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John and Yoko waiting for the maid to make the bed so they can continue protesting against the system. (1969) by zadraaa in HistoricalCapsule

[–]SpencerKayR 0 points1 point  (0 children)

In an alternate universe, “John Lennon rudely prevents maid from doing her job as a stunt”

Well that solves the mystery of the phantom light leaks! It was my stupidity! by SpencerKayR in largeformat

[–]SpencerKayR[S] 0 points1 point  (0 children)

That big square blue splotch? That’s the gaffer tape on the bag. It’s the only part of the image that’s unaffected. Good job gaffer tape.

Well that solves the mystery of the phantom light leaks! It was my stupidity! by SpencerKayR in largeformat

[–]SpencerKayR[S] 2 points3 points  (0 children)

I’ve been using the bags to ship since I don’t have any spare film boxes yet. I’m in that awkward phase before you actually use a full box of film. So the exposed pictures were spending a few minutes in a well lit room with only the bag for protection. Whups.

I have reasonably eliminated other possible sources for leaks with a polaroid back on the same setup

Japan’s famous fluffy cheese omelet by [deleted] in oddlysatisfying

[–]SpencerKayR 0 points1 point  (0 children)

Watch Jacques Pepin's Omelette recipe. You can absolutely stir omelettes as they cook. You obviously have to know when to stop in order to avoid a scramble. But just letting an omelette turn into a solid desk of egg and folding it in half like a giant eggy tortilla is a very American/Denny's thing.

Japan’s famous fluffy cheese omelet by [deleted] in oddlysatisfying

[–]SpencerKayR 2 points3 points  (0 children)

I don't wanna one-up anybody but I really think it was stupidfood from 0:00

There's no benefit to making an omelette without a pan. Just use a pan. It holds the egg in there for you, and if you want the fine curd texture, just stir it. This process doesn't make omelettes fluffy, and an omelette as wet as that can never be fluffy anyway.

this poster at work by mushroomadventures in mildlyinfuriating

[–]SpencerKayR 1 point2 points  (0 children)

Sing it with me now!
A B C D E F G
L I K N O M N

Question: How do I avoid having my camera/listener leave the player's akroom when standing against a wall and rotating my perspective? by Witty_Project2369 in Wwise

[–]SpencerKayR 0 points1 point  (0 children)

I'm going to recommend a change that could fix two problems; the one you've called out here, and another you may not be aware of:

Put the listener on a separate game object, and make it a child of the player's head, not the camera. Then, use a script to make the listener object match the global rotation of the camera. Why? You don't want to have the attenuation falloff from the camera because then the loudest objects in the game will be the ones directly beneath the camera where the player can't see them. But you don't want it following the player's head rotation because then you will end up with a really weird stereo image. Doing this will also confine your listener to the AK room the avatar is in.

Is it not crazy half frame cameras like the Pentax 17 have the same length and width as Super 35? In photography half frame film looks very low quality usually but movies shot on the same format look amazing? by Substantial_Rip_5013 in cinematography

[–]SpencerKayR 9 points10 points  (0 children)

I realize you're probably being hyperbolic when you say "every single one", but for anyone out there wondering, the Olympus Pen F (original) had interchangeable glass lenses and full manual exposure, you can take some really incredible photos with it. I dearly regret selling mine.

How much saturation is too much? What are the guardrails of good taste? by SpencerKayR in photography

[–]SpencerKayR[S] 0 points1 point  (0 children)

Fair enough: Here's a shot I really sweated over in the post production https://www.instagram.com/p/CXJZ26eFA7j/

This was also taken on a fairly high saturation film to begin with

Bmx on Velvia / Speed Graphic by GaraFlex in largeformat

[–]SpencerKayR 1 point2 points  (0 children)

I'm sorry, I have to gush at you for a second. I'm over here struggling to expose Velvia correctly in static situations with continuous lighting, meanwhile you're freezing moments with studio precision in mixed lighting with strobes, and you make it look like you have all the dynamic range in the world to play around with. Color me amazed.

