Whats your "magic bullet?"

[John Kasaian]

I really enjoyed Kevin Bourque's "right on" article on the Large Format Home Page about being a recovering magic bullet chaser. It kind of got me thinking ---is there really even a "magic bullet" ---a piece of gear that enables us to produce a "keeper" photo that would differ from what we'd expect if we had to go without the "bullet," and if so, what is it?

Maybe its not the obvious---for example I have favorite lenses but none are "magic"(I can take a lousy picture with any of them!) I have an excellent light meter too, but while it is easy to use and more sensitive than a teenager with the wrong sneakers, it isn't magic either, If I left it at home by mistake I could still get by and the results wouldn't suffer as long as I can 'sunny 16' it(this I know from experience!). Even my fancy italian loupe which I enjoy using a great deal, dosen't really do much more than the plastic $9.00 Agfa loupe that I used for the half dozen years prior.

I think what has helped me most, at least in consistency, is a rotary processor for souping film(even if it is a Unicolor, the poor man's Jobo.) Another "magic bullet" in my bandoleer would have to be a small shop vac dedicated to cleaning film holders---dust problems are zero zip since I started using a vacuum. I realize these things aren't as exciting (or expensive)as a new 'puter designed Schneikkor XL with giga coating and made with glass that has it's own little box on the periodic table, but I find that they make a real difference for me.

I'm curious, what is your "magic bullet?"

[Øyvind Dahle]

My magic bullet is a 6x9cm 120-film folding camera where I have removed bellows, shutter and lens and added a meter of black tape and a pinhole, the angle of view is similar to a 11mm on a 135-camera, and every now and then it gives me remarkable good pictures: http://www.oslokameraklubb.no/nyhet30_bilde.html

Øyvind:D

[Dan Fromm]

My magic bullet doesn't involve equipment at all, it has to do with procedure.

My pictures improve markedly whenever I can manage to slow down, consider the possibilities, and do everything very carefully. Haste, failure to follow my checklist, and lack of thoughtfulness are my worst enemies.

Cheers,

Dan

[Edward (Halifax,NS)]

My magic bullet is a decent lens, flat film, and a space of darkness between them.

[mark blackman]

John, I'm curious why a vacumn cleaner designed for use in a retail outlet cleans film holders better than other cleaners?

[Jamie Zietak]

Mark:

A shopvac is a brand name for wet/dry vacuum cleaner, much like Kleenex and facial tissue...

http://www.shopvac.com/

[Bruce Watson]

Hard work and persistence.

One of my best photographs is the result of being on site and set up at 6:30am four days running. I had a 10 minute window when the light was right and the shadows lined up. Every day but the last one I left thinking I could have done something just a little better. The print on the wall comes from the last negative of course.

I could have done it with a large variety of equipment, lots of different films/developers. But I couldn't have done it without being willing to show up and do the work.

[Gem Singer]

Hi John,

My "magic bullet" is Ilford HP-5+film, developed in Ilfotec DD-X developer, using slow, deliberate, dip-and-dunk agitation.

[Tim Curry]

Howdy John,

My "Magic Bullet" is a Stouffer step wedge and barely enough common sense to learn how to use it for film testing. Remember, my personal density index (P.D.I.) is quite high.

Saved my backside with Azo and allowed me to come up with numbers for Efke 25 from N- to N+ with grade 2. Give that one a try without a densitometer some time. Also, allowed me to circumnavigate the B.S. on some forums with respect to Azo's tonal scale, density and contrast. You haven't lived until you've tried to make sense out of some of the myths going around with respect to Azo paper, film exposure and development.

[John D Gerndt]

My magic bullet is a densitometer. Like Tim’s step wedge, having some hard numbers against which to judge the subjective results of a “good” negative or print is turning my darkroom experience from hit and miss to studied exercise. Sometimes it is not as fun but there is far less frustration!

For the record it is a tiny Mantis densitometer that has a shutter speed tester built in. Testing my shutters explained a series of bad exposures yielding one less frustration to deal with.

Cheers,

[mark blackman]

Thanks Jamie! For myself, the magic bullet is a grasp of Merklinger's hinge rule.

[Philip_4175]

My magic bullet deals mostly with backpacking and LF gear. The current setup includes titanium, carbon fiber and much more. However, the quest is a 30lb seven day pack with four lenses, 75 quickloads, tent, stove, food, etc...

[Guy Tal]

Solitude. Being alone in a beautiful place with all the time in the world to explore and nowhere in particular I need to be at any given time.

Guy
Scenic Wild Photography (http://www.scenicwild.com)

[Donald Brewster]

Ridge Zinfandel.

[David Karp]

Mine is a variation of Barry Thornton's 2 bath film developer. I divide the sulfite evenly between the A and B baths.

[Steve J Murray]

For me its having a good loupe. Since I am over 50 its harder and harder to focus that ground glass, especially with wide angle lenses. In my 20's I could use any crappy magnifier for a loupe and get sharp negs. I recently made a powerful loupe out of a 24mm lens from a 35mm camera. I figure its about 15X and the optics are fantastic. It has its own focus too, so I can fine tune it. With this loupe I am positive when I have the focus. Without sharp focus you're just wasting film!

[CXC]

I'm still looking. And buying. ;-)

[d burdeny]

JOBO CPP2 AND EXPERT DRUM. NO MORE STREAKING. CLEAR SKYS COME OUT PERFECT.

[Joe Smigiel]

A pice of black foamcore with a window cut to match the aspect ratio of the camera I'm using. Using such a viewfinder before setting up the equipment saves a lot of film, time, and frustration.

