Potato, potato – Making an old Sigma lens work on every Canon EOS body

Right, the “potato, potato” thing probably doesn’t work that well in writing, but you get the point. Or at least, you soon will. I got my hands on an old Sigma ‘Super Wide’ 24/2.8 a couple of weeks ago. I came across it and just couldn’t resist; a wide-angle prime is a convenient thing to have, after all. Upon receiving it, I immediately tried it out and…it didn’t work properly. Drat. Well, it did on my old Canon EOS 50e, but it didn’t work on an EOS 7D or an EOS 30. Turns out it’s a well known-compatibility issue. Turns out also that, guess what? It can be fixed!

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Some images – Tractor tracks

No long story this time, just some images. By far the most photos I make are taken in the immediate vicinity of the house, within walking distance. The same is true for these two, which I took when exposing a test roll of Fomapan 100 to see how the Sigma 24/2.8 I received recently works.

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Easy way out – Inkjet on ‘DIY’ papers

No, I haven’t given up on color carbon yet. But as I was messing with the inkjet printer anyway, making hundreds of digital negatives and greyscale tests, at some point I got experimental in that direction as well. You see, the thing with inkjet is that I just don’t like most inkjet papers. They’re very high-tech and offer great gamut and dmax. But they don’t have much subtlety to them and the paper surface is always lifeless to me. The exception is the (rather pricey) inkjet baryta papers that indeed resemble fiber-based B&W papers. But couldn’t we expand our choices a bit, perhaps by trying something ourselves? Well, turns out, we can…read on!

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To stain, or not to stain – Acid and pyro developers

There is a very controversial topic on the Internet. It’s in fact so controversial that I almost don’t dare post about it. It’s that thing about pyro developers and the dye image (‘stain’) they produce. This is seen as a desirable trait, as it apparently helps to mask film grain, and it adds substantial UV density, which is great for processes like carbon printing. Now, the question is – is it OK to use an acid stop and fixer with a staining pyro developer, or will this obliterate this precious dye image? Come in and find out!

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Black is the new black – Pigments for B&W carbon transfer

No, I haven’t given up color carbon just yet, but neither will I leave B&W alone. One issue I’ve been having is that of hue. After all, there’s black, and there’s black: black pigments tend to come in all sorts of hues, so there’s lots to choose from. But a satisfactorily neutral black has evaded me for quite some time – until now!

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(T)issues – A note on pigment dispersion and chroma

I’ve been working with powdered pigments for a (brief) while now and as a result, I’m starting to come to grips with the pros and cons of this approach. Overall, it’s lots of fun – in fact, this is so far my favorite part of the color carbon project. But there are challenges also to this part. For instance, I recently ran into an issue of tissues that didn’t look quite as nice and shiny as they should. And that actually has implications that go far below the surface!

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How to ab-stain? Dichromate stain issues in carbon printing

No, I haven’t given up on the color carbon project. Yet! But there are challenges, and they can be, well, challenging. For one, I’m running into trouble with hue and chroma of the color layers and I’ve been having a hard time figuring out what happens. One probable cause is actually dichromate staining. Let me exstain. Err, explain.

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Fascist or facilitator – some thoughts on forum moderation

When you read ‘fascist’ in the title, think of the late Rik Mayall in The Young Ones. So hold your horses, this isn’t going to be something politically incredibly incorrect dribble. But I think the dichotomy expressed in the title is apt, in a way. Please allow me to muse a bit on the topic of forum moderation, because I think there’s some misconceptions about it. Well, in my opinion, at least.

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Fairy dust – Dry pigments for color carbon

Alright, I caved. I had been ogling the website of Kremer Pigmente for a few weeks and ultimately I decided to order some pigments from them. I think it actually makes sense, despite the warnings I was given by multiple people on the forums. After all, dry pigments are challenging to work with. Or so they say…

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Color me purple – Some color developer formulas including C41 and RA4

Despite the modest resurgence of interest in film photography, supply issues remain a concern. This is nothing new; a few years ago, I already worried about this and figured that I wanted to expand my options when it came to in particular color chemistry for C41 negative development and RA4 printing. I started collecting formulas I found online, purchased the necessary chemistry and mixed quite a bit of (mostly) developers myself. Now seems a good time to share my findings with you. If anything, it might be convenient to have some key formulas in one place.

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