report: Tonopah Temptation Workshop May 2011

[madmax12]

Wc have to send you freestyle with a SHOPPING LIST TOOO

[Micheal Clark]

Making it a Red eye run Craig?

[Hugo Zhang]

Finally I have some small pictures to post. Whole plate with Tmax 400 film.

[Hugo Zhang]

Some more...

[Hugo Zhang]

And a few more...

[Hugo Zhang]

and to finish up with a few 45 snap shots using a Gowland TLR.

[Micheal Clark]

These are very nice Hugo,to many at once .The tree with fence and that walk way next to it look great,porch and chair and the unframed house, of course the subway entrances and shiny roof on buildings. The last four are just a waste of film though,hee,heee!

[Asher Kelman]

Hello Hugo,

That must have been an amazing sight with you processing all those super-sized negatives! I really enjoyed this view with the ramshackle wooden building overlooking the valley. This one certainly merits our undivided attention!




http://openphotographyforums.com/2007_OPF_AK/Hugo_Zhang/RSZ_IMG_017.jpg

Hugo Zhang: Untitled

"Superintendent's House", above the White Caps Mine, Manhattan, Nevada



This is so impressive in B&W. The compression your lens gives is effective in adding drama to the interface between the steady decay of the ruins and the continued flourishing of nature despite everything.

Thanks for being so helpful and for sharing your work!

Asher

BTW, Jim Galli has a classic panorama picture in color of a related view from this house here (http://www.openphotographyforums.com/forums/showthread.php?t=14005)

[ghostcount]

Hugo,

Awesome shots! You are a ULF master.

Ran

[Jim Galli]

Brav0!Hugo. Thanks for adding to the thread. Some great stuff.

[al olson]

Finally I have some small pictures to post. Whole plate with Tmax 400 film.

You say whole plate on post 254, but I know you had the 16x20 lined up for this subject. Were you shooting both whole plate and 16x20? I am impressed with the depth of field for this shot.

I like the second, through the window, shot as well.

The Supervisor's House is very dramatic. Was a filter used to darken the sky?

Great work!

[Micheal Clark]

18 thru the 19.... hmmmmm two days in the dark room yu got a floor to sleep on LOLOLOL I am up for those days will bring coffeee and other food stuff
Got the old couch or a vacant dog house (not presently occupied,I've been a good boy).

[Hugo Zhang]

You say whole plate on post 254, but I know you had the 16x20 lined up for this subject. Were you shooting both whole plate and 16x20? I am impressed with the depth of field for this shot.

I like the second, through the window, shot as well.

The Supervisor's House is very dramatic. Was a filter used to darken the sky?

Great work!

Al,

Yes, I used both 16x20 and WP for that shot and Eddie pulled the darkslide for me on that one as I was not tall enough for the verticle shot, but the 16x20 negative of this has a scratch right in the middle. Bad neg. :mad:

I have yet to print my 16x20 negatives. Out of 20, I think I have got 6-7 printable.

I used a red filter for that house and the lens is a 13cm Rodenstock Weitwrinkel Perigon. Size of a button and sharp with great contrast.

Thanks.
Hugo

[eddie]

Nice shots hugo. Glen does not look as thin as I expected after his debauchery.

Now let's see the big negs. !

[Hugo Zhang]

[QUOTE=Asher Kelman;735597]Hello Hugo,

This is so impressive in B&W. The compression your lens gives is effective in adding drama to the interface between the steady decay of the ruins and the continued flourishing of nature despite everything.

Thanks for being so helpful and for sharing your work!

Asher,

Thanks and you could make this shot with your 150mm lens if you hiked up less than a 1/4 miles. Al was there.

Thanks for your kind comment.
Hugo

[Hugo Zhang]

These are very nice Hugo,to many at once .The tree with fence and that walk way next to it look great,porch and chair and the unframed house, of course the subway entrances and shiny roof on buildings. The last four are just a waste of film though,hee,heee!

Mike,

The last four look pretty good in contact print. :) Thanks for your kind comment.

