Afterexposure Photography

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Film

One image, two shots

A while back I posted about this digital shot I used to check exposure for a similar shot on the Diana F+ :

Parkerhouse, Digital

Parkerhouse, Digital (click for full sized image)

I got some time on Sunday night to develop the Lomography ISO 100 film after some leg work to figure out the correct time for my developer… it’s ‘Shanghai’, so for Xtol the Massive Dev Chart shows a 1+3 dilution and a 16 minute (!) soak. Here is the result, a little tweaked to match the slightly darker tone of the digital image, but uncropped:

Parkerhouse, 120 Film

Parkerhouse, 120 Film

Diana F+ Cheat Cards

I’ve never been really satisfied with the icons on the bottom of the Diana lens that change the aperture, and wanted more ‘exact’ information on what was going on.  After some searching, some fiddling, and some trial and error, here is a cheat card you can print and fold in half to hang from your Diana strap:

Diana Cheat Card

Click for full size!

For different editable versions, click here for the source doc in OpenOffice format.

This chart is a kind of nomograph; you select your film speed on the left, follow the line through the current weather/lighting condition in the middle, and you’ll find out which aperture to set the Diana to on the right. I didn’t put the little icons from the Diana on this chart on purpose as they are bit misleading. Just remember that f/22 is the smallest aperture, and is the little sun icon; f/11 is the biggest aperture, and is the cloud icon.

On the right side is a 35mm turn advance guide. I have my Diana’s winder knob marked off in ‘hours’, or 12 spaced tick marks, so this is the number of ‘hours’ per frame that you should turn the knob. So a ’12’ means one full turn. The X at the start is to load some film before shooting the first frame, and the bold ’10’ is where a roll of 24 exp might run out… same deal with the last ‘!’… you may or may not get this frame, depending on how accurately you’ve been winding.

So where did all this goodness come from? Not me! I’m standing on the shoulders of giants, here folks. Here is where I pulled the information from:

With very little digging I found a chart at Indian Hill imageworks that gives a great summary of exposure times.

But it was a little ‘big’. I tried printing it small, and hacking off the bits I don’t use, but still wasn’t happy.

I wasn’t really sure about the EV descriptions, either. So another 2 seconds of Google and Wikipedia had this to say about Exposure Values.

So now I could use more meaningful descriptions (at least to me), and I could use only the ISO values that I was shooting at to create my own chart.

I also wanted to put something on the back of the chart. Since I sometimes shoot with 35mm film loaded, why not a film advance guide that gives the number of turns per frame? With 35mm loaded there little red window is taped over, so you do have to guess a bit.

I started with this chart over at Photon Detector… but again… wanted something smaller. I also confirmed the number of turns by both putting film in the camera with the back off and counting as I advanced, and of course by shooting some film and checking the results. Depending on what you are using as a take-up spool, and if you use any masks, you might want to change these numbers.

Now, time to get out there and do some shooting!

Diana Surprise

I shot a roll of Ilford XP2 Super 400 last week, and was all excited to develop it… until I realized that although it was black & white,  it needed C-41 development! Ooops! I bought it on a lark without even reading the box, just to take it for a spin, so not a huge deal.

For development I took it to Vistek, since they seemed a likely place to get C-41 120 format film developed, and they did a great job. If only my scanner was up to the job! Most of the scans have streaks in them; in some I’ve minimized them with some digital editing if it was overly distracting.

One technique that worked really well, and is a HUGE cheat, was to shoot every frame digitally first. I had my K10D with 28mm lens set to ISO 400, 1/60, and read the aperture right from the cameras meter. To confirm I did the shots in digital, and it also helped that I had set the camera to use full stops instead of halves or thirds of a stop. So besides a double exposure on the first frame, I ended up with a roll of perfectly exposed film, and 12 usable (if some boring) shots, which was sort of surprising.

The bigger surprise, however, was the clarity of the Diana F+ and it’s plastic lens in some shots. And the not-clarity in others. To get super-crisp shots is almost disappointing; I’d rather they came out all funky and weird! All of these images are hosted over at flickr, and you can see higher resolution versions of them there.

Decent clarity, nice contrast. Surprise!

Decent clarity, nice contrast. Surprise!

Or not so clear. Surprise!

Or not so clear. Surprise!

The interaction between aperture and focus is really pronounced on this camera. Even though the estimated apertures of  f/11, f/16, and f/22 seem to be grouped at the slower end, the depth of field can vary from almost infinite at f/22 @ infinity focus to really shallow at f/11 @ 1-2 meters.

Here are some more:

Sharp. Surprise!

Sharp. Surprise!

Not so sharp. Surprise!

Not so sharp. Surprise!

And on and on it goes:

Sharp, sort of.

Sharp, sort of.

Soft. Except for dead-center.

Soft. Except for dead-center.

It’s almost a 50-50 split between the sharp and soft shots from that day.

Fairly sharp (less so at full resolution)

Fairly sharp (less so at full resolution)

The physical prints are fairly impressive in their own right. Although they were only printed at 5″ x 5″, they show a bit more shadow detail and tonal range than the scans do. I was expecting something less crisp; what I had read about this type of chromogenic film was to expect ‘dye clouds’ instead of silver particles… well, that’s not exactly accurate. At large print sizes I could see it contributing to the overall quality, in fact I could see using this film for just that effect with the Diana, or any Lomo camera, especially when it could be printed at poster sizes, or bigger. I think I’ll compose some images for printing at LARGE sizes and see what I get.

Right now the Diana has some of that no-name Lomo film in it, and then I have some T-Max and Delta that are going for a head-to-head in my developing tank, so look for more black-and-white goodness over the next few weeks.