lifeandmylens wrote:
Second roll of film done, with hopefully some good images on it. Loving it so far! Haven't touched my other cameras since. I used a different lens for each roll of film, so I can see how they render. I also played around with ISO 200/250 on porta 400. Rewinding went perfectly on this roll. So did loading the 3rd roll.
Also learned a much faster way to nail exposure on my MP. Basically set the shutter speed I want and then turn the aperture ring in the direction of the arrow in the viewfinder. Very intuitive and fast. Like near instant. I was turning the shutter speed dial before this and because it turns in the opposite direction it was confusing sometimes, and/or I’d end up with a shutter speed I didn’t want. Why they reversed the shutter speed dial is beyond me.
My ES-2 arrived. When I actually try scanning the negatives next week, do you just use window light? And what WB do you use in camera?
Also ordered a 20" cable release so I can play around with long exposures and possibly family portraits with me in them (albeit up close). Haven’t found a self timer yet. WALZ seems to make one that works, but haven’t found one in the US to order yet that I’m sure will work with the MP. ...Show more →
I use a flash pointing back at the camera, maybe five feet away. With that you get a faster shutter speed and don't have to be very careful about movement/vibration in the system. For WB, I scan in RAW so it doesn't actually matter. I just make sure to balance off an orange unexposed section of film (either the leader or between frames) in Lightroom and apply it to the entire roll. It usually ends up pretty cool, like 2100-2400k.
OffTrail wrote:
I use a flash pointing back at the camera, maybe five feet away. With that you get a faster shutter speed and don't have to be very careful about movement/vibration in the system. For WB, I scan in RAW so it doesn't actually matter. I just make sure to balance off an orange unexposed section of film (either the leader or between frames) in Lightroom and apply it to the entire roll. It usually ends up pretty cool, like 2100-2400k.
Received the Valoi easy35 yesterday. It really does live up to its name of "easy" - almost no setup necessary (once you figure out the tube configuration for your particular lens), no worrying about alignment, hanging my camera off a stand, takes minimal space to store, etc. Perfect for a newbie like myself. Hopefully the scans come out great as well (still need to get my first roll developed).
Contemplating getting the Jobo Duo kit to develop at home - I can see the appeal of not having to drive to the lab, wait a few days, pick it up, etc.
Downloaded Negative Lab Pro and practiced scanning on some old negatives from about 20 years ago. ES-2 worked great with the Z 50 macro, so did negative lab pro. Had to play around with both to see what worked best, but I am excited to get my negatives back to play around with them. Also ordered this Walz self timer, will see if it works.
lifeandmylens wrote:
Downloaded Negative Lab Pro and practiced scanning on some old negatives from about 20 years ago. ES-2 worked great with the Z 50 macro, so did negative lab pro. Had to play around with both to see what worked best, but I am excited to get my negatives back to play around with them. Also ordered this Walz self timer, will see if it works.
Cool! That's the thing, you need to play around w NLP to see what works best for you. For colour I have not used anything apart from the Noritsu option, and usually use the high saturation preset for conversion, but recently have been using the neutral one.
FYI Cinestill DF96 Monobath works well with the tab grain films as well - TMAX, Acros etc - you just need to make sure to double the dev time to clear the base coat. As per instructions.
Desmolicious wrote:
FYI Cinestill DF96 Monobath works well with the tab grain films as well - TMAX, Acros etc - you just need to make sure to double the dev time to clear the base coat. As per instructions.
I would only shoot film for family things. A birthday. A get together. Going out to lunch. Take bad photos of my dog or cat and develop it myself in the toilet for fun. But I wouldn’t use it for annything else. Went out this weekend with some film shooters. All of them had very basic cheap film cameras. And on the other hand a digital camera. They seldom used the film. Most of them dropped them on the floor. One of them opened when it hit the floor. Hopefully all her film wasn’t ruined. The other one couldn’t wait to see his photos. Had to wait 2 days for it.
But I’ve been curious also. So I would get a super cheap film camera. I wouldn’t get a Leica M film camera. No way. Actually there are good film camera being sold for not a lot of money. Especially Nikon and Olympus film cameras. Just get one of them.
There are film bodies designed to handle the exposure precision of high saturation slide film that shot covers of National Geographic that can be had for like $100.
But I live in SoCal where the highlight retention of C41 is preferable and sunny 16 works most days so I could probably get away with a Holga.
lifeandmylens wrote:
Also learned a much faster way to nail exposure on my MP. Basically set the shutter speed I want and then turn the aperture ring in the direction of the arrow in the viewfinder. Very intuitive and fast. Like near instant. I was turning the shutter speed dial before this and because it turns in the opposite direction it was confusing sometimes, and/or I’d end up with a shutter speed I didn’t want. Why they reversed the shutter speed dial is beyond me.
