Well, I got my hands on a 1959 Rolleiflex 3.5E. It's gorgeous and packed full of advanced features. The one thing I hadn't properly addressed in my scramble for 120 perfection was the fact that it is 6x6cm, or 2¼” square. Perfectly square. I pushed it to the back of my mind: 'I can always crop. I'll just carry on as usual.' 'Square is no problem'.....
The OpticFilm 120 is a dedicated film scanner that’s capable of digitizing negatives from 35mm up to 6x12cm. It’s the ideal solution, in my opinion for any photographer who does not need to scan prints and who is not shooting sheet film. If you’re shooting roll film then this is most likely the scanner for you if you want the ultimate quality.
The OpticFilm 8200i Ai is a dedicated 35mm film scanner that’s capable of scanning both cut strips of film and mounted slides. It’s hard to say exactly who this scanner is for, and a lot of people will probably see the lack of versatility as a shortcoming, but for the dedicated 35mm photographer it’s really pretty great. No extra film holders to store while not in use, a smaller footprint on your desk, and overall less fuss than something like a flatbed.
In this camera harem of mine, I have my favourites, the ones upon whom the passion is even stronger. One of them is the Fuji GX 680. I have model II, built in Japan from 1995 to 1998. And it is just something out of this world, that weights around 4kg, accessories out, made for studio work, but that I carry around hanging from the neck feeling it like a feather of joy and pride. A true love story.
Now it is time to talk about cave photography and how to make the expose. Since all caves have one thing in common, total darkness, the photographer must supply all the illumination. This illumination is mostly from electronic flash.
One of the techniques I stumbled across has made a real impact on my style of work; it’s called the “Chromoskedasic Sabbatier (or solarization) process”. I know, it’s a bit of a mouthful, but it’s almost harder to pronounce than it is to apply. Almost.