Post your recent film shots!
p.794 #3Post your recent film shots!
nehemiahphoto wrote:
I am new to film after shooting digital extensively for over a decade. My thoughts:
1) film is hard
2) I like film
Welcome and thanks for sharing your first set of well taken photos! I also started with film in the mid 80s, fully left film for digital in 2005 for about 10 years. Came back to film in 2016 just before the back-to-film hype started, and where excellent film cameras were still affordable for reasonable prices online. Built my own darkroom after I was also fortunate to get very good setup nearly for free at the time. My recommendation is to learn to develop film on your own - it is a huge cost saver, and you are in full control over the process.
I am new to film after shooting digital extensively for over a decade. My thoughts:
1) film is hard
2) I like film
Welcome and thanks for sharing your first set of well taken photos! I also started with film in the mid 80s, fully left film for digital in 2005 for about 10 years. Came back to film in 2016 just before the back-to-film hype started, and where excellent film cameras were still affordable for reasonable prices online. Built my own darkroom after I was also fortunate to get very good setup nearly for free at the time. My recommendation is to learn to develop film on your own - it is a huge cost saver, and you are in full control over the process.
May 06, 2020 at 06:48 AM
p.794 #5Post your recent film shots!
retrofocus wrote:
1) film is hard
2) I like filmWelcome and thanks for sharing your first set of well taken photos! I also started with film in the mid 80s, fully left film for digital in 2005 for about 10 years. Came back to film in 2016 just before the back-to-film hype started, and where excellent film cameras were still affordable for reasonable prices online. Built my own darkroom after I was also fortunate to get very good setup nearly for free at the time. My recommendation is to learn to develop film on your own - it is a huge cost saver, and you are in full control...Show more →
Thank you!
Yeah, sadly I am moving a couple times in the next couple months with a job switch and this COVID stuff, but I am excited to start processing on my own. I do have some questions for you film shooters if you'd lend me your experience/input.
1) Exposing/DR - I am used to exposing to save hightlights as shadows are so easy to bring up on current Sony fabricated sensors. I am used to sensors with 13.5-14.5 stops, and know exactly how to work with them.
With film, I know the DR is less (at least on 135mm), and with a different non-linear response in the lights and highlights So, how would I ensure the smoothest highlight roll off with scenes like that Mamiya 7 photo I posted above? I am not using an external meter, but both the Ikon (center weighted) and Mamiya (spot) have light meters. In short, how do I intelligently use the DR of film?
So, when shooting an "A" mode, which is my usual for film and digital, with digital I'll often shoot at "0" to "-1", but with film I should be shooting a "0" to "+1" EV, right?
2) I have a 73 Sonnetar. The frame line on my Ikon are 50/85mm. I am eye balling the difference, but after getting a couple rolls back back, I noticed my focus is off, even when shooting stationary subjects. Would my Ikon not be calibrated to 73mm lens, or do I have focus shift a specific picky lens to worry about?
3) What do you guys use to digitize your negatives? I have read about the Nikon ES-2, which seems to be for 35mm. I have an a7r2 and could easily pick up a macro, but I'd like to be able to scan my 135 and 120 film in a simple way (if possible). From what I have read, scanners seem big, larger, many are out of production not sure the quality is as high as an ES-2 type set up. Is this accurate?
Thanks much for the help! Happy to be corrected or pointed in the right direction.
nehemiahphoto wrote
I am new to film after shooting digital extensively for over a decade. My thoughts:1) film is hard
2) I like film
Thank you!
Yeah, sadly I am moving a couple times in the next couple months with a job switch and this COVID stuff, but I am excited to start processing on my own. I do have some questions for you film shooters if you'd lend me your experience/input.
1) Exposing/DR - I am used to exposing to save hightlights as shadows are so easy to bring up on current Sony fabricated sensors. I am used to sensors with 13.5-14.5 stops, and know exactly how to work with them.
With film, I know the DR is less (at least on 135mm), and with a different non-linear response in the lights and highlights So, how would I ensure the smoothest highlight roll off with scenes like that Mamiya 7 photo I posted above? I am not using an external meter, but both the Ikon (center weighted) and Mamiya (spot) have light meters. In short, how do I intelligently use the DR of film?
So, when shooting an "A" mode, which is my usual for film and digital, with digital I'll often shoot at "0" to "-1", but with film I should be shooting a "0" to "+1" EV, right?
2) I have a 73 Sonnetar. The frame line on my Ikon are 50/85mm. I am eye balling the difference, but after getting a couple rolls back back, I noticed my focus is off, even when shooting stationary subjects. Would my Ikon not be calibrated to 73mm lens, or do I have focus shift a specific picky lens to worry about?
3) What do you guys use to digitize your negatives? I have read about the Nikon ES-2, which seems to be for 35mm. I have an a7r2 and could easily pick up a macro, but I'd like to be able to scan my 135 and 120 film in a simple way (if possible). From what I have read, scanners seem big, larger, many are out of production not sure the quality is as high as an ES-2 type set up. Is this accurate?
Thanks much for the help! Happy to be corrected or pointed in the right direction.
