In the following image, the paper backdrop (Savage #15 Suede Gray) and the iron-laden rock are rendered in warm tones on Provia. On E100 there is a bias towards yellow-green. The color space is also exceedingly neutral, as if it was designed for post-scan color grading.

Figuring out how to work with this film to produce vivid results has proven to been difficult—Ektachrome E100 requires a new approach to development and scanning.

1. Predictability
2. Ease of use
3. Capabilities (push processing)
4. Cost

The Ilford Photo Film processing chart serves as an excellent reference for common films and developers. As with color reversal, development times can be interpolated ⅓-stop increments:

Note: Prices were calculated USD as of January 2023.

If you're using a camera built in between 1990 and 2000 there is a good chance it has a built-in self timer. I wish manufactures of high-end view cameras had spent the time to make an elegant self-timer to bundle with their camera bodies.

• GW: 90mm f/3.5
• GSW: 65mm f/5.6

The Fujifilm GW cameras are not as versatile as the Mamiya 7, but is unique position for cases where you need to capture a large negative with minimal hassle.

This last step requires creativity because the price cannot simply the valuation of my time plus materials. More likely the effort and resources spent on making the product need to match the price that makes the end product a good value for the one buying it.

While looking for a larger format I was intrigued the 6x9 format for several reasons. It's wider than the 6x7 aspect ratio, and it's a roll-film format so I can quickly set up for the next shot when shooting small creatures. 6x9 is approximately double the area of a 645.

See also: Fujion Lenses.

I have heard it said that artists have occasionally tried to map colors to musical instruments. What if B&W has the effect that it does because it is limited and powerful because it is like a vocal performance? Similarly, a color photograph has the character that it does because it is composed of musical instruments. This is a strange comparison, but it does start to explain why one is not a subset of the other.

SLRs are netorious for misalignment. Use a manual focus chart to confirm that the mirror stop is adjusted properly.

Every change in configuration prompts you to answer one or more questions and is a way of making decisions ahead of time. The following examples are based on my experience with a modular film SLRs, but the idea is the same for any camera: changing settings and connecting components cannot be done quickly.

What you can do is plot a course, take notes, make choices and configure your gear in advance.

The range of choices and techniques applied to a photograph are largely unknown to clients or friends, including which frames I discarded early on. But there is one editorial decision that I may make visible and even negotiable. That option is the final crop.

Perhaps most notable is that they did not hold their value so they are inexpensive. This is a feature, because you can buy two of them!

Like so many medium-format cameras from this time period, these devices are capable of producing some excellent photos, but they are error-prone. Think of these devices as a sports car without torque vectoring, stability control, or even anti-lock breaks.

Metering for color reversal film is a two stage process: first for exposure, second for development. If you are shooting an entire roll under controlled lighting conditions, you don't need to nail the exposure. If you are within the film's latitude and have some accurate lighting readings you can set the final speed by push processing.

When digital cameras first replaced personal and professional photography they were dreadful. Now that digital cameras are very good, it is not obvious why anyone would choose a limited and unreliable medium. Digital, imaging is more versatile in every way, but it is perhaps a mistake to presume that boundless control is what we need.

Ari Jaaksi keenly labeled himself as a process junkie which is a hint that our manner of working has profound implications. Some of our physical movements become rituals or focal practices. Rituals are essential our existence, as they enable us to integrate the fragmented experiences in our lives.

The usefulness of color reversal film is entirely dependent on the qualify of the scan. A consumer-grade scanner benefits from a larger negative, but for 35mm and 645 I find that a 24MP digital camera is competitive with a consumer-grade flatbed scanner.

For work to be printed we need to do better. I recently sent out a 645 transparency to James Beck Digital and the results were astonishing.

Selection area from Provia 100F transparency (Mamiya 645 Pro, with 80mm lens at f/4)