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About John Crane

John B. Crane is a photographer, illustrator and 3D animator living and working in Fort Collins, Colorado. When John isn't sitting in front of the computer creating complex technical and industrial 3D animation projects for clients around the world, he may be found roaming the Rocky Mountain West in his Subaru, old film cameras in hand, refocusing his eyes, enjoying the solitude and beauty the West has to offer. To view a complete catalog of images please visit http://www.johnbcrane.com.
"... a photographer wants form, an unarguably right relationship of shapes, a visual stability in which all components are equally important. The photographer hopes, in brief, to discover a tension so exact that it is peace." - Robert Adams

Clouds, Mountains, Snow and Ilford PanF50 Plus

Tadalafil Oral Strips No Prescription By |June 22nd, 2018|6 Things I Love About Shooting the F6, Black and White, Film Emulsions, Film Processing, Working with Filters|

best place to buy provigil online Not long ago I decided to spend some focused time shooting Ilford's PanF 50 Plus. In an effort to minimize variables the decision was made to focus on 35mm using the trusted and favored F6. The F6's venerable meter virtually eliminates exposure error, and I really wanted to dial in [...]

Kodak Reveals How and When it’s Bringing Back Ektachrome

By |November 16th, 2017|Color Photography, Film Emulsions, Film Processing, From the Past, Slide Film|

This is pretty exciting... (rather then re-hashing the same information, this post was lifted from DPReview) Kodak first announced the rebirth of Ektachrome way back in January at CES. Along with Kodak Alaris—who will distribute the 35mm Kodak Professional Ektachrome film for stills shooters—the company said it would bring back [...]

Working with Filters for Color Photography, part 1

By |November 10th, 2017|Color Photography, Working with Filters|

There are different schools of thought on whether one should use filters for their color film photography or not; each having its own merits. For example, why get a super high-quality lens and put a 'cheap' filter on it, effectively reducing the quality of glass the image has to travel [...]

Scanning with Nikon LS-5000 Time Machine

By |June 14th, 2017|From the Past, Hybrid Workflow, Longevity, Places, Slide Film|

Champs Elysees, France 1957 For the past few months I've been working on scanning/archiving slides for my family. It's a big job - many hundreds of a mixture of very old (late 1950's) to just sort of old - made in the last few decades. Gornergrat, Switzerland [...]

Nikon F6 + Rokinon 14mm IF ED UMC Lens

By |May 19th, 2017|Destinations, lens compatibility, super wide angle|

Bisti/De-Na-Zin Wilderness, New Mexico. I am on my belly, as close to the front of the skull as I can be without touching the front element to his furry snout. This thing is w-i-d-e. This past February I returned to New Mexico's Bisti Wilderness in search of dramatic [...]

Pushing Ilford HP5+ to ISO1600 with the Nikon F6

By |May 12th, 2017|Black and White, Film Emulsions, Film Processing, Push/Pull|

Over Christmas we had the opportunity to visit Chicago again. Growing up in the suburbs I'd never had occasion to overnight in the city, with home being only 30 miles away. This trip we decided it was time we changed that. Harry Caray's, Chicago, Illinois Part of the Chicago at [...]

Aerial Photography of Rocky Mountain National Park

By |May 6th, 2017|4042n, 6 Things I Love About Shooting the F6, aerial photography, Custom Settings Menu (CSM), Slide Film, Technical Features|

A sea of dense, puffy clouds blanketed the Rockies this beautiful afernoon, with the occasional granite beheamoth poking its craggy head up through for a breath of crisp, high-altitude air. The Mountains seemed to wave hello to our little craft as we passed above, reminding me of humpback whales breaching in Alaska.

Cinestill Cs41 “Color Simplified” Color Film Processing

By |April 24th, 2017|Film Processing, Hybrid Workflow|

There are a few key differences between developing color vs. black and white films at home - most notably - temperature control. Black and white film is much less sensitive to minor variations in temperatures. Temperature matters - but in the ball park is usually good enough. Color is different. Minor variations in development time and temperatures can dramatically swing an image's color one way or another. This is what always held me up.

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