May 06, 2020 at 11:53 AM
p.794 #6Post your recent film shots!
nehemiahphoto wrote:
1) film is hard
2) I like filmWelcome and thanks for sharing your first set of well taken photos! I also started with film in the mid 80s, fully left film for digital in 2005 for about 10 years. Came back to film in 2016 just before the back-to-film hype started, and where excellent film cameras were still affordable for reasonable prices online. Built my own darkroom after I was also fortunate to get very good setup nearly for free at the time. My recommendation is to learn to develop film on your own - it is a huge cost saver, and you are in full control over the process.Thank you!
Yeah, sadly I am moving a couple times in the next couple months with a job switch and this COVID stuff, but I am excited to start processing on my own. I do have some questions for you film shooters if you'd lend me your experience/input.
1) Exposing/DR - I am used to exposing to save hightlights as shadows are so easy to bring up on current Sony fabricated sensors. I am used to sensors with 13.5-14.5 stops, and know exactly how to work with them.
With film, I know the DR is less (at least on 135mm), and with a...Show more →
1.) This depends a lot on the film you are using. In general, slide film has only a very small leverage in exposure correction and is better underexposed half or one stop to avoid clipping the highlights. Negative film can cope with quite some overexposure but not with too much underexposure. You can't push shadows easily with film. But on negative film, you can in digital PP pull the highlights several stops. I still recommend not to overdo it with overexposure and just to be as accurate as possible with exposure. In a scene like in your Mamiya photo, you need a graduated density filter to bring the highlights out better in the sky without underexposing the foreground. I recommend getting an external light meter with both reflective and incident metering. Both ways of metering are applicable in different situations but work out very well if applied accordingly.
Your example regarding exposure compensation is correct for negative film as mentioned above.
2.) I pass on the Ikon question, not familiar with this camera system. It's a rangefinder system, and in theory you should be able to use the same focusing method as long as the lens provides rangefinder coupling. Keep in mind that rangefinders use in general a min. focus distance of 0.7 or 1 meter.
3.) This is a big area with multiple possibilities, and nearly everybody will recommend something else. You can use any kind of digital camera to digitize negatives. There is a good software out there which supports this very well especially useful for color negative white balance adjustments called Negativelabpro. Some regular posters here use this software. I am using the Plustek 8200 Ai 35 mm scanner for this task instead - just personal preference.
You can also digitize larger format film with a digital camera, but I was never thrilled by this workflow and the needed PP to merge photos. I prefer an Epson V-series scanner for this job.
I am sure it won't take long and someone will recommend a drum scanner. It will certainly give you the best results but is not very realistic price- and opportunity-wise to get one for an amateur.
retrofocus wrote
nehemiahphoto wrote
I am new to film after shooting digital extensively for over a decade. My thoughts:1) film is hard
2) I like film
Yeah, sadly I am moving a couple times in the next couple months with a job switch and this COVID stuff, but I am excited to start processing on my own. I do have some questions for you film shooters if you'd lend me your experience/input.
1) Exposing/DR - I am used to exposing to save hightlights as shadows are so easy to bring up on current Sony fabricated sensors. I am used to sensors with 13.5-14.5 stops, and know exactly how to work with them.
With film, I know the DR is less (at least on 135mm), and with a...Show more →
1.) This depends a lot on the film you are using. In general, slide film has only a very small leverage in exposure correction and is better underexposed half or one stop to avoid clipping the highlights. Negative film can cope with quite some overexposure but not with too much underexposure. You can't push shadows easily with film. But on negative film, you can in digital PP pull the highlights several stops. I still recommend not to overdo it with overexposure and just to be as accurate as possible with exposure. In a scene like in your Mamiya photo, you need a graduated density filter to bring the highlights out better in the sky without underexposing the foreground. I recommend getting an external light meter with both reflective and incident metering. Both ways of metering are applicable in different situations but work out very well if applied accordingly.
Your example regarding exposure compensation is correct for negative film as mentioned above.
2.) I pass on the Ikon question, not familiar with this camera system. It's a rangefinder system, and in theory you should be able to use the same focusing method as long as the lens provides rangefinder coupling. Keep in mind that rangefinders use in general a min. focus distance of 0.7 or 1 meter.
3.) This is a big area with multiple possibilities, and nearly everybody will recommend something else. You can use any kind of digital camera to digitize negatives. There is a good software out there which supports this very well especially useful for color negative white balance adjustments called Negativelabpro. Some regular posters here use this software. I am using the Plustek 8200 Ai 35 mm scanner for this task instead - just personal preference.
You can also digitize larger format film with a digital camera, but I was never thrilled by this workflow and the needed PP to merge photos. I prefer an Epson V-series scanner for this job.
I am sure it won't take long and someone will recommend a drum scanner. It will certainly give you the best results but is not very realistic price- and opportunity-wise to get one for an amateur.
May 06, 2020 at 06:38 PM
p.794 #7Post your recent film shots!
retrofocus wrote:
1) film is hard
2) I like filmWelcome and thanks for sharing your first set of well taken photos! I also started with film in the mid 80s, fully left film for digital in 2005 for about 10 years. Came back to film in 2016 just before the back-to-film hype started, and where excellent film cameras were still affordable for reasonable prices online. Built my own darkroom after I was also fortunate to get very good setup nearly for free at the time. My recommendation is to learn to develop film on your own - it is a huge cost saver, and you are in full control over the process.Thank you!