[Armin Seeholzer]

Hi

I have more then one "m.b." 1. is my old Foba Studio stand 2. my Rodenstock Imagon 250mm 2. my Universal Heliar 360mm is at Sinar for mounting on a board 3. my Arca F-Line 4. my Sinar P 4x5 and 8x10 5. my Horseman HF for outside more then 100 feets from car! And im looking for the next m.b.!!!

[Kevin M Bourque]

Hey Joe, that’s my latest, too! I made a half dozen of them the last time I had the mat cutter out. I keep at least two in the side pockets of my bag so I’ll always have one.

Then there’s the 120mm f3.8 DOHC Series III Apo-Necronomicon. Be sure to get the one with the ytterbium-doped front element and the Bokeh Amplifier……schweet!

[Capocheny]

Donald,

I'll drink to that! :>)

Try Cline's Old Vines Zin... it's a "shake" stabilizer too.

Cheers

[Nick Morris]

Hello John, I don't really believe in the magic bullet; but I was driven to acquire a 203 Ektar for my 4x5 and 330 Series 1A Raptar for my 8x10 like they were the holy grail. They proved to be worth the chase even though the Raptar had some problems. Beyond those, good deals on B&W 8x10 film... never can have enough, and having a good supply is relaxing in its way. Tri-X; HC-110; Agfa MultiClassic; Dektol, and me learning to get the most out of the combination. Finally, a word of appreciation for this forum. Thanks to all. It is great to be able to click in from time to time and see how other LF photographers are doing. Best wishes...

[Ole Tjugen]

While not a bullet, my favorite lens is a 150mm/f:4.5 APO-Lanthar. It's magic, and even covers 5x7" straight on.

Developing by inspection has also improved my negatives a lot, after I learned to appreciate the different approaches needed by different developers.

[Jim Rice]

My 16.5" Red Dot Apo-Artar. I couldn't imagine life without it.

[David R Munson]

Non-physical magic bullet: meditation. Seriously, a little Zazen can do wonders.

Physical magic bullet: my Deardorff 8x10. <3

[Graeme Hird]

I'm with Guy: Solitude.

(Of course, I consider my whole LF kit to be my magic bullet. It has been the single biggest factor for improvment in my technique.)

[Andre Noble]

This forum and Photonet.

[Jay DeFehr]

The biggest leap for me was buying in bulk. When I have a few hundred rolls/sheets of film, a matching paper supply, and a good stock of chemicals, I am more willing to sacrifice some materials for calibration, which makes all the difference in the world for me. I am really enjoying myself lately, and my technique is improving every day. Not so much a "magic bullet" as just good standards and practices, but cathartic none the less.

[Christian Olivet]

My Ries tripod. When I stop the pick-up and decide to take the tipod out and start setting it, I can feel time coming to a complete stop. When I disassemble it, the clock starts ticking again.

[Ralph Barker]

I think the secret to "magic bullets" is to have more than one. Even better if they are different "calibers". For me, one was standardizing on 110mm Toyo lens boards, and having or making lens-board adapters for my other view cameras. Similarly, the 4x5 adapter back for my 8x10 Tachihara is based on the Toyo adapter and backs, so various things are interchangeable across brand lines and format sizes. These two things, combined with various practices mentioned by others above has made me far more efficient, and allow me to concentrate on making images.




http://www.rbarkerphoto.com/misc/Firearms/MagicBullets-600bw.jpg

<small>240mm G-Claron on 8x10 Tachihara w/ 4x5 adapter back. Scanned from 4x5 Polaroid. </small>

[Ron Bose]

Jobo 3010 and 3005 Expert drums and the CPP-2 processor.

Ralph: Way to sneak in a picture of a Leica :-)

[Erik Sherman]

I'm not one to believe in magic bullets - I've gotten good shots from all sorts of cameras and formats and limitations. But I've been having some back and shoulder problems as of late, and one great help has been camera backpacks. I have an F-64 pack that lets me carry a Wisner 5x7, three lenses (one of which is a honkin' big 300mm Nikkor-W), various holders, and film. I actually was out the other day with back pain, and I found that the way the load sat, it didn't aggravate things at all.

[Jan Brittenson]

Poetry. If I'm drawing blanks, just sitting down with a cup of coffee and reading something I like will often do the trick.

[Andre Noble]

It may be my monitor, but where's the Leica? Looks like a magazine of bullets to me.

[Frank Petronio]

Leica makes very expensive scopes too.

[Brian C. Miller]

Speer Gold Dot.

Seriously, its hard and persistent work, and paying attention to have consistent technique. All of my gear is old and used. I don't have the latest and greatest of anything. I look at my results, stop, and figure out what is wrong. All of this takes close attention to detail.

You want a sharp image? Figure out what you are doing. Make up your own camera kata. Find the sweet spot of your lens. Know how your apeture affects the image. With a view camera, find out if you need to adjust your ground glass (Photograph a step wedge made of newspaper glued on stacked cardboard. Works like a charm.)

You want excellent prints? Lots of info there, but nothing makes for running a series of tests. The darkroom is a scientific laboratory. No wind to shake the wildflower, there! Run your tests, and adjust as necessary.

[Peter Galea]

An 8x10 film holder and the Deardorff. 'nuff said?

On an intangible level, really good light spilling across my son's face.

[Francesco]

AZO paper. Thanks MS and PC. The final frontier - a completely analog contact print.

www.cicoli.com