Blog by Michael RasoFor those looking to shoot with vintage 620 film cameras, you should know that 620 is identical to 120 roll film.except for the fact that the spool is slightly different. This video shows you how to roll 120 film onto 620 spools.620 / 120 film on Wikipedia'The 620 format was introduced by Kodak in 1931 as an intended alternative to 120. Although mostly used by Kodak cameras, it became very popular. The 620 format is essentially the same film on a thinner and narrower all-metal spool'above: 620 film images shot by listeners of The Film Photography Project Internet Radio Show.Launched in October of 2009, the Film Photography Project's Internet Radio Show is a 90 minute, bi-weekly Internet radio program, exploring a wide range of topics relevant to the experienced and aspiring photographer using film as a medium. Produced in the United States, the Film Photography Podcast is broadcast around the globe via iTunes and direct stream fromHelp keep FPP goin' strong. Visit the All-New FPP on-line store:In March 2011, get 10% off all purchases by using the code 0311 during checkout!Questions about 620 film!e-mail me at FilmPhotographyPodcast (AT) gmail.com. Blog by Michael RasoRyan Galbraith was the winner of Trip 35 camera giveaway on The Film Photography Podcast (Internet Radio Show).
The camera was donated to the show by fellow Trip 35 shooter Ian Cook. Trip 35 camera images by Ryan.Ryan Galbraith is a professional photographer based Salt Lake City, Utah specializing in weddings, portraits, photojournalism and Black and White film photography.Ryan's website -The Trip 35 is a 35mm compact camera, manufactured by Olympus.
It was introduced in 1967 and discontinued, after a lengthy production run, in 1984. The Trip name was a reference to its intended market — people who wanted a compact, functional camera for holidays. During the 1970s it was the subject of an advertising campaign that featured popular British photographer David Bailey. Over ten million units were sold.' Our previous BLOG on the Olympus Trip 35Launched in October of 2009, the Film Photography Podcast is a 90 minute, bi-weekly Internet radio program, exploring a wide range of topics relevant to the experienced and aspiring photographer using film as a medium. Hosts Michael Raso and Duane Polcou enthusiastically dissect and debate the pros-and-cons of film formats, do-it-yourself techniques, digital technologies, and vintage and contemporary cameras and accessories in a thorough, informative and casual manner. Regular features include Camera tests and reviews, “book of the month”, interviews, a listener-generated Q&A, and film-related giveaways.Produced in the United States, the Film Photography Podcast is broadcast around the globe via iTunes and direct stream fromTune in.we give away film cameras and film monthly!
Mat Marrash's shot of The Impossible Project space in NYC - 'tagged' as 'The Impossible Project'blog by Michael RasoA day doesn't go by when I'm not looking up info ' about vintage cameras and no doubt I wouldn't get too far if folks didn't 'tag' their articles or images.We're covered 'tagging' before but IT'S SO IMPORTANT that it can't be covered enough!Here's a video clip about 'tags' from Epiosode 30 / March 15 Film Photography Podcast.You can hear the entire episode by pointing your browser to:Episode 30 - March 15, 2011. Read Mat's blog about taggingRemember.tag your images!Launched in October of 2009, the Film Photography Podcast is a 90 minute, bi-weekly Internet radio program, exploring a wide range of topics relevant to the experienced and aspiring photographer using film as a medium.
Hosts Michael Raso and Duane Polcou enthusiastically dissect and debate the pros-and-cons of film formats, do-it-yourself techniques, digital technologies, and vintage and contemporary cameras and accessories in a thorough, informative and casual manner. Regular features include Camera tests and reviews, “book of the month”, interviews, a listener-generated Q&A, and film-related giveaways.Produced in the United States, the Film Photography Podcast is broadcast around the globe via iTunes and direct stream from. FPP welcomes back guest co-host Mat MarrashMat joins FPP in March. A FPP listener, film shooter and lifetime student of photography as well as an all-around tech junkie, Mat is located in Northwest Ohio. Mat's main gig is commercial photography that includes portraiture, sports, and photojournalistic candids.Pocket Light Meter for the iPhone!iPhone POCKET LIGHT METERFPP listener Vladislav Vyshemirsky invented the Pocket Light Meter for your iPhone. Download it.it’s FREE!Stephen M. Schaub’s FIGITAL REVOLUTION“FIGITAL” stands for the dynamic fusion of film and digital photographic technologies.
