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I think the secret with LF is to lie convincingly. When you make garbage shots like this, just say "Yep, I meant to do that". Everyone assumes that, if you are strong enough to carry that stuff around, they better not contradict you.Every time I get the LF film itch, I just spray some dust on my sensor, shoot at f/16, and spend four hours cleaning up the final image.
Hey thanks! To get me started, I ordered some Delta 100, some FP4+ and some Ados CHS 100 II, and as developers I got FX-39 II, Rodinal (just to try some standing dev with it) and chemicals to mix D23, plus I got some 510 Pyro in the house. I will do some testing with all combinations of film & dev in various light conditions and see if I can standardise things a bit in the ISO 100 range (ideally, one film, one or two developers). I will then so a little test with 400 ISO films as well, just to have the option.Nice one! The Chamonix is a fine camera, I have one too. My film/ developer choice: Delta100+ DD-X. Also nice is the Rollei RPX25 + DD-X, but the very thin base of the film make it tricky to handle.
That is when I stopped using 4x5.Type 55 is wonderful, delicate and no longer available. Pity.
Sort of. Because of the longer focal length equivalents in LF film, shooting at 11 or 16 with current MF sensors should give similar sharpness and depth of field, especially if you use the sensor's native ISO (well, at least for CCD). I usually expose digital as if it were reversal film, exposing for the highlights. Post processing can usually bring enough detail out of the shadows.What i miss the most is ability to shoot at f32 or even f64 practically with no penalty on sharpness, and amazing highlights on film.
With digital it is really difficult to get as much depth of the field and highlights get overblown easily.