Not really that involved... to me anyway. Just seems so natural.Originally Posted by Heroique
Bob,
Your technique is beginning to sound incredibly involved ―
Have you ever considered a metronome, in lieu of the stopwatch?
It might free-up your teeth!
Isn't that what the plastic pull-tabs are for on the end of Fidelity Elites?
Bob G.
All natural images are analog. But the retina converts them to digital on their way to the brain.
I used to leave the slide partially in, but I was getting light leaks. Now that I've switched I have not had any. My speed graphic and technika have clips to hold the darkslide.
Heroique thinks my technique is a bit involved... and I suppose it is a bit.The filmholder pouches from f.64 have a pocket to hold the darkslide.
Easier than growing a third hand.
- Leigh
But maybe give me the benefit of the doubt for just a moment... can't that be said about the whole LF technique?
Anyway here's my procedure with film holders when I'm setting up for a photo.
I usually shoot several different films and I line their holders up ahead of time on something clean next to the tripod (if that's feasible). And each holder is inside its own labeled ziplock bag.
When I'm ready to shoot I pick up the first bag, open it, and take out the film holder. I then fold the bag and put it in my shirt pocket.
I have to lift the darkcloth and insert the film-holder into the spring-back and this takes two hands. Once inserted I remove the slide and hold it between my teeth at the pull-tab. That leaves both hands free to take care of whatever else is necessary to make the shot.
I don't spit on the film holder while holding it that way but I admit that in the Winter time condensation can be a problem so in those cases I usually put it down on something clean.
It's easy to do and there are no worries about lost slides in the dark, slides blowing away in the wind, or dropping in the dirt or in the water if I'm set up in the middle of a river... which I sometimes do.
May be a bit eccentric but hey... I don't recall ever denying eccentricity.
Bob G.
P.S. Just don't eat any jelly donuts while doing photos...
All natural images are analog. But the retina converts them to digital on their way to the brain.
Out, then I use the dark cloth to cover the back and the bellows. The darkslide is used as a shade.
I pull it out and either use it to block direct light entering the holder slit or use it to shade the lens. And you need to flip it to indicate the film has been exposed. A few double exposures will soon cure you of thinking you will remember clearly everything you've done in the last 30 seconds.
I have determined after extensive testing that as long as one is using a modern camera, modern plastic holders with good bellows that with 4x5, 5x7 and 8x10 there is no need to use the dark cloth over the back of the camera. It is one more thing that can get catch wind and cause a problem during a long exposure. Properly seated holders result in perfect exposures as the light seals in the camera backs works as intended. John Fieldler has probably shot 10,000 perfect exposures this way not to mention many others that do the same thing. One less thing to worry about.
When you are shooting larger than 8x10 and/or are using wooden holders that may be your only option it is a whole new ball game. The wooden holders do not have the injection molded light trap built into the flap end and in situ are not completely light tight. The easiest way to get around this problem is to use a thin piece of 3M black flap end tape to cover each side of the closed flap to prevent unnecessary light leakage. The wide range of proportions of camera backs and holders in ULF formats makes it a good idea to use the dark cloth over the camera back in these instances. The cost of film is also a strong incentive in these situations.
I remember seeing images of Morley Bauer making photographs with his cameras that looked like he had a dark cloth that could cover a small automobile over the entire camera hanging over the back and right up to the front standard where he had his dark slide protruding out in front. I guess it is one way to never have to concern yourself about leaking bellows.
Morley Baer was a master, and I learned much of my technique from him. He taught the importance of covering the bellows on my 8x10, as well as the holder, during exposure. However, we both had very old wooden cameras with bellows of questionable integrity. Better safe, than sorry, was our motto!
I tried something new (for me) last weekend - I pulled out BOTH darkslides entirely. It didn't do much to help the already exposed sheet of film that was facing backward.
How truly fortunate you are to have had such marvelous experiences with such masters as Morley at their craft. The closest most of us could come to admiring and learning from such personalities was through second hand recollections or writings.
Hi Michael,
My comment was not intended to refute the good point made in your first paragraph. Sorry if it came off that way.
I do have to laugh when I recall the condition of the equipment used by some of the "masters". Often, as with Morley and Brett, the cameras were beat-up old woodies with suspect bellows. There were many homemade alterations and accessories. Brett made his own tripod head out of aluminum, and used it until he moved on to the Baco heads. His lenshade was made out of a peanut can painted black.
Yes, I was fortunate. No doubt about it.
Oh, I should answer the question: I have always pulled out the darkslide entirely.
Merg
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