Hugo

Randy and Jim, Thanks too.

[Forrest Atkins]

Man, can't believe my error rate. A cropped, shallow focus attempt from the mining museum.
http://www.apug.org/forums/groups/tonopah-nevada-picture35769-tools-2600dpi.jpg

[ghostcount]

I love it Forrest.

[Forrest Atkins]

I love it Forrest.

Thanks Randy.

[Jim Graves]

No error there ... working ends in perfect focus. Very nice.

Most likely the way you imaged it when you were shooting ... only to second guess it after developing. Your first instinct is almost always right. This works very well.

[Jim Graves]

And, if you haven't been paying attention ... we are approaching 11,000 views on our Tonopah workshop thread ... just in case you wondered how popular this workshop is becoming.

I'm reserving my spot for next year (or October, if we can talk Jim and Per into another one this year) right now!!!! October would work good for me ... later early morning starts and earlier afternoon "Golden Hours." I might even make a morning shoot ... who knows?

[Diane Maher]

It depends upon what it is,is or something...ok its female.

You are aware that there are women who visit this site? :rolleyes:

Diane

[Jim Graves]

You are aware that there are women who visit this site? :rolleyes:

Diane

She's got you there Micheal ... Diane, by the way, is the one who introduced me to whole plate and all its virtues in Ft. Collins .. for which I'll be eternally grateful ... great format!

[Forrest Atkins]

No error there ... working ends in perfect focus. Very nice.

Most likely the way you imaged it when you were shooting ... only to second guess it after developing. Your first instinct is almost always right. This works very well.

Thanks Jim, this one came out pretty much as imagined.
Errors to do with a number of light leaks and a few with uneven development in new to me, jobo tank.

[Micheal Clark]

You are aware that there are women who visit this site? :rolleyes:

Diane
I apologize for offending any women who has been reading this post.

Mike

[Jim Galli]

She's got you there Micheal ... Diane, by the way, is the one who introduced me to whole plate and all its virtues in Ft, Collins .. for which I'll be eternally grateful ... great format!

.........and I think maybe I'm the one that introduced Diane. So what goes around comes around, or something like that. :D

[Jim Galli]

And, if you haven't been paying attention ... we are approaching 11,000 views on our Tonopah workshop thread ... just in case you wondered how popular this workshop is becoming.

I'm reserving my spot for next year (or October, if we can talk Jim and Per into another one this year) right now!!!! October would work good for me ... later early morning starts and earlier afternoon "Golden Hours." I might even make a morning shoot ... who knows?

We'll have to raise our price, sleep in until 10:30 - ish. Shoot until 1:30 or 2:00 with a lunch break, then start drinking beer by 2:30 - 3;00 or so. Great idea Jim, it'll be a sell out.

[Micheal Clark]

If the Moderator could please delete post #171 I would appreciate it.

Mike

[Jim Galli]

If the Moderator could please delete post #171 I would appreciate it.

Mike

I wouldn't worry too much mIke. Diane has a great sense of humor and is probably just pulling your leg. Anyways it's my bad for naming my picture female prerogative.

BTW it is imperative to have the ladies along on these workshops. We gearheads need all the help we can get. I for one am always always all ears when the ladies chime in about what they are seeing and trying to do. Great depth.

[Micheal Clark]

I can see her point, I can get carried away some times. The internet is very vast, better to keep things on the up and up.

[Micheal Clark]

Well make that 8.

I finally got enough time to soup some Pyro and fire up the Jobo. Sorry for the scanner dust bunnies.

Unfortunately, my 3010 drum sprung a leak due to the use of a foot pump - I'd hate to dip and dunk in the dark. I'm gonna' try to fix it by using some left over surfboard fiber cloth and epoxy resin; I knew I had a good reason for not throwing all that surfboard shaping materials.

