A few from the first roll through the Super Fujica Six. Expired Tri-X 320 developed in a 1:65 dilution of Rodinal for too much time. Also, I'm figuring out the new NS 120 carrier and finall got the camera set to give me a boarder.
Poster in front of Heron's sisters shop in Multnomah Village
The Old Multnomah Post Office
The Old Multnomah Post Office
Pet Shop Mural, Multnomah Village
I'm enjoying using 120 again. For many years I used Horseman cameras with a roll film back. At least I'll have the Holga to tide me over while the Fuji's out for repair!
Normally I do minimal digital post-processing on my scans, not much beyond what I'd do when making prints from negatives with an enlarger -- I adjust contrast, do some selective dodging and burning, maybe add a bit of clarity/midtone detail, that sort of thing. When printing from negatives you can do lots more, such as toning, printing on textured paper, lith prints, etc., but I don't have a darkroom. And once a scan is a scan it's a digital file after all. So I figured I'd try adding some texture, paper borders, etc. in post, using ON-1.
This was shot last month in southern Brittany, on Leica M2-R with Fomapan 400.
bjhurley wrote:
Normally I do minimal digital post-processing on my scans, not much beyond what I'd do when making prints from negatives with an enlarger -- I adjust contrast, do some selective dodging and burning, maybe add a bit of clarity/midtone detail, that sort of thing. When printing from negatives you can do lots more, such as toning, printing on textured paper, etc., but I don't have a darkroom. And once a scan is a scan it's a digital file after all. So I figured I'd try adding some texture, paper borders, etc. in post, using ON-1.
This was shot last month in southern Brittany, on Leica M2-R with Fomapan 400.
bjhurley wrote:
Normally I do minimal digital post-processing on my scans, not much beyond what I'd do when making prints from negatives with an enlarger -- I adjust contrast, do some selective dodging and burning, maybe add a bit of clarity/midtone detail, that sort of thing. When printing from negatives you can do lots more, such as toning, printing on textured paper, lith prints, etc., but I don't have a darkroom. And once a scan is a scan it's a digital file after all. So I figured I'd try adding some texture, paper borders, etc. in post, using ON-1.
This was shot last month in southern Brittany, on Leica M2-R with Fomapan 400.
That's a nice touch. Adding a bit of a boarder to a scanned negative gives it a bit of "this could have been done in a darkroom" effect.
I do very little post processing after converting the negative with NLP. Occasionally, a bump in exposure or brightness but not much else.
bjhurley wrote:
Normally I do minimal digital post-processing on my scans, not much beyond what I'd do when making prints from negatives with an enlarger -- I adjust contrast, do some selective dodging and burning, maybe add a bit of clarity/midtone detail, that sort of thing. When printing from negatives you can do lots more, such as toning, printing on textured paper, lith prints, etc., but I don't have a darkroom. And once a scan is a scan it's a digital file after all. So I figured I'd try adding some texture, paper borders, etc. in post, using ON-1.
This was shot last month in southern Brittany, on Leica M2-R with Fomapan 400.
Very nice! Looks like wet plate photography. Imo, I think the Leica M2r should be considered one of the most rare and unique cameras Leica has ever produced. I think Leica only produced 2000 of the models for the military with the simplicity of the M2 with the quick loading of the M6.
From my college days working out a zone system I would say you need a little more exposure and development to get a good “s” cureve, assuming this was a single exposure of a calibrated chart.
johnld wrote:
Very nice! Looks like wet plate photography. Imo, I think the Leica M2r should be considered one of the most rare and unique cameras Leica has ever produced. I think Leica only produced 2000 of the models for the military with the simplicity of the M2 with the quick loading of the M6.
Thanks! I've long been attracted to lith prints and wet plate, but it does feel a bit like cheating to do it digitally. Certainly safer for my health, though.
And yes, the M2-R is quite rare, 2,000 models indeed; an order was cancelled by the military and Leica sold them to civilians under the M2-R model name. I got mine out of sheer luck two years ago when an old friend contacted me and asked if I knew anyone who would be interested in his old Leica. I was looking for a Leica film camera myself, so I asked him which model. Initially I wasn't interested because I wanted one with 28mm framelines, but he offered me an impossible-to-refuse deal, in a package with three Leica lenses, for about 1/10 of the current asking price on eBay and other markets. It's a nice camera; I had it CLA'd and the shutter repaired by DAG.
In his essay "Traveling Light and Not-So-Light", climber and photographer Galen Rowell noted that the 24mm f/2.8 AF was his most used lens. The cover photo of "Galen Rowell's Vision: The Art of Adventure Photography" was taken by Ron Kauk using the same N8008s and 24/2.8 kit.
Nikon N8008s, AF Nikkor 24mm f/2.8D, Lomography Color Negative 800.
Photo Warehouse has started selling their Ultrafine Extreme B&W film again so I decided to try a roll of UFX 400 in 120 with my Mamiya C330. Lots of people speculate that this is just Kentmere but it seems different to me and it dries really flat...a pleasure to scan. The recommended development times are different from those for Kentmere.
I developed mine in Rodinal, semi-stand, based on some photos I'd seen of this film developed that way, but I think I should have developed it longer than an hour; the images seem somewhat underdeveloped to me and I had to do a fair amount of work in post to improve brightness and contrast.