The Figital Revolution transcends self-serving industry hype and old-fart conservatism to get at the real issues photographers face today: how did we get here? Is digital all it’s cracked up to be? Why is film on life support? How can photographers create a sustainable art? Why do most photo magazines suck?
The Figital Revolution is about all that and more.Stephen invented the NO POD!GET YOUR PHOTOGRAPHY NOTICED.by TAGGING!Alright, so you've got a camera, you're taking nice pictures, and now you'd like to have the rest of the world have a look at your work. What now?Check out Mat’s blog on tagging!620 FILM PHOTOGRAPHY“620 roll film, introduced by Kodak in 1932 and discontinued in 19951, is basically the same as 120 roll film; it has the same width and length. The only difference is the spool which holds the film, in case of the 620 roll the core of the spool and the end flanges are smaller than that of the 120 roll.”120 film onto 620 film spools!Tourist II 620 FILM CAMERA“The Kodak Tourists were the last in a long line of American made folding roll film cameras from Eastman Kodak. The Tourist II, introduced in May of 1951, features a redesigned top cover and a new viewfinder, which contains frame lines for the optional 828 roll film adapter. Production was discontinued in July of 1958. The Tourists use 620 film making 8 2¼×3¼ exposures. The use of 828 roll film for 8 28×40mm exposures was an option.
The Tourist's most unusual feature is its back; through the use of cleverly engineered latches, it can be opened on the left side, right side, or removed completely.Images shot with the Kodak Tourist II cameraBOOK OF THE MONTH'A Kind of Rapture' by Robert Bergman brings together a selection of photos from Bergman's two-year travels by car through the Rust Belt (Chicago, Detroit, Cleveland, Pittsburgh, Gary) and the East Coast, taking color pictures of everyday people who moved him profoundly. 51 color photos.”now and then, the art world offers up an unlikely story, and Robert Bergman's is one of them. He was born in New Orleans and raised mostly in Minneapolis. He began taking and developing snapshots at age 6, and save for a few teenage years he has strived to be a great photographer-artist ever since. But he has remained an out-of-step one, isolated from contemporary tastes, a cult figure to the few who have seen his work in person or in a 1998 book. The 65-year-old photographer went his own way over the past four decades, never selling a work until two years ago, but he nevertheless is about to burst onto the scene with two museum exhibitions, and next month he will have his first show at a commercial gallery, Yossi Milo in Chelsea, New York City.—From The Wall Street Journal review by JUDITH H.
DOBRZYNSKIDARKROOM TIPS: Using KODAK XTOL DEVELOPER“KODAK PROFESSIONAL XTOL Developer is a two-part powder developer for processing Kodak and other manufacturers’ normally exposed, pushed, or pulledblack-and-white films. It offers full emulsion speed and easy mixing, and can be used as both a developer and a replenisher in a variety of equipment, from small tanks (8to 64 fluidounces), trays, or rotary tubes to high-volume processors.”- FILM PHOTOGRAPHYThe term of art 'Large Format' refers to film and camera formats that generally use sheet film in sizes equal to or larger than 4 inches by 5 inches (or 9x12 cm). (Although there are some view cameras in sizes smaller than 4x5 inches, or 6x9cm).
Large Format distinguishes large cameras 4x5, 5x7, 4x10 and 8 x10 inches, from medium format cameras and film (6x6, 6x7, 6x8, 6x9cm roll film cameras) and from small format cameras of 35mm, 110 and smaller film sizes- Mat setting up his Eastman Commercial B 8x10 cameraBelow: images shot by Mat Marrash on the Eastman Commercial B 8x10 cameraVisit Mat Marrash at /Don’t forgeteach month we give away vintage cameras and film! Tune in to the show.FPP guys John Fedele and Michael Raso shot on Polaroid 804 8x10 film by Mat MarrashLaunched in October of 2009, the Film Photography Podcast is a 90 minute, bi-weekly Internet radio program, exploring a wide range of topics relevant to the experienced and aspiring photographer using film as a medium.
