dourbalistar's Tri-chromes have intrigued me. See, they are are not the colors that combine to create other colors. I think they are called subtractive colors, and yellow, cyan, and magenta are additive colors. My memory isn't the best - so I may be all wet. In printing, when you mix RGB you get a muddy dark brown or black. This is to say, that in my head it doesn't make sense that RGB Tri-chromes would work, but they do. I know Gimp, but I know Photoshop better - so that is what I used. I don't have the exact filters that dourbalistar mentioned - so I used the closest color match filters I could cobble together, and then imaged it further in Photoshop. I'm kind of stunned at the result of the first few "Still Life's" I shot last night.
@lifeandmylens, for crisp and precise, I like tmax 100 or 400. For lively contrast and grain, kentmere 200. I get the sense that you could run sandpaper rather than film, and you’d still get better results than me!
lifeandmylens wrote:
I still shoot 35mm, but lately have been more interested in black and white, of which I have none in 35mm. I do however have a ton of 200T. Here are some recent shots with 200T converted to B&W. It's 10x the work though of just shooting and especially developing B&W. Any recommendations for a cheap B&W film?
Leica M6/M7, Contax G2, Nikon F3
200T
various lenses
Yeah, don't limit yourself to 'cheap' B&W lol.
My favorites are Pan F+ (landscapes), Acros II (general purpose, great recipricity characteristics for long exposure), and Ferrania Orto (inky blacks, graphical ortho look).
dourbalistar's Tri-chromes have intrigued me. See, they are are not the colors that combine to create other colors. I think they are called subtractive colors, and yellow, cyan, and magenta are additive colors. My memory isn't the best - so I may be all wet. In printing, when you mix RGB you get a muddy dark brown or black. This is to say, that in my head it doesn't make sense that RGB Tri-chromes would work, but they do. I know Gimp, but I know Photoshop better - so that is what I used. I don't have the exact filters that dourbalistar mentioned - so I used the closest color match filters I could cobble together, and then imaged it further in Photoshop. I'm kind of stunned at the result of the first few "Still Life's" I shot last night. ...Show more →
Fantastic results, @James Markus! To trichromy and beyond!!!
madNbad wrote:
It's been a while since I posted any new photos. Went out with the M4-2 and the last of the HP-5 mostly to just take some pictures.
It's been so long since I developed any film, I almost misjudged the time.
dourbalistar's Tri-chromes have intrigued me. See, they are are not the colors that combine to create other colors. I think they are called subtractive colors, and yellow, cyan, and magenta are additive colors. My memory isn't the best - so I may be all wet. In printing, when you mix RGB you get a muddy dark brown or black. This is to say, that in my head it doesn't make sense that RGB Tri-chromes would work, but they do. I know Gimp, but I know Photoshop better - so that is what I used. I don't have the exact filters that dourbalistar mentioned - so I used the closest color match filters I could cobble together, and then imaged it further in Photoshop. I'm kind of stunned at the result of the first few "Still Life's" I shot last night. ...Show more →
The colours - especially with the peppers - look fantastic! Better than if you shot this using colour neg film...
Another trichrome that illustrates how important keeping track of the frame filter colors. I had two cameras running on two tripods with similiar pov. The Film camera I shot no filter then RGB so I would know the 2-4th frame would always be in that order. Near the end of the roll I was worried I would not get that last shot - so I shot RGB then no filter. Really messes the color up.
dourbalistar wrote:
Fantastic results, @James Markus@! To trichromy and beyond!!!
I should be thanking you. I knew about duo-tones, tri-tones etc from my newspaper days, but not these primary color registered stacks. The local photographer that inspired me as a boy to become a photographer was LeClair. His father invented a printing process that used 3 or 4 sheets of thick film (to act as printing plates) to make ink prints that were the absolute best color anyone had ever seen before. (this was in the 1960s) I'd ride my bike up to his studio and be a pest to try and learn what he was doing different. He must of made the plates from a single shot, but the register marks/pins etc all became a part of my daily life as a production supervisor at the paper. A similar process is used for every four color photo in a newspaper or magazine, but CMYK - not RGB.
Also, thanks to you I looked into UltrafineXtreme - love it.
I've shot a few rolls of Film Washi-F (an x-ray film) in 120 but it's very different in 35mm and I finally got my hands on a couple of rolls of 35mm. It has no antihalation layer, so highlights get very bright and diffuse very fast.
Here are a few examples from my Canon Demi EE-17 half-frame camera, developed earlier today.
bjhurley wrote:
I've shot a few rolls of Film Washi-F (an x-ray film) in 120 but it's very different in 35mm and I finally got my hands on a couple of rolls of 35mm. It has no antihalation layer, so highlights get very bright and diffuse very fast.
Here are a few examples from my Canon Demi EE-17 half-frame camera, developed earlier today.
He grew up in this neighborhood but no longer lives here. He came back to change the tire for his mom, where I found him. He was almost done and gave me all of about 30 seconds to get this photo and said he’s too busy to stay still but to go ahead and take it while he works. I didn’t use a loop or a meter, just eyeballed focus and exposure and took it. I’d change a few things about it had I had more time, but that’s how it goes.
He grew up in this neighborhood but no longer lives here. He came back to change the tire for his mom, where I found him. He was almost done and gave me all of about 30 seconds to get this photo and said he’s too busy to stay still but to go ahead and take it while he works. I didn’t use a loop or a meter, just eyeballed focus and exposure and took it. I’d change a few things about it had I had more time, but that’s how it goes.
Chamonix 4x5
150 Xenotar
HP5
Still awesome. The lack of ultimate sharpness gives it an almost angelic glow - and after all he is helping him mom!
A few months back I sold all my SLRs and (almost) all my SLR lenses, as I decided I am not an SLR shooter anymore. But then I realized that there are some photos for which an SLR would be really useful, especially closer shots. I still had one F-mount lens, a 1990s Tokina 28-70 zoom, so I figured I'd get a Nikon body to go with it. And since I'm old school I got an original Nikon F (not photomic). I like it: it shares some design features with my Canon P (notably the advance/rewind knob) and my Diana 151 (you have to remove the back to load film).
I finished my test roll of Fomapan 400 this morning and all seems well with the camera; I've got a few special projects in mind for it. I may eventually get a macro lens for it; I like the 55/2.8 Ai-S although it has a tendency to seize up as the grease gets old so I'll need to find a CLA'd one. I don't need more than 1:2 macro.
