Filtering by Tag: Utah

FIRESTONE

Added on March 8, 2016 by John Sturr.

This was shot on the Nikon F100 with Ilford HP5+ and developed recommended with DD-X.

SBux on State

Added on November 14, 2015 by John Sturr.

Taken at the Starbucks on State Street; it is one of my favorites. It was a grab shot while waiting in line for service.

I was so hoping she wouldn’t look up - and she didn’t.

It matches the frame of medium format film perfectly.

No crop - Kodak Portra 400.

Dinner with the Woods

Added on August 30, 2015 by John Sturr.

This was an unpredictable roll -- some frames just didn't turn out well. The advantage of the hybrid / digital workflow offers powerful corrective actions in post. I have no idea how that was completed to satisfaction back in the day.

You were defined by those who completed your wet process edits.

Alligator Lake - High Uintas Utah

Highway Forward

Added on August 28, 2015 by John Sturr.

3.5 Miles in.

Added on August 25, 2015 by John Sturr.

I always take too much gear -- this trip was no different.

Near the U of Utah

Added on August 11, 2015 by John Sturr.

The 35 year old Yashicamat124G still has some legs. Ilford HP5+ with no crop.

JSMB - SLC

Added on July 26, 2015 by John Sturr.

This is the back side of the Joseph Smith Memorial Building - historically known as Hotel Utah.

This was restored and remodeled, by the LDS Church in the 1980's to become an administration type building.

FFKR Architect's was hired for the original remodel and has since been involved in ongoing modifications.

SLC - Capitol

Added on July 23, 2015 by John Sturr.

Shot at the South entrance steps of the SLC Capitol - with the F100 on HP5. As with all of my images - no crop.

Umbrella in the Mist

Added on July 18, 2015 by John Sturr.

I really like photos taken in the rain because it is a venue not very much captured -- and as luck would have it we had days and days of rain falling on a Saturday where I could take advantage to shoot. As I was driving downtown - and as if it was planned - here was a colorful umbrella traveling the sidewalk on South Temple Street.

As much as I could - I got head enough in the car in order to pull over to take some frames.

The scene really turned out well - as it was a serendipitous event all coming together. And as much as I hate to say it - photography is all about the Serendipity -- seriously -- If you have the camera you may just come away as being the Rockstar with the one and only image of the event - whatever that may be.

Scanning film in the Digital age

Added on July 12, 2015 by John Sturr.

EDIT: A friend of mine mentioned to me a few things about this post of which I've decided to clarify. And they are important enough to add this edit. My vision for how I process film is just one technique - wether that's scanning, choice of lab processing or developing at home. There are many who have used different techniques, equipment, flat bed scanners, and films of which the final outputs have been received without peer. It's never been my intent to offer the opinion of end/all, be/all - please keep that in mind.

Scanning film in the digital age

Coming at this as a newbie months ago, I really schooled myself about scanning services from labs: what they offer for resolution and pricing. None of which is standardized. And the idea of scanning my own developed film. Here's a quick distillation of my findings.

Scanning film becomes a confusing subject in this recent world of digital photography - as really the only purpose of the film scanning process is getting the best resolution possible.

The photographic / scanning labs aren't dumb either - after years of getting beat up by the influx of the digital camera eating into their survivability, they have now monetized the analog/digital aka "Hybrid" workflow with pricing tired services.

And I'll get to that in a moment.

There are a few components to the idea of scanning film. The first is the scanning; getting the resolution in-order to print something bigger than a postage stamp sized print (and I'm being a bit sarcastic of course).

The second is getting the scan to look like what would be expected when you would nakedly print. Meaning - the digital representation looks like the the original film stock, i.e. Kodak Portra, Kodak Ektar, Ilford HP5+, Ilford Delta, Koday Tri-X, etc. This can be tricky - and there are certain photoshop integrated pieces of software which keep the integrity of the "look" of the film you've scanned.

The third - is the price. That's were the monetization of services from the lab comes in. Bigger scan = more cost. Color vs. BW is a price difference there also. Color is easier to scan as the dust removal is more automated - BW scanning needs to be “spotted” manually which is more laborious.

So now I'm just touching the surface - and let's not forget shipping, i.e. getting it to the lab. Ugh. That’s a part of the expense also.

One would think that the scanning sizes per price paid would all be standardized.
But as you look around at which labs are worth considering you will see that scanning resolution sizes are not necessarily tied to price.

I might also add -- that if you are a lab and you are not scanning - then I don't even consider your services. But why -- why do you want a scan ?? --- Well that's a bit of another conversation but suffice to say - that wet printing is a bit of a diminishing return for how good ink jet and how capable large format ink jet has become.

Here's a taste of the confusion -- these numbers include Development and Scanning

theDarkroom.com 35mm BW

1024x1536 - $11
2048x3072 - $15
4492x6774 - $20

theFindLab.com

2285x3035 - $22
3042x4040 - $27
3647x5444 - $32

This is an example of what I mean -- Price and Resolution - you would think this would easily be your guide, but there is no correlation between the two. One doesn’t compliment the other - and here's another curve ball -- what's the secret sauce if there is a difference of price - what is theFindLab giving you for that extra $12 bucks on their top of the line scan compared to the theDarkroom ???