Any you guys know a good way of popping the lid off a 3010 drum without using a foot pump?


http://www.planetrandy.com/Temp_Data/Pics/Tonopah_2011/Tonopah%204x5%20Scan%20-%20Goldfield.jpg
Thanks Ted for helping me out on this shot! :D

http://www.planetrandy.com/Temp_Data/Pics/Tonopah_2011/Tonopah%205x7%20Scan%20-%20Dunes.jpg

Really like that table shoot Randy. Were you inside the room or shooting though the window?

[Stephen Lumry]

I would offer up some images but unfortunately I have been in a life and death struggle with a rootkit infection...I lost so I will not be able to scan for the foreseeable future. Also, the little stuff I did get scanned has the dreaded streaks in the sky. How come I don’t see anyone else with streaks, we were near area 51 and I am sure that is the cause.

[Jim Graves]

Also, the little stuff I did get scanned has the dreaded streaks in the sky. How come I don’t see anyone else with streaks, we were near area 51 and I am sure that is the cause.

Stephen ... I always rub my dark slides with garlic before I reinsert them after loading ... keeps the skies from having streaks and keeps other people from using my film.

[Jim Graves]

We'll have to raise our price, sleep in until 10:30 - ish. Shoot until 1:30 or 2:00 with a lunch break, then start drinking beer by 2:30 - 3;00 or so. Great idea Jim, it'll be a sell out.

I agree ... I've always maintained that if you turn your camera back 90 degrees you'll have the same shadow angle at noon as you would have at dawn ... you just need to adjust what you're shooting.

Here's an example:
http://home.comcast.net/~mary.j.graves/Coffee-Pot-8x10-web.jpg

[ghostcount]

...BTW it is imperative to have the ladies along on these workshops. We gearheads need all the help we can get. I for one am always always all ears when the ladies chime in about what they are seeing and trying to do. Great depth.

Mr. G, are you thinking of implementing affirmative action in future workshops? :p


Really like that table shoot Randy. Were you inside the room or shooting though the window?

Mike, it was outside. I leaned the lens as close as possible and as CAREFULLY on the glass pane - I did not want to break anything. It was hard to focus since the glass was caked with dust. I did not shoot it with a small aperture hoping the dust on the window pane would be beyond the near hyper focal point. Also, the sun was really low on the horizon and behind me so my dimming cloth was not as dim as I would like making it more difficult to see on the ground glass. I took two shots, the other one was just too out of focus, I got lucky on this one.

Ted really help me a lot on this.

[Jim Galli]

I agree ... I've always maintained that if you turn your camera back 90 degrees you'll have the same shadow angle at noon as you would have at dawn ... you just need to adjust what you're shooting.

Here's an example:
http://home.comcast.net/~mary.j.graves/Coffee-Pot-8x10-web.jpg

Here it is 3 minutes after very sunrise of very sunrise..........


http://tonopahpictures.0catch.com/2011Workshop/MrGravesPicture.jpg
please forgive me mr. graves

........and defying gravity to boot. Way to catch that first light Jim!

[Micheal Clark]

Like the second one,maybe cause its toned ,but also seams kind of magical when hanging side ways. Could be the start of some thing new in print viewing.

[Asher Kelman]

Here it is 3 minutes after very sunrise of very sunrise..........



http://tonopahpictures.0catch.com/2011Workshop/MrGravesPicture.jpg


please forgive me mr. graves

........and defying gravity to boot. Way to catch that first light Jim!


There's no doubt that the value of the picture is improved! Simply amazing. Only photographs can change so remarkably! Tried it with money, doesn't work!

Asher

[eddie]

hey all

here are some quick snaps and scans....all with a little ( a lot!) of help from my friends. thanks jim and maurits!

anyway as usual i do not treat my negs so nice. these are plagued with finger prints development issues dirt funny lines etc etc. please look past that crap! :)

4x5 using a struss lens.

al is in one photo....by protest...:) thanks al

[ghostcount]

hey all

here are some quick snaps and scans....all with a little ( a lot!) of help from my friends. thanks jim and maurits!

anyway as usual i do not treat my negs so nice. these are plagued with finger prints development issues dirt funny lines etc etc. please look past that crap! :)

4x5 using a struss lens.

al is in one photo....by protest...:) thanks al

Man, I gotta' try one of those soft focus lens. No worries about the finger prints, it shows the image was created with hands. They look awesome.