The shutter dial on the MP is the same as the M6 classic and everything previous, going back to the Barnacks, long before meters were introduced. I started with the M6, so it's second nature to me, and in fact the shutter speed dials on my digital M's seem weird! Give it some time and it will just become second nature to turn the shutter speed opposite the arrow.
The M6 TTL and the M7 have a shutter speed dial that turns in the same direction as the exposure arrows.
When I owned a M6 TTL, I also had a tiny Chiyoko Super Rokkor 45mm 2.8. The lens didn't have click stops and it made it really easy to dial in the correct exposure.
madNbad wrote:
The M6 TTL and the M7 have a shutter speed dial that turns in the same direction as the exposure arrows.
When I owned a M6 TTL, I also had a tiny Chiyoko Super Rokkor 45mm 2.8. The lens didn't have click stops and it made it really easy to dial in the correct exposure.
I found it interesting that when Leica reissued the M6, they chose the Classic configuration and not the TTL. I guess it was because it's basically a re-wrapped MP... But with a lot of users switching between digital and film M it might have made sense to keep the new standard. That being said, a lot of users from the M7 through M11 probably use aperture priority primarily, so the SS dial direction is of less importance.
mahimihi wrote:
.. Went out this weekend with some film shooters. All of them had very basic cheap film cameras. And on the other hand a digital camera. They seldom used the film. Most of them dropped them on the floor. One of them opened when it hit the floor. Hopefully all her film wasn’t ruined. ...
That is why we recommend using film Leicas. When we drop them - because that is the first thing you do with a film camera - they do not open when they hit the floor. This is the genius of the removable base plate design. You can dribble and dunk with the camera with no worries about inadvertently exposing the film.
helimat wrote:
I found it interesting that when Leica reissued the M6, they chose the Classic configuration and not the TTL. I guess it was because it's basically a re-wrapped MP... But with a lot of users switching between digital and film M it might have made sense to keep the new standard. That being said, a lot of users from the M7 through M11 probably use aperture priority primarily, so the SS dial direction is of less importance.
It is annoying. When I use my MP or M6, I have to remind myself to turn the shutter speed dial the opposite direction of the meter arrows. M7 and 6TTL had it right.
Leica did the backwards system w the new M6 because as already mentioned, it is an MP with red dot lipstick.
ottokbre wrote:
There are film bodies designed to handle the exposure precision of high saturation slide film that shot covers of National Geographic that can be had for like $100.
But I live in SoCal where the highlight retention of C41 is preferable and sunny 16 works most days so I could probably get away with a Holga.
I've shot E6 film in cheap P&S cameras, and they nailed the exposure. As long as it is w/in the metering range, they tend to nail the exposure.
But in SoCal I like C41 because I feel it works really well with the sunny vibe we have.
Anyway, Kodak E100 in a basic Minolta Prod-20s
Ok, whom I kidding? The other big reason I don't shoot E6 anymore is I can shoot two or three rolls of C41 for the cost of one roll of E6. And E6 dev is a lot more than C41. AND!!! my shop sends E6 out so it takes about a week instead of a couple of hours.
This one was with a Pentax LX on E100. Had to switch it over to manual as the meter wanted to brighten the scene by several stops because of all the shadows.
Desmolicious wrote:
It is annoying. When I use my MP or M6, I have to remind myself to turn the shutter speed dial the opposite direction of the meter arrows. M7 and 6TTL had it right.
Leica did the backwards system w the new M6 because as already mentioned, it is an MP with red dot lipstick.
Backwards indeed... Oskar certainly blew it on that one
mahimihi wrote:
The other one couldn’t wait to see his photos. Had to wait 2 days for it.
There's a lot to be said for delayed gratification, not just for photos but for sex and lots of other things in life. :-)
We just got back from a week's vacation and I shot eight rolls of film; I left my digital cameras at home. My lab is swamped so it may be the end of the week before I see them; I dropped them off on Saturday and then too late I discovered that I'd forgotten one roll in my camera bag and the lab is closed today so I'll have to wait even longer to see the photos from that roll, which were taken in one of the more spectacular sites we visited.
In the meantime there's all the anticipation, which builds up. I still remember as a kid running down to the mailbox every day to see if my slides had arrived back from the lab. We had a darkroom in the house growing up, and I also loved seeing the contact sheets appear, and then watching the prints appear in the tray after that. Waiting and anticipation are part of the process.
Often I'm disappointed by my film shots, but there's always at least one or two in each roll that make me see the potential and go back for more.