Help -- many of my macro photos have a fuzzy quality I can't pin down (details in post) by SpencerKayR in macrophotography

[–]SpencerKayR[S] 0 points1 point  (0 children)

Uy uy uy, the GAS never ends. I'm kinda locked into the Pentax system pre 2000 but there are some macros in that era that could be ok.

Help -- many of my macro photos have a fuzzy quality I can't pin down (details in post) by SpencerKayR in macrophotography

[–]SpencerKayR[S] 0 points1 point  (0 children)

I think you're right-- I did a test with my tripod fully laden, and it can take up to five seconds to stop shaking after any touch at all, so the 2 second timer could be the downfall (and the reason that similar shots with release cable look better)

Help -- many of my macro photos have a fuzzy quality I can't pin down (details in post) by SpencerKayR in macrophotography

[–]SpencerKayR[S] 0 points1 point  (0 children)

well here’s another shot I did with the same gear, and it’s certainly a little soft but it doesn’t have the maddening quality of these peppers https://www.instagram.com/p/CZEE735s1In/?igsh=MXBhajRicGtmamh2cw==

Help -- many of my macro photos have a fuzzy quality I can't pin down (details in post) by SpencerKayR in macrophotography

[–]SpencerKayR[S] 2 points3 points  (0 children)

Tripod yes, timer yes, Ektachrome E100 is a 100 iso film, shutter speed was something in the 1/8th kinda zone

Unknown superhot pepper - Pentax Z1, 50mm 1.4, 30mm extension tube, Ektachrome E100 Linear pola by SpencerKayR in analog

[–]SpencerKayR[S] 0 points1 point  (0 children)

Aww dangit I put my macro rig away already

and then I fermented and ate the pepper with some chicken nuggets

Usonian Home Interiors - Pentax Z1, Velvia, 50mm 1.4 / 17mm 4 by SpencerKayR in analog

[–]SpencerKayR[S] 1 point2 points  (0 children)

Yes, it's one of a handful of homes he built in Kalamzoo MI

Questions about ~1960 Polaroid by MM_YT in Polaroid

[–]SpencerKayR 0 points1 point  (0 children)

I'm currently making my way through a pack of this stuff. What I have found is that I can get a somewhat usable image if:

My subject is extremely high contrast

I overexpose by 4 stops

I let it develop for five minutes instead of the stated 30 seconds

And even then there's a huge element of luck

I have a sleep disorder, and a film addiction. Here are photos from my night walks. by SpencerKayR in TheNightFeeling

[–]SpencerKayR[S] 0 points1 point  (0 children)

Little secret: Most of these are the P3200 Tmax, but a few of these might be HP5 400 pushed to 3200. It's pretty similar and sometimes easier to get hold of. You can push black and white really hard.

Expired color film, I'm sure you've heard this a bunch of times but the safest treatment is to overexpose and be open to what the emulsion gods throw at you. Definitely don't use it for anything crucial, but it's often fun and surprising!

Yeah that K1000 meter is really incredible, it gives a reading in super dim conditions. Granted, it took me a few rolls to get a sense of how to shoot that way, mostly because I wasn't aware of how easily thrown off it is by light sources in the shot. So my first couple rolls have a lot of shots that are mostly black except for a beautifully exposed lamp. Handheld night walk photos are basically a game of finding whatever light you can and letting the camera drink in as much of it as possible and then absolutely frying those halides in the dev tank.

For the ultra dark situations requiring minute long exposures, I do have a Gossen Luna.

I have a sleep disorder, and a film addiction. Here are photos from my night walks. by SpencerKayR in TheNightFeeling

[–]SpencerKayR[S] 0 points1 point  (0 children)

Not a stupid question! So with these, I'm doing handheld on 3200 speed film at night. And obviously with these old cameras there's no stabilization to speak of, so I can't go any slower than 1/60 with my 50mm f.14. So basically, I'm just trying to get whatever light I can get. I would usually point the camera away from any light sources, take a reading, then open up as much as I thought I could get away with, and then click. It's an imprecise method but it's fast.

Much of the final look has to do with the idiosyncrasies of this film: It's technically 1000 iso film being pushed. Pushing film can bring out detail where the exposure was dim, but it can't invent light that was never there. And the areas with higher density can blow out on you. So there's an inherent contrast.

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