Hosts Michael Raso and Duane Polcou enthusiastically dissect and debate the pros-and-cons of film formats, do-it-yourself techniques, digital technologies, and vintage and contemporary cameras and accessories in a thorough, informative and casual manner. Regular features include Camera tests and reviews, “book of the month”, interviews, a listener-generated Q&A, and film-related giveaways.Produced in the United States, the Film Photography Podcast is broadcast around the globe via iTunes and direct stream fromWrite to The Film Photography PodcastFilmPhotographyPodcast AT gmail.comNext Episode on April 1, 2011!! Blog by Michael RasoWhen I read Brian Moore's camera my curiosity was piqued. I've been shooting with the Canon AE-1 Program camera since 1982 and since then, many other models using the Canon arsenal of FD lenses. I've simply ignored the 1983 T50 - mostly because the camera is completely automatic. I couldn't resist so I purchased not one but two T50 cameras on e-bay here in the states.The manual focus Canon T50 is most likely the simplest camera in the FD arsenal.
Program - Off - Battery Check are the only top controls. No 'B' bulb, no PC flash input, no cable-release input. Turning the FD lens from 'A' Automatic to f-stops switches the camera to 1/60th sec. This gives you the (limited choice) option of going manual and allowing the use of off-brand flashes.The T50 is simplistic joy - allowing me to concentrate on my shots and leaving the exposure chores to the camera.
As an all-manual photo guy - I must admit, it was difficult giving up the control of shutter and aperture, but the results were more than pleasing.below: Canon T50 test shots - Butler, NJ USACanon designed the 244T flash specifically for use with the T50. While other flashes work just fine, the Canon 244T performed the best.below: Canon T50 Flash TestsImage using the Canon 177A FlashImage using the Starblitz Pro-5000 GTZ-Twin flashImage using the Canon 244T FlashFilm Photography Podcast listener and contributor Brian Moore's night photography using the T50 inspired me to venture out at night and try my luck at some night shots. Pretty pleasing results considering the T50 shutter is limited to a 2 second exposure.Additional Canon T 50 shots in my T50 Flickr set:Canon T-50: The Amazing Canon FD SLR Point & Shoot Camera Part 1by Brian MooreCanon T50 Group on Flickr:I host the Film Photography PodcastLaunched in October of 2009, the Film Photography Podcast is a 90 minute, bi-weekly Internet radio program, exploring a wide range of topics relevant to the experienced and aspiring photographer using film as a medium. Hosts Michael Raso and Duane Polcou enthusiastically dissect and debate the pros-and-cons of film formats, do-it-yourself techniques, digital technologies, and vintage and contemporary cameras and accessories in a thorough, informative and casual manner. Regular features include Camera tests and reviews, “book of the month”, interviews, a listener-generated Q&A, and film-related giveaways.Produced in the United States, the Film Photography Podcast is broadcast around the globe via iTunes and direct stream from. FPP welcomes guest host Mat MarrashMat joins FPP in March. A FPP listener, film shooter and lifetime student of photography as well as an all-around tech junkie, Mat is located in Northwest Ohio.
Mat's main gig is commercial photography that includes portraiture, sports, and photojournalistic candids.
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I have the chance to pick up a set of second hand or wireless flash triggers for more or less an equal price.My plan is to use those triggers in combination with a Starblitz 2000 BTZ and a Canon 550D.The Starblitz is so I can not use it directly with my Canon. In the future I also plan to buy a modern flash like the.Assuming both sets are in the same condition (good as new according to the seller), which should I get?
I don't see any significant difference by reading the specs, but these being my first triggers, I might have missed something.I hoped some of you might have experience with (one of) these triggers and could share. Both units do what it says on the tin. For simple triggering, the Yongnuos are (generally) cheaper and as reliable as the Cactus units. But there are differences between them that may be important, depending on how you plan to use them. I use the V5s because of some of the additional features they offer.The Cactus V5 has an external rotating channel selector; the Yongnuo RF-603 uses DIP switches inside the battery compartment. Not only does that mean you can't work with multiple lighting setups simultaneously and independently (which is often the case when shooting sports if you can 'wire' the arena), but it also means tearing everything down to troubleshoot firing problems because you can't just look at the settings when everything's set up.The Cactus V5 has the ability to work with groups of flashes separately or together. For complex lighting setups, that means you can test each of your lights individually (on channels 2 to 5), then set the transmitter to channel 1 and fire them all.The Cactus V5 has a 1/4'-20 thread for mounting (although it's in an awkward position, so you may need a standoff or a double spigot to use it with some swivels so that the hot shoe doesn't interfere).The Cactus units have a locking hot shoe.
