "feature" also will be appreciated by that group of film photographers who like to intentionally over expose the entire roll of their color negative film because they like the way the colors "pop." Although I never do this, I will under expose a roll of film and then give it extra development, a process known as "pushing." When you push film, you make the film behave as if it were a faster (more sensitive to light, and therefore a higher ISO) film, albeit with some tradeoffs in contrast and grain. Deliberately over exposing a roll of film and giving it less development time is know as "pulling," and it useful for reducing contrast and grain as well as allowing for the use of slower shutter speeds, as in the case of photographing waterfalls, for example.

There is a disadvantage to having to manually set the ISO on a camera, of course, and that's it becomes possible to set it to the wrong ISO. This shouldn't happen, of course, but it did with the roll of film I shot during our Christmas gatherings. I made the mistake simply because I thought I was loading one color negative film (Kodak ColorPlus 200) when in fact I was loading another (Kodak Pro Image 100). I only discovered the mistake when I rewound the roll and removed the cassette from the camera, and at first I was really mad at myself. However, after I calmed down I realized that the mistake could be corrected by performing a push development, that is, extending the development time. The directions that accompany Cinestill's C-41 development kit give push and pull times, so it was easy to make the development adjustment. When I hung the negatives up to dry, I was happy to see images on the film, and when I scanned them, I was impressed. Pro Image 100 pushes to 200 very nicely, as you can see below.

Debbie and me in front of my cousin's Christmas tree!

Shutter Brother Kelley and his wife, Marcie

Debbie and me with our daughters and their guys

Debbie with the Shutter Brothers mom

The Lane Fam gathered at our condo for Christmas brunch

The building once home to Gilman Paint and Varnish Company is 
now home to the Gilman Grill

Golden Days in December

Today is December 26th, the day after Christmas (or as I like to think of it, the 2nd Day of Christmas!), and the weather is nothing short of amazing, even for southeaster Tennessee. The skies are mostly sunny and the temperature is in the lower 70ºs, judging from the number of people who were out walking along the Tennessee riverfront in downtown Chattanooga, my wife, Debbie, and I were not the only ones who felt that taking a walk and enjoying this beautiful day was a non-negotiable decision. In the dark days of winter, one must take every opportunity to soak up the sun and attempt to prevent vitamin D deficiency and seasonal affective disorder. It is a golden day, and day that makes one glad to be alive, and if one could preserve and bottle a day like strawberry preserves, this would be that day.

I almost always carry a camera with me when I take a walk, and today's choice was my Minolta X-700, a 35mm manual focus SLR first introduced in 1981. It was still available in 1990 when I purchased one new in the box from a camera store ad in the back of Popular Photography. It was only the second (and last) camera I purchased new, and I thought it was the best camera I would ever own for the rest of my life. However, some years later I parted ways with it, and it wasn't too long before I regretted that decision. But Shutter Brother Kelley came through for me in 2017 when he found an excellent copy of one in a second hand shop somewhere and bought it for me, and I've enjoyed using it ever since.

The Minolta X-700 was a wonder upon release, as it possessed three metering modes (Program, Aperture Priority, and Manual) along with many other fine features. I would have absolutely no reservations about proclaiming the X-700 as "The Best Camera Minolta Ever Made" and "One of the Best Film Cameras Ever Made" if it were not for one missing feature - a function so logical that it can hardly be called a "feature." If the camera is used in Manual mode, the LED display in the viewfinder shows the suggested shutter speed but not the speed you selected. You have to look away from the viewfinder to the shutter speed dial to see the selected shutter speed. Minolta included this missing functionality in the X-570, a fine SLR in it's own right. However, the X-570 did not include the Program mode. Why on earth couldn't Minolta put all of theses functions into one "super" camera and then devote themselves to building display cases for the many awards the camera would have won? 

Nevertheless, the X-700 was a superb camera. It has a solid build, and the grip makes it fit perfectly in my hand. Today it's plentifulness and relative low cost makes it an excellent choice for those looking for a film camera. And Minolta's lenses are excellent. Don't let anyone tell you otherwise. I get fine results from my Minolta lenses, including the budget release Minolta Celtic 35mm that I used today. This lens was a surprise gift from a listener (thank you Jeremy Zorns!), and it delivers. Period.

Today felt a little odd as I walked about with my camera. I hadn't shot in full sun in a long time, instead choosing to do my photography with at least some amount of cloud cover. Because I always shoot black and white film with an eye toward making a darkroom print, I think a lot about controlling contrast. Sunny days are high contrast days, and getting the film to hold details in both the shadows and the highlights can be difficult. This is why I develop my Kodak Tri-X 400 (the film I was shooting today) in Kodak D-76 diluted 1:1. Someday I might even try stand development with caffenol C-L to further control contrast. Nevertheless, sunny days are greatly appreciated in late December, and I decided to simply go with it and attempt to capture what I saw. The Tennessee riverfront provides ample opportunities for photography, and the warm sun on my back made the experience even more wonderful. Who knows whether I will get "keepers" from this roll of film when I do finish it and develop it, but one thing I do know:  You have to shoot something to get something. And plenty of good photographs have been made in full sun. I simply looked for things I liked, composed the frame, focused, made some exposure decisions, and gently pressed the shutter button. I felt creative, and it was fun. A good day.