[Micheal Clark]

I like 'em Eddy. The one with Al shows a great comparison of steadfastness and reliability. The GMC had the popular and tried an true straight 6 "the Duke" and Al has his hat,a Teck camera and a quiet honesty.

[Stephen Lumry]

Man, I gotta' try one of those soft focus lens. No worries about the finger prints, it shows the image was created with hands. They look awesome.

You can get a PhotoShop action that does the same thing; adds finger prints, dust bunnies and assorted artifacts so that people know that the image is real art. It is called the Eddie Action.

[ghostcount]

Man, I gotta' try one of those soft focus lens. No worries about the finger prints, it shows the image was created with hands. They look awesome.

You can get a PhotoShop action that does the same thing; adds finger prints, dust bunnies and assorted artifacts so that people know that the image is real art. It is called the Eddie Action.

Hahaha... I think Glen was the one who got some action in Tonopah. :eek:

What happens in Tonopah, will not stay in Tonopah. :D

[Stephen Lumry]

Randy, when are you going to post some of those large format "art" pictures of Glen?

[ghostcount]

Randy, when are you going to post some of those large format "art" pictures of Glen?

I sold them to the waitress in Sidewinders. :D I think they are going to hang them in the restaurant. LOL

[Diane Maher]

.........and I think maybe I'm the one that introduced Diane. So what goes around comes around, or something like that. :D

I'm not sure when I was introduced to whole plate, but the camera I bought from someone on this forum. Sorry Jim, the WP camera I bought from you wasn't the first whole plate I bought. I am thinking I bought my first whole plate camera from someone named Christopher, but I might be mistaken.

You guys look like you had a total blast.

Diane

[Diane Maher]

I wouldn't worry too much mIke. Diane has a great sense of humor and is probably just pulling your leg. Anyways it's my bad for naming my picture female prerogative.

BTW it is imperative to have the ladies along on these workshops. We gearheads need all the help we can get. I for one am always always all ears when the ladies chime in about what they are seeing and trying to do. Great depth.

Well Jim, I went to Tillman Crane's North Dakota workshop which I believe was the week after this one. I'm sure that you all had a great time.

Diane

[eddie]

Man, I gotta' try one of those soft focus lens. No worries about the finger prints, it shows the image was created with hands. They look awesome.

You can get a PhotoShop action that does the same thing; adds finger prints, dust bunnies and assorted artifacts so that people know that the image is real art. It is called the Eddie Action.

okay. a coupe of more using my "eddie action"

the 1st is for craig and randy. 90mm SA wide open at f5.6

sorry about the crappy development on the second but it shows the struss softness so well i had to include it.

the last two are the struss again.

[madmax12]

nice stuff eddie that fie place got a lot of work on the trip

[madmax12]

I just realized I am missing two rolls of 120 film WTH it was the Goldfield stuff of the cars and fire truck Dammmmm I have looked everywhere

[Jim Galli]

okay. a coupe of more using my "eddie action"

the 1st is for craig and randy. 90mm SA wide open at f5.6

sorry about the crappy development on the second but it shows the struss softness so well i had to include it.

the last two are the struss again.

Love the first Chebby one, the early one. I think you could do some creative cropping on that neg and end up with a serious keeper for you livingroom wall. Who slobbered on your negs? :rolleyes:

[ghostcount]

Nice work Eddie!

It's awesome to see your "Location" entry on your signature change - I'm jealous. :cool:



I just realized I am missing two rolls of 120 film WTH it was the Goldfield stuff of the cars and fire truck Dammmmm I have looked everywhere

Craig, I hope you find it. I was missing a filter and when I washed my jacket last night it was in the pockets.

[Diane Maher]

Eddie,
That first image looks like a diorama, though I know it isn't one. Well done.

Diane

[Micheal Clark]

Eddy, like the way the highlights just seep out of the pours of the paper when printed so dark.

