Macro Photography on a Budget | Film Photography & Extended Darkroom Works

[@LaViejaConsolada]

the exposure compensation for macro extension is exactly the same as bellows compensation: square actual focal length divided by square lens focal length gives a multiplier, which has to be applied to the light amount (not metering): As an example, using a 50mm lens: Actual focal length (the distance from the front lens group to the film): 100mm, so 100x100 equals 10000. Focal length: 50mm, so 50x50: 2500. 10000/2500: 4, so you want 4 times more light. Every stop adds the double amount of light, so that would mean 2 stops. Easy!

[@ShootFilmLikeaBoss]

Really appreciate the detailed comment. Thanks!

[@cessna1511]

This has given me some inspiration for bursting off a few frames this afternoon. Cheers.

[@maxencelemoine4190]

I love seeing you having fun with your pictures, your videos, your introduction. Thank you for yiur work

[@ribsy]

end to end, great stuff. just ordered a few key items to start doing prints at home. thanks for the inspo!

[@filmismorefun]

My fav was the light meter print. Also, here's a business idea for you- throw a few stickers on that toilet paper tube, then put it up on Kickstarter and market it as the world's first environmentally friendly recyclable macro tube. They'll fly off the shelves, no doubt 🙂

[@silva-anderida7695]

You're so fluent in the darkroom.Without really making any effort,just by enjoying your videos,I'm starting to understand how things work.Good results,too.Cheers.

[@The_Kaleu]

I've never seen how prints are made in a dark room before. I'm absolutely blown away! I've recently gotten into doing macro photography on film instead of digital, and it really makes me appreciate the work that goes into developing film and making prints, such as in this video. This is my first time watching a video of yours, so I'm grateful you gave an in-depth explanation of the processes behind making your prints. Fantastic work!

[@ShootFilmLikeaBoss]

Thanks. Glad you enjoyed it 😊

[@ShootFilmLikeaBoss]

Thanks. Glad you enjoyed it 😊

[@terrywbreedlove]

Your RZ 67 makes a great set up for close up shooting. The bellows focusing is a handy tool for that.

[@ShootFilmLikeaBoss]

Yeah it gets close Terry. Sharp too

[@retrofocusing]

As always , great video :) Around 16:30 you mentioned the need to have a piece of paper under your focus finder. I was wondering if it's really necessary :) Since you usually make quite large prints ( which means having your enlarger head quite some distance from the easel) with the aperture on your lens stopped down a few steps, the resulting depth of field of the projected image should be way beyond the thickness of the paper, therefore eliminating the need for putting a scrap piece under your finder. I believe that the thickness of a sheet of RC paper is about 0.3 mm. The margin of error coming from the depth of field should be way more than that, I'm thinking a milimeter or a few. As far as I'm concerned even Peak and some other leading focusing aids manufacturers confirmed that. What we should really be worrying about is the depth of field that accomodates the film plane - that's a shallow bugger! So much that having your film flat in the carrier and your enlarger nicely aligned is what I'd deem critical. Maybe you'd like to experiment a bit with that ? I'd love to see a video on that. Darkroom Mythbusters! :D

[@ThatGamingGuyfromthe70s]

I believe you might be right in your findings, however I feel it is always good practice to check your focus with the paper you use before going for a big print, the cost of paper can soon mount up if it is wrong and it only takes a few seconds to check. I have always done this since I was shown in school and college 30yrs ago, I guess habits are hard to break.

[@ShootFilmLikeaBoss]

It's a good habit and takes no time out. I doubt much difference would be seen at that height and size.

[@jhenline7813]

That was great Roger!

[@123NAAB456]

Awesome video as always !

[@m00dawg]

Haha the Darkroom Roger bit was cute!

[@fotolookconde]

Haha back to the darkroom!!! I worked in the past with a Lunasix 3 but I don't know a Lucky ligthmeter however I had an enlarger of that brand!

[@victorcarmelo8606]

Those tiny cameras were in all the London West End tourist shops in the 60/70"s.

[@lensman5762]

Excellent. Very interesting way of calculation of exposure compensation. I am not familiar with extension tubes citing exposure factors as yours have but if you add the two you'd get 5.5X of EF and the corresponding F stop compensation would be the square root of 5.5 which is about 2.35 stops. You can actually calculate the EF manually for extension tubes which only give you the length of the tube, using this simple formula, where EF is the exposure factor, ( f) is the focal length of your lens, (Te) is the total length of the extension tube and (He) is the lens helicoil extension measured from its infinity position and in case of a large format camera is the bellows extension, as far as the standard lens is concerned you could probably ignore the He and just add 1/3 f stop to the calculated EF value. EF = ( (f + Te + He ) / f )2, that is to the power of 2 BTW not multiply by 2.

[@ShootFilmLikeaBoss]

Thanks for the explanation. I've pasted this onto my notes!