Is it better dust correction - do they care more - or is a scan a scan, especially when you are talking a high volume production shop ?

I've used these two labs as I’ve gotten started in the film hybrid workflow -- theDarkroom out of CA, and theFindLab out of UT., and I'm torn. TheFindLab is probably one of the most expensive in the country - yet I've never had to second guess with what they have provided me. The DarkRoom has great resolution, is sometimes a 1/3 cheaper but I've had to send some stuff back to be re-done, 5” prints to be exact.

So what's the future hold -- Well. As I get deeper into film I've started developing BW and color C-41 and scanning myself. I've secured a Nikon LS-8000 for MFormat film getting 4000dpi and a Minolta Dimage 5400 for 35mm at 5400 dpi.

Everything I’m doing is “cradle to grave”.

Both of these scanners will give me resolution competitive if not better than standard lab offerings - but the process for me will be a time hog. So either way you are paying -- in time or in money.

And here’s the rub - the scanners producing these outputs desirable aren’t made anymore. Yep - Nikon and Minolta scanners don’t exist as new - and services to repair them don’t exist either. Yet the frustrating part is that no one makes a comparable product - yes the technology of 2000 can’t be matched - Mind blower. Expect to pay at least $1000 for a Nikon first generation LS-8000 and expect to pay $500 for a Minolta Dimage I, used.

In closing -- the only way to see how a lab treats your negs., is to try them - util you come to the point of wanting to create your own work flow.

While I’m at it — let’s keep this conversation going — what happened to the “Flatbed option” ? Good question.

Ok — if your are planning to use a flat bed — Epson 600, 650, 700, 750, 800, 850 then you will hit the wall of real resolution vs. interpolated resolution. Meaning - the flat beds really don’t resolve past 2400 dpi. And, if you are a purest in all sense of the term then that just won’t be good enough for your artwork. There are many internet posts on this subject to be searched - and this was quite an eye-opener upon researching it - as I had no idea about this aspect.

On another note, and this is the biggest reason I’m not flatbedding - the flat beds can’t adjust and focus on the film image - so you may not get the sharpness you are entitled too. The flatbeds have an arbitrary focusing point - it’s either good out of the box, or horrible.

Whew — ok — so you got all of that ?

UTA Trax

Added on April 29, 2015 by John Sturr.

Riding the Trax - anything goes -- especially at 7am - ish.

MTC - Provo BYU

Added on October 3, 2014 by John Sturr.

This is from the BYU Provo campus of a feature designed by FFKR Architects - where the reflection shows the mountains to the East.

High West

Added on September 27, 2014 by John Sturr.

Here’s a photo of opportunity - sitting for dinner at a distillery in Park City, Utah - High West - some in this group may have even experienced their award winning Whiskey, but I digress. This was a matter of great light, and shinny objects - and I can’t lie - I’m a sucker for those also. This is basically out of camera - with sharpening but NEF.

ViewNX - when I can get away with not having to lens correct is the editor of choice - the secret “color” sauce is very, very welcomed. I wish LR 5 had the magic. LR gives me about 90% of what Nikon’s software produces. Too bad it is always the last 10% which determines the good stuff.

I’m always torn with the V1 system - as I wish the lenses were faster - as now I’m thinking of going B/W and pegging it a 1600 ASA, and just going to town and seeing what happens. If anything it will provide a new perspective - and that is always welcome.

9th and 9th

Added on July 1, 2014 by John Sturr.

A grab shot in the 9th and 9th area of Salt Lake City. No Crop.

Adobe - Lehi

Added on April 16, 2014 by John Sturr.

Some of my favorites of today's visit to Adobe's campus in Lehi.

Photo walks

Added on January 27, 2014 by John Sturr.

I took some time out last Saturday to photo walk, something of which I rarely do.

Group Shot - V1

Added on November 19, 2013 by John Sturr.

My best group photo in a while - the firm was getting a demonstration from RigidBot, a 3d printer company from Provo, and this is a grab shot.

The serendipitous nature, of the art of image making, has always captivated me, and the BW convert makes the scene even more powerful.

I’m still in love with the files from the V1, and even though I will lust for the A7r, I don’t know if I can remove myself from the V series.

Compelling

Added on October 31, 2013 by John Sturr.

Compelling may be right in front of your face. I pass this area often, and like a moth to a summer time lit light, I can't ever not want to make a picture; ever.

Utah Theater

Added on October 28, 2013 by John Sturr.

Interior of the Utah Theater - in wait of desperate restoration.

Adjusting a Model - action shot

Added on July 2, 2013 by John Sturr.

A colleague adjusts a model at the office of FFKR Architects in Salt Lake City.

The autofocus on the V1 is without peer - and the sensor size is compensated by the resolution of the lenses. Shoot a great lens and uprezzing is a non-issue. Shoot a "wanting" lens - and you can't hide the flaws at 12x18 print and bigger.

I would rather have the shot with a small sensor and less rez- than not with more rez, i.e. Nex-7.

This is with the 18.5mm eq. 50mm. Desired for two reasons, it is crazy sharp - and f1.8 to keep as close to the base ASA -- yes, I just said ASA -- boom !

Nikon 1 - V1, 18.5mm f1.8 - FFKR Architects, SLC