[Stephen Lumry]

When I grow up I want to be just like Eddy, I think the fireplace shot is just great. For now I will just have to settle for the Eddy Action figure, now available in stores. I can't help but recall the whooping and hollering when the light changed in Santa Fee and Eddie went wild shooting one image after another of the buildings in front as they lit up from the setting sun.

[Hugo Zhang]

okay. a coupe of more using my "eddie action"

the 1st is for craig and randy. 90mm SA wide open at f5.6

sorry about the crappy development on the second but it shows the struss softness so well i had to include it.

the last two are the struss again.

Eddie,

I really like the first one. It shows that you really need a soft focus lens to get an very interesting and moody picture.

Hugo

[Jim Galli]

Eddie,

I really like the first one. It shows that you really need a soft focus lens to get an very interesting and moody picture.

Hugo

Don't tell Eddi that his Super Angulon is a Soft Focus lens, he'll want 3 times as much for it now. :cool:

[eddie]

Don't tell Eddi that his Super Angulon is a Soft Focus lens, he'll want 3 times as much for it now. :cool:

noooo! this one is far too valuable to sell......yet....

[cdholden]

Eddie,
That first image looks like a diorama, though I know it isn't one. Well done.

Diane

I was trying to think of a way to describe this best. I think you nailed it with "diorama". I've seen Aero Ektars have a similar effect with long view landscapes.

[Micheal Clark]

Here is Al taken a five minute break from photoing stuff in Goldfield Nevada.

[Jim Graves]

Now, that is a portrait!

[al olson]

Thanks Mike and eddie. Check the lounge later. I will be putting up a thread for Tonopah Small Formats (and digital).

Meanwhile I am going to add a few more that were made with the Tech IV.

This first one is on Tri-X

http://www.photo-artiste.com/images/tonopah/pullmanzz3x.jpg



This one is on HP5+

http://www.photo-artiste.com/images/tonopah/seat5azzhp5.jpg


This first one is on Tri-X

http://www.photo-artiste.com/images/tonopah/dodgezz3x.jpg


Here is another on HP5+ (Just to present a different angle on a popular subject.)

http://www.photo-artiste.com/images/tonopah/sinkszzhp5.jpg

[al olson]

And finally, one on Ektar 100 (See, there is some vegetation!)

http://www.photo-artiste.com/images/tonopah/secretspotzzektar.jpg

[Micheal Clark]

The paint job on the first one really stands out, the sinks are here, they are pretty interesting all put in order on the ground. Al, I took a picture at the same spot as the last photo ,the color one. Looks good in color, shot mine in B&W.

Mike

[Micheal Clark]

Now, that is a portrait!
Thanks Jim, was busy working with my make believe old soft focus lens (300 Paragon ,wide open on a shaky tri pod). when Al came by and we started talking photography.Al sat down and I swung old shaky Jake around and pushed the button, the rest is history.

[Hugo Zhang]

Here is Al taken a five minute break from photoing stuff in Goldfield Nevada.


A nice catch of a handsome young dude!

[al olson]

A nice catch of a handsome young dude!

You got that one wrong, Hugo. It is a photo of a creaky old fart that is falling apart. I will be visiting my back doctor next week.

Mike, I just might crop out a piece of that photo and use it as an avatar.

[Micheal Clark]

That is fine Al,the photo looks better cropped tighter anyways. I was to lazy to move in closer.

Mike

[Micheal Clark]

Jim's secrete spot. Al has the color version, I toke the B&W version of the same scene. This place does not have very saturated colors and the only way for B&W to work is with the longer shadows of morning and evening or a dramatic clouds putting nice shadows across the land scape.

[Asher Kelman]

Jim's secrete spot. Al has the color version, I toke the B&W version of the same scene. This place does not have very saturated colors and the only way for B&W to work is with the longer shadows of morning and evening or a dramatic clouds putting nice shadows across the land scape.


Hi Michael,

Commendations on this picture. I only just found it.

What different thoughts have you had for printing? Are you going direct to silver gelatin or scanning. For example, is there a value to bringing up shadows in the bright rock on the upper left. After all, there are few long shadows discernible apart from the lower right.