[@jmtubbs1639]

Aperture is the ratio of the distance of the aperture blade to the film plane, and the diameter of the aperture. Your regular f stop may only be an approximate value as the focus varies, if the aperture moves with the focus, as it does on a bellows camera, for sure. Adding extension tubes significantly alters the ratio and you lose light.

[@carlinschelstraete682]

Great explanation Roger

[@andrewfrost8866]

Rodger II! Awesome!

[@ShootFilmLikeaBoss]

Thanks Andrew.

[@odukar2315]

He, annoying Roger II is back! You shouldn't be too rude to him! Again a great video, with great toilet roll tips! :-)

[@bardamu8294]

Really nice as usual Roger. When will you be able to wander the coutryside again in the uk ?

[@ShootFilmLikeaBoss]

We can drive out for exercise as long as we social distance and only with family members. So I believe! So very soon!

[@bardamu8294]

@@ShootFilmLikeaBoss why is it always so complicated and bureaucratic here in France. People get insane filling their "attestation" paper every time they go get the baguette. 🤣

[@Marius-Cristian]

Toilet rolls are luxury items these days Roger...

[@Dahrenhorst]

To me, photography usually is not about gear. I work with 100 year old Kodaks as well with my digital Olympus Pen-F, with a digital point&shoot as well with an 11x14 large format camera, and my street photography camera is a TLR - I use what is best suited for what I want to achieve. This is actually a little different with macro photography. I have a Leica R6 with the 60mm Macro Elmarit and extension tube, which I virtually never use, since I found out what my Olympus Tough TG-6 can do in the macro realm. It can do 7:1 enlargements out of the box (where my Leica ends at 1:1), and if you wish, you can enable automatic photo stacking in camera as well, taking eight pictures differently focused to create one picture with a giant depth of field. I'm convinced, that for macro photography there is no better tool around for less than 10,000 USD than this little point&shoot. Unless I want to print giant posters, of course - in that case I also wouldn't use the Leica but my Fuji GX680 or the 5x7 large format camera. But in reality - I don't think that I have ever done something larger than a DIN A3 print form a macro shot, and that can easily been done with that little sensor of the Olympus. So, if talking about macro photography on a budget, look no farther than this sturdy Olympus gem. You can even step on it or throw it into the creek without creating any problem - ever done an underwater macro? You'll miss out all the darkroom fun, though.

[@lucmaelbrancke1766]

So to understand the split tone process better, always first the lowest contrast filter for the whites and then the highest for the blacks, right?

[@ShootFilmLikeaBoss]

Often, with tricky prints, I build my highlights up with Grade Zero and ignore the blacks. Once I am happy with my tests I will then start using a 4 or 5 to build the rest.

[@meelistisler4868]

Trying to grab cable release on the photo (23:15) :P Nice one :D

[@MilliePat]

Have you tried macro with the pinhole camera?

[@ShootFilmLikeaBoss]

I have had my pinhole camera inches away from subjects with interesting results.

[@MilliePat]

What do you think of this photo with the pinhole? photos.app.goo.gl/BeFgqc3Z6rgksqiZ7

[@MilliePat]

@@ShootFilmLikeaBoss I want to see the pictures. I am working on macro indoor pinhole photos, just started and it ain't so easy.

[@ShootFilmLikeaBoss]

@@MilliePat I'm not sure you use any accessories for pinhole. Have a look at my pepper video where I get very close to a pepper and also bamboo sticks in a bucket.

[@MilliePat]

@@ShootFilmLikeaBoss The pepper video inspired me to attempt macro with a pinhole camera. I am a 1st year photography student with a very narrow budget for a real darkroom. I am using an Ilford 0.35mm pinhole camera with Ilford IV RC glossy paper. The objects are placed in a LED lightbox. I also have a sunlamp focused on the object in the lightbox. Exposure time is 20 +/- 5 min. The developer is Caffenol or the D96 mono-bath. I can afford to buy an enlarger, so the paper negatives are scanned into Photoshop. Please do a video with a pinhole on a 35mm or 120mm film camera with a macro lens.

[@MrGrompies]

Exposure compensation would work similarly to bellows compensation on large format. 50mm +tubes ' length and some math. Or, use an app like bellows factor on android. Calculates it for you.

[@ShootFilmLikeaBoss]

Great, cheers Graeme.

[@JohnTomasella]

I thought you were going to use a $hit ticket tube 😁

[@mauricioalchundiasegovia8355]

jaaaaaaaaaaaaaaaaaaaaaaaaaaaaa¡¡¡¡¡¡¡ GREAT VIDEO¡¡¡ X2.

[@arty2917]

Does your family know that you keep your brother in the darkroom?

[@ShootFilmLikeaBoss]

They put him in there in 1989! Poor guy!