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Description

As I traveled the back roads of Cincinnati's Over the Rhine neighbor, I passed an alley with these two young men working to repair their bicycle. The taller, likely older friend was doing the work, while his friend looked on. I announced my presence and asked them to disregard me as I captured the moment. Using a long 250mm F5.6 Zeiss Sonnar lens to compress the distance while still isolating the action within the alley. At the same time the extra distance minimized their interest in me. I was able to shoot a few images before walking over to them to introduce myself and find out who they were and how I could give them a copy. As I often do, I then turned the camera over to them to take a photo of me (fair is fair). The year was 1978. I was 28.

They always put your head in the center. The full negative, with the two notches on the left edge.

eugene

The other day one of my dA camera friends told of his interest in medium format roll film cameras. His Mamiya 645 was smaller, easier to use in horizontal position and took more images per roll. This reminded me of the time when I carried a 16 back for my Hasselblad 500c, loaded with black and white Kodak Tri X (400 ASA) panchromatic film. Medium format can either be a rectangle or a square. The advantage of the square is the camera was built to be held in it's best position, and what taken that was not needed can be cropped out later. The advantage of the rectangle is a more efficient use of the negative while allowing 16 exposures per roll, rather than the square's only 12. Hasselblad made backs for square or rectangle with an other option of twice as many square with a 220 back, or 50 with a 70mm back. Of course the longer rolls made it much more difficult to load onto reels for development, something I avoided by using 220 only when I sent the negatives out to process by a lab.

I wanted to share my experience with the 6cm by 4.5cm rectangular negative images, but couldn't find this in my galleries, leaving it necessary to post this one today.

Description

As I traveled the back roads of Cincinnati's Over the Rhine neighbor, I passed an alley with these two young men working to repair their bicycle. The taller, likely older friend was doing the work, while his friend looked on. I announced my presence and asked them to disregard me as I captured the moment. Using a long 250mm F5.6 Zeiss Sonnar lens to compress the distance while still isolating the action within the alley. At the same time the extra distance minimized their interest in me. I was able to shoot a few images before walking over to them to introduce myself and find out who they were and how I could give them a copy. As I often do, I then turned the camera over to them to take a photo of me (fair is fair). The year was 1978. I was 28.

They always put your head in the center. The full negative, with the two notches on the left edge.

eugene

The other day one of my dA camera friends told of his interest in medium format roll film cameras. His Mamiya 645 was smaller, easier to use in horizontal position and took more images per roll. This reminded me of the time when I carried a 16 back for my Hasselblad 500c, loaded with black and white Kodak Tri X (400 ASA) panchromatic film. Medium format can either be a rectangle or a square. The advantage of the square is the camera was built to be held in it's best position, and what taken that was not needed can be cropped out later. The advantage of the rectangle is a more efficient use of the negative while allowing 16 exposures per roll, rather than the square's only 12. Hasselblad made backs for square or rectangle with an other option of twice as many square with a 220 back, or 50 with a 70mm back. Of course the longer rolls made it much more difficult to load onto reels for development, something I avoided by using 220 only when I sent the negatives out to process by a lab.

I wanted to share my experience with the 6cm by 4.5cm rectangular negative images, but couldn't find this in my galleries, leaving it necessary to post this one today.