Asher

[Asher Kelman]

And finally, one on Ektar 100 (See, there is some vegetation!)

http://www.photo-artiste.com/images/tonopah/secretspotzzektar.jpg

Al,

Glad you found that brave plant! Do you have this as a scan too?

Asher

[Micheal Clark]

Asher,I have not thought about this photo much,not the best one. I don't have a neg scanner so they are all print scans, have not done any thing to them but contact prints. Takes me about a year to get around to them, just in time for the next Tonopah Work shop.

Mike

[al olson]

Al,

Glad you found that brave plant! Do you have this as a scan too?

Asher

Asher, this is a negative scan. I have no plans to print it because I consider it a mediocre composition, even when cropping out some of the foreground. It was a matter of trying different things to see how they work out.

My intent when I made this exposure (the only color that I made during the workshop) was to see how Ektar handled the early morning light. In fact it does not seem as rich with the orange/yellow cast as I remember that sunrise. Of course I could change that in the darkroom, but I prefer the results from other monochrome compositions over this color.

[Asher Kelman]

Asher, this is a negative scan. I have no plans to print it because I consider it a mediocre composition, even when cropping out some of the foreground. It was a matter of trying different things to see how they work out.

My intent when I made this exposure (the only color that I made during the workshop) was to see how Ektar handled the early morning light. In fact it does not seem as rich with the orange/yellow cast as I remember that sunrise. Of course I could change that in the darkroom, but I prefer the results from other monochrome compositions over this color.


Hi Al,

I'm interested in this color negative because it might allow different ways of eliciting a B&W image from the scene. One would need to scan for the highlights perhaps, to get everything. It's intriguing to consider that converting to b&W by assigning colors to different ranges of grey scale might, in the end, provide novel B&W pictures optimized for this scene. So, even if you don't get excited by the composition right now, it could come alive with a custom B&W conversion.

It's worth trying before the next Tonopah expedition!

Asher

[Micheal Clark]

Al,that aviator looks like it worked out pretty good.

Mike

[Asher Kelman]

Thanks Mike and eddie. Check the lounge later. I will be putting up a thread for Tonopah Small Formats (and digital).

Meanwhile I am going to add a few more that were made with the Tech IV.

This first one is on Tri-X


http://www.photo-artiste.com/images/tonopah/pullmanzz3x.jpg



This one is on HP5+


http://www.photo-artiste.com/images/tonopah/seat5azzhp5.jpg


This first one is on Tri-X


http://www.photo-artiste.com/images/tonopah/dodgezz3x.jpg


Here is another on HP5+ (Just to present a different angle on a popular subject.)


http://www.photo-artiste.com/images/tonopah/sinkszzhp5.jpg

Al,

I keep returning to this set of images. You did very well here. I really enjoyed the place and was amazed that folk hadn't carted off all those sinks, for example! Have you processed any more pictures?

Asher

[Asher Kelman]

OK, I plan to get serious about the scanning today, so will be posting some.


http://tonopahpictures.0catch.com/2011Workshop/Window_WhiteCapsS.jpg
window, white caps mine office, manhattan, nv

This is the only image I did at the White Caps mine in Manhattan. Eddie was giving our friend Glen an excellent basic lesson in Large Fromat 4X5 camera movements sharing his Chamonix with Glen. I thought I would expand it a bit and a bunch of the other folks joined in.

I knew this shot would not make my name a household word, but it did offer several problems to solve and a good teaching platform.

The first problem was an equipment one. I didn't have a sharp wide angle with me, and I didn't have a flash, or sync. Ask for help! Asher Kelman came to the rescue with a beautiful 240mm Docter Optik wide field lens in Copal 1 shutter. Al Olson had a Vivitar 285 flash, but no sync cord. Steve Lumry had a nice little Leica flash with an adapter cord. I used all 3 items on the Eastman 7X11

The photo has a bunch of technical problems to solve one at a time which allows a good chance for instruction. The first that comes to mind is the gigantic range of light to capture some how from direct sunlight outside, to a cave inside. The interior walls had been long ago coated with soot from a fire. Try to imagine the light readings from a soot covered wall in non-open shade inside and direct sunlight outside. 12 - 14 stops perhaps? We would hopefully solve that by popping 2 flashes inside during the exposure for outside. We actually did meter both situations but I didn't write it down. Trust me it was huge.