It's a screw-down lock rather than a lever type, and it's in a tight space that may make tightening and loosening difficult, but at least it's there. The Yongnuos just use a friction fit, so it's possible that they may go astray at extreme angles if your stand's cold shoe doesn't have a clamp.The Cactus V5s will sync at up to 1/1000 of a second; the Yongnuos max out at 1/320. That's only important if you have a camera with a leaf shutter or an electronic shutter (compacts, some early DSLRs, particularly the Nikon D1, D70 & D50, and medium format - but if you're shooting MF you can probably afford the name brand stuff).The shape of the Cactus units is slightly more likely to cause mechanical interference when trying to mount them to some kinds of light modifiers using the hot shoe. I had to modify my old-pattern Lastolight EzyBox brackets, for instance. It was about two bucks in parts from the local hardware store to effect the fix, but it's something you need to consider.Again, those things may or may not matter to you.
The extra features on the Cactus V5 cost extra money, but even though not everything is implemented as well as I would have liked (and I'd like to give the case designer a bit of a talking-to), I decided to go for the V5s, since I know I'll be doing stupid photographer tricks that would be more difficult with the groupless Yongnuos. @Lukas — note that I said 'max out at 1/320'. That assumes a lot of things: ideal conditions, short transmitter-to-receiver distances, little interference, and above all, a camera that will X-sync at 1/320 or faster. Most DSLRs and mirrorless system cameras will not sync at that speed even with the flash in th camera's shoe, let alone using a radio or optical trigger that introduces delays; you need to use 'high speed sync', which is actually a way of making your flash act like a continuous light source for a hundredth of a second or so.– user2719 Apr 21 '13 at 20:25. I think you will find that the RF603 is only certified to work with a flash trigger voltage of less than 12v. If you want to a trigger setup that will take a higher voltage then the Cactus is better. Drawback of Cactus is no TTL passthrough on the transmitter.
A better option is the Comtrig T320 or G430, both of which can take high voltage flash units and offer pass through on the TX. This enables you to use a dedicated flash in TTL mode on the camera but still trigger slave units. If the slave units are auto thyristor based, they will provide sufficient light for their own view of the subject - useful for backlight or accent. Just an update.
In early 2014, Yongnuo released a Mk II update to the RF-603. It now competes more favorably with the Cactus V5s (but then, the V6s are coming out).The RF-603II is fully compatible with the MkI version and the YN-560III, and has the following improvements:. Locking rings. Off/TX/TRX mode switch on the side of the unit (i.e., you can reach the on/off switch when a flash is mounted on one as a receiver; the text button can be used off-camera, and the forced-Tx mode means the triggers are now compatible on non-Canon/Nikon hotshoes. Voltage limit increased from 12V to 300V.
Starblitz 320 BTZCheck availablity:.Two auto apertures (f/2.8 and f/5.6 @ ISO100). SpecificationsGeneric flash.Head: Fixed 35mm coverage.Swivel & tilt: no swivel, -5° to +90° tilt.Exposure mode: Auto.Manual settings: 1/1 only.No built-in wireless modes.Trigger voltage: 5.7 volt.Batteries: 4xAA.Flash duration: 1/1000 sec. @ 1/1 (full output).Field upgradable: No.Dimensions: 88 x 145 x 76 mm, 320 g.Guide number (ISO 100, meter): 32.Discontinued: Yes.For a detailed explanation of the above specifications, see the. LiteratureNo literature yet.
Brand profile. Key infoEstablished: 1967HQ: Barcelona, SpainWeb:Starblitz is a is a Spanish marketer of photographic accessories, including flash units, tripods and accessories.
As far as I know, Starblitz doesn't manufacture equipment, but relies on variousasa source for Starblitz-branded products. Please help us improve DPanswersDo you think there is an error in this listing or do you haveanything to add to these specifications? In particular, if notrigger voltage is listed (or you believe the trigger voltage indicated is wrong)and you own this flash and have measured the trigger voltage, pleasewith the additional or corrected data, orand tell us how we can improve the product database.