Yeah, sadly I am moving a couple times in the next couple months with a job switch and this COVID stuff, but I am excited to start processing on my own. I do have some questions for you film shooters if you'd lend me your experience/input.
1) Exposing/DR - I am used to exposing to save hightlights as shadows are so easy to bring up on current Sony fabricated sensors. I am used to sensors with 13.5-14.5 stops, and know exactly how to work with them.
With film, I know the DR is less (at least on 135mm), and with a different non-linear response in the lights and highlights So, how would I ensure the smoothest highlight roll off with scenes like that Mamiya 7 photo I posted above? I am not using an external meter, but both the Ikon (center weighted) and Mamiya (spot) have light meters. In short, how do I intelligently use the DR of film?
So, when shooting an "A" mode, which is my usual for film and digital, with digital I'll often shoot at "0" to "-1", but with film I should be shooting a "0" to "+1" EV, right?
2) I have a 73 Sonnetar. The frame line on my Ikon are 50/85mm. I am eye balling the difference, but after getting a couple rolls back back, I noticed my focus is off, even when shooting stationary subjects. Would my Ikon not be calibrated to 73mm lens, or do I have focus shift a specific picky lens to worry about?
3) What do you guys use to digitize your negatives? I have read about the Nikon ES-2, which seems to be for 35mm. I have an a7r2 and could easily pick up a macro, but I'd like to be able to scan my 135 and 120 film in a simple way (if possible). From what I have read, scanners seem big, larger, many are out of production not sure the quality is as high as an ES-2 type set up. Is this accurate?
Thanks much for the help! Happy to be corrected or pointed in the right direction.1.) This depends a lot on the film you are using. In general, slide film has only a very small leverage in exposure correction and is better underexposed half or one stop to avoid clipping the highlights. Negative film can cope with quite some overexposure but not with too much underexposure. You can't push shadows easily with film. But on negative film, you can in digital PP pull the highlights several stops. I still recommend not to overdo it with overexposure and just to be as accurate as possible with exposure. In a scene like in your Mamiya photo, you...Show more →
Thanks for the answers.
1) And I should have specified the film. I picked up several roles, but I was really talking about Portra400 in my photo above and color negative film in general like ektar100 or portra160/400. The one thing that is distinctly different about film is your essentially getting a "new sensor" with each film strip given the variable technical, pictorial and speed characteristics. I am spoiled by in modern in-camera reflective metering, I should probably pick up an external meter for incident.
How would you optimally expose for a high contrast scene with TMax-100 or Tri-x400 (without pushing or pulling)?
2) I think I need to throw the Sonnetar 73 on my a7r2 and check for focus shift. It does have a 1 meter MFD, but most of the photos are OOF, even though they are at between 1-3 meters. It's definitely coupled. I had the same issue with my ZM 50 1.5 (OOF shots) but if I stop down to 2.8 they are sharp. My copy is probably optimized for f2.8 which is the factory default and makes no difference with an EVF but I am unable to send it back for optimization with COVID.
3) I am not looking to drop much more money with a scanner, and it's not my profession, so curious for others to chime in.
nehemiahphoto wrote
retrofocus wrote
nehemiahphoto wrote
I am new to film after shooting digital extensively for over a decade. My thoughts:1) film is hard
2) I like film
Yeah, sadly I am moving a couple times in the next couple months with a job switch and this COVID stuff, but I am excited to start processing on my own. I do have some questions for you film shooters if you'd lend me your experience/input.
1) Exposing/DR - I am used to exposing to save hightlights as shadows are so easy to bring up on current Sony fabricated sensors. I am used to sensors with 13.5-14.5 stops, and know exactly how to work with them.
With film, I know the DR is less (at least on 135mm), and with a different non-linear response in the lights and highlights So, how would I ensure the smoothest highlight roll off with scenes like that Mamiya 7 photo I posted above? I am not using an external meter, but both the Ikon (center weighted) and Mamiya (spot) have light meters. In short, how do I intelligently use the DR of film?
So, when shooting an "A" mode, which is my usual for film and digital, with digital I'll often shoot at "0" to "-1", but with film I should be shooting a "0" to "+1" EV, right?
2) I have a 73 Sonnetar. The frame line on my Ikon are 50/85mm. I am eye balling the difference, but after getting a couple rolls back back, I noticed my focus is off, even when shooting stationary subjects. Would my Ikon not be calibrated to 73mm lens, or do I have focus shift a specific picky lens to worry about?
3) What do you guys use to digitize your negatives? I have read about the Nikon ES-2, which seems to be for 35mm. I have an a7r2 and could easily pick up a macro, but I'd like to be able to scan my 135 and 120 film in a simple way (if possible). From what I have read, scanners seem big, larger, many are out of production not sure the quality is as high as an ES-2 type set up. Is this accurate?
Thanks much for the help! Happy to be corrected