Next is focus. We can swing the back on the eastman to get the wall perfect everywhere and ensure that all of our verticals on the camera are plumb. Then we focus outside, put a fingernail at that place on the base, roll the standard forward for best inside focus, and look down at the distance. Ouch! Almost an inch. The best you can do is place the rear standard exactly half way between the near and far, and stop down. F64 1/2 is the only solution. It's the best trade off between getting absolutely nothing because of diffraction, and getting enough resolution everywhere for a usable image.

The exposure is 1/2 second f64 1/2. One flash is synced to the shutter, and the other will be popped by Eddie during the 1/2 second. Easily done, but we didn't calculate how much help the 2 flashes would provide at f64 1/2. That we just leave to hopefulness, and as you can see, it worked fine.

Jim,

Am glad to revisit the Tonopah images, going page by page. Eddie's wet plate picture of Per made me stop to think a while, the demo and Per were impressive experiences I'll never forget.

I didn't see you make this picture. This was a great group effort and most impressive how you put it together! I really like the result here and those two flash pops really did open up the interior, just enough. Well done. Do you think more detail could be burnt in on the roof? I'm not saying it would be better, just wondering as you did, after all face a daunting range of lighting.


Thanks again Jim for all the effort you made and especially the personal attention you gave to everyone and sharing a glimpse of your wild collection of soft focus lenses!

Asher

[al olson]

Asher, thanks for you kind comments. I posted early on most of the photos that I bothered to scan. I was not happy with most of the results, but I felt obligated to post them on this thread as part of the sharing experience. The remainder were either not what I wanted or were too similar to images posted by others. For example, I had to perform some serious cropping of the sinks photo and I still could not make the photo that I envisioned.

The photo of the rail car seems quite contrasty except for the tonality around the top. I tried to underexpose to eliminate the detail of the straps in the interior. The real problem, however, is that the photo was crooked so that when I straightened it, I had to crop off the eaves of the car. Then the trick was to hide the bald, white sky. Perhaps it would be better with IR.

The one of the seat back through the window is difficult to tell what you are looking at. A bit abstract. I think that the HP5+ was the right film for getting the texture of the wood. I also had to crop off the top of the window because its trashy appearance did not complement the rest of the image. The only one I was really happy with is the one of the Dodge.

[I also had several a number of ruined photos from holders that had light leaks. After the trip I tested the holders by loading them up with enlarging paper. Then I placed each one in the camera, pulled the slide, and used a flash to light each side of the holder including twice at the slide opening. I did this for each side of all of the slides. Then I developed the papers, keeping track of which side of which holder they were from. I culled eight holders this way.]

To get back on topic, I did quite a bit of photography with a 6x6 Bronica, which I haven't posted here. My favorite 120 film is Ilford SFX that I sometimes shoot at the ISO 200 box speed and sometimes at an EI of 6 with an infrared filter. I was much happier with these effects.

To answer your question, the photos I posted on this thread were all that I cared to post. I have a number sites that I would like to return to and redo. I also have some additional ideas for shots I would like to try.

SO... my question is when are we going to do this again? If we pick a date, we could all meet in Tonopah without putting the burden on Jim. Jim did a fine job of leading the workshop, but I think we all know our way around by now. It does not have to be a workshop. What do you think?

[ghostcount]

Sign me up!

Activating Thread Auto Search = "Tonopah Temptation Workshop *** 2012 + 2013" :)

[Jim Graves]

Well, I've been on two of these and would go on another.

