Finally finished up my 7 months expired Kodak Etkar 100. Not sure if my C41 chemicals are in need of replacement or the expired film, Color Perfect could not do a proper inversion. I am getting some strange colors. For some strange reasons, CS6 Invert works really well. Applied Auto Level and Auto color, the shots are 90% there.
TooMany color looks good, a little punchy but good!
Remember that chemistry "age" for next time! The CS6 invert is a great surprise.
Ive had issues with ColorPerfect now & then.
OK, true confession, almost traded my Mamiya 7 for a Hassy kit on impulse. I guess I'm not ready for 6x6
Instead, I've picked most of a 1 lens RZ67 kit to satisfy my need for a loud mirror & exchangeable backs!
I had an RZ before but like the idea of the choices keeping the M7 .....
I guess I'm pathetic
dswiger wrote:
Nico, John, Alpha, some really nice B&W!
TooMany color looks good, a little punchy but good!
Remember that chemistry "age" for next time! The CS6 invert is a great surprise.
Ive had issues with ColorPerfect now & then.
OK, true confession, almost traded my Mamiya 7 for a Hassy kit on impulse. I guess I'm not ready for 6x6
Instead, I've picked most of a 1 lens RZ67 kit to satisfy my need for a loud mirror & exchangeable backs!
I had an RZ before but like the idea of the choices keeping the M7 .....
I guess I'm pathetic
Getting rid of your Mamiya 7 would have been a baaaaad idea.
rattymouse wrote:
Getting rid of your Mamiya 7 would have been a baaaaad idea.
Tom,
I effusively apoligized to my M7 for considering the trade. Took it out to the coast for a date
RZ pieces arrive next week so I can satisfy my need to hurt my back. Trying to keep it to a 1/2 lens kit.
Scott Weiland dead today at 48. Shot him in the late 90's at my studio in L.A. for Mackie (the mixing board company) RZ 67, probably with a 150 3.5, and some kind of E6 film, but I simply don't remember.
Peter Figen wrote:
Scott Weiland dead today at 48. Shot him in the late 90's at my studio in L.A. for Mackie (the mixing board company) RZ 67, probably with a 150 3.5, and some kind of E6 film, but I simply don't remember.
RIP Scott, he's a great vocalist and I quite liked some of STPs songs and his colab with slash.
Some shots from Mt Yari in Japan. This is day 2 of the trek, had fun scrambling up to the peak. Taken with an MP+28 cron and Trix. Scanned with a camera because I want to throw the V800 out the window whenever I try scan 35mm on it
Rocky/rirakuma, nice set! I like especially the last shot, love the unconventional framing.
Peter, thanks for sharing your Scott-Weiland-portrait. I have spent a lot of hours behind the wheel listening to STP and Velvet Revolver out of the car-stereo.
Thank you Rico. The background is just the cove in my old studio. I used a hard light through a cucoloris that was on the left side of Scott, but only the modeling lamp on that strobe. The small soft box lighting his face was flagged to not hit the background very much, then while shooting handheld at about (and this if from memory) about 1/3 of a second, I either would shake the camera or rack the focus during the exposure to get the shadow effect around him. The modeling lamp on the soft box was turned off so that would not blur his face during the camera shake. Even though the modeling lamps were tungsten and would be warm with daylight film, I might have gelled them even warmer.
And putting a hard light through the cookie, just aiming straight through or obliquely and closer or farther can totally change the character of the shadows cast.
I guessed a cookie was involved, and your effect is awesome. That b/g and motion blur is now too-easily simulated in post. I sense the practice of such studio magic is slipping away.
Thanks again Rico. I guess I don't really think about is too much as it's something I've been doing off and on for such a long time. I don't think I'd ever do a whole shoot like that, but mix it up. It does take some practice to get right and there's an element of uncertainty and chance involved which make for great surprises but also make it possible that you have a great expression but a lousy blur. For me it came about as a means of adding the sense of time to a frozen moment in time and it's as effective on objects as it is on people.
It has been too long since I have posted here but here are some scans I got here in Milan. I really miss my scanner from home...anyways.
From late october.
Rolleiflex 2.8C
Expired 1997 Pro Kodak Gold 100 @25, The top two pictures. I had to do some post work since I underexposed it a bit. Bologna by Noah Wright, on Flickr
I tweaked a little contrast but basically a straight scan. Ferrara by Noah Wright, on Flickr
Few latest panorama photographs taken with Fuji G617. I am still learning shooting slides. Scanning is another skill - slides look much better on the light table.
Coal Mine Canyon, AZ. Fuji G617, Provia 100F
Dead Horse, UT. Fuji G617, Velvia 50
Arches NP and La Salle Mountains, UT. Fuji G617, Provia 100F
It's great to see people shooting 617. Great camera. Great lenses. Big piece of film. It seems like your exposures are pretty good overall, and I don't know what these looked like on a light box, but at the least the DHP shot could stand some spice. The other thing you really have to look out for in this type of landscape is having a huge out of focus object in the frame. On a small print or online, it's not a huge deal, but a larger print it might be an issue. Having been to DHP a fews times, this version seems really flat and not nearly as inspiring as it really is in person. Here's one direction you could consider for this image. There are no wrongs or rights, just different.
Love DHP and Coal Mine Canyon! Have my own large print of DHP on the wall at home. My colors with digital look more vivid like Peter's rendition. Also Coal mine canyon colors are more vivid from what I remember. Like a mini Bryce with some cool black coal like areas in the foreground. Would love to get back to Canyonlands too!
i took my canon new F1 out and it was very satisfying to use. first one is with FD 50L, the other two are shot with nFD 35mm f2. film used was Kodak GC 400
Nice capture!