I had originally planned on going back with my digital shooting brother the week of 10/15. Now he can't make it. I may still go ... I would love to stay and have dinner in the restored Mizpah Hotel (opened last fall after a full renovation) and I'd like to have another late-night Dead Laden (the drink of the week when we were there last time after Bin Laden was killed) while playing video poker at the Clubhouse Saloon on Main Street (the bar where Jack Dempsey tended bar before he became heavyweight champ.) Plus, I lost 12 8x10 shots in six holders last time when I set them down by my car and drove off ... so I have some re-shooting to do.

The mid-October date is perfect because the early and late golden hours are at decent times, the temps around Tonopah are good, the eastern Sierra will be turning colors, and Tioga Pass is likely to still be open ... and all those things open up a ton of possibilities in Tonopah, Goldfield, and the Nevada Desert for the main shoots and on the way there or back, the Eastern Sierra, Mono Lake, the Bristlecone Pines, Bodie ghost town, and even Death Valley, Vegas, and Yosemite (I love the reflections available on the Merced during October.)

I like the idea of an independent ... non-workshop type get-together ... Per's workshops were pretty close to that anyway ... and that is what I really liked about them. And, I like the idea of limiting the group's pressure on Jim ... so he doesn't end up having to host. With a little coordination we might be able to rent the firehouse hangout for a night or two and swap stories, pour drinks, share photos, and plan a shoot ... and add some new shots to our joint group effort on PhotoNet.

[Micheal Clark]

That sounds like a nice meetup Jim, I would be in for that.

[Asher Kelman]

Well, I've been on two of these and would go on another.

I had originally planned on going back with my digital shooting brother the week of 10/15. Now he can't make it. I may still go ... I would love to stay and have dinner in the restored Mizpah Hotel (opened last fall after a full renovation) and I'd like to have another late-night Dead Laden (the drink of the week when we were there last time after Bin Laden was killed) while playing video poker at the Clubhouse Saloon on Main Street (the bar where Jack Dempsey tended bar before he became heavyweight champ.) Plus, I lost 12 8x10 shots in six holders last time when I set them down by my car and drove off ... so I have some re-shooting to do.


That Bin Laden night was memorable! I too have a lot of makeup shots. I now have wide angle bellows for my Chamonix as I was cutting of parts of the image using a 150 mm Super Symmar XL with the regular 8x10 setup. Certainly, it would be useful to get that fireman's place. That would be a group cost. Also there may be a group price to enter the Nevada mine area. In any case, this is a great idea.


The mid-October date is perfect because the early and late golden hours are at decent times, the temps around Tonopah are good, the eastern Sierra will be turning colors, and Tioga Pass is likely to still be open ... and all those things open up a ton of possibilities in Tonopah, Goldfield, and the Nevada Desert for the main shoots and on the way there or back, the Eastern Sierra, Mono Lake, the Bristlecone Pines, Bodie ghost town, and even Death Valley, Vegas, and Yosemite (I love the reflections available on the Merced during October.)

How much time for the total get together do you imagine?


I like the idea of an independent ... non-workshop type get-together ... Per's workshops were pretty close to that anyway ... and that is what I really liked about them. And, I like the idea of limiting the group's pressure on Jim ... so he doesn't end up having to host. With a little coordination we might be able to rent the firehouse hangout for a night or two and swap stories, pour drinks, share photos, and plan a shoot ... and add some new shots to our joint group effort on PhotoNet.

I'd love to host more Tonopah and nearby pictures in OPF! Last bunch were wonderful.

http://www.openphotographyforums.com/forums/showthread.php?t=14484

http://www.openphotographyforums.com/forums/showthread.php?t=14004

http://www.openphotographyforums.com/forums/showthread.php?t=14001

http://www.openphotographyforums.com/forums/showthread.php?t=14002

http://www.openphotographyforums.com/forums/showthread.php?t=14000

http://www.openphotographyforums.com/forums/showthread.php?t=13745

http://www.openphotographyforums.com/forums/showthread.php?t=11838


Asher

[Jim Graves]

Well, after the quoted post I committed to a trip to the northern redwoods ... so it looks like any Tonopah trip for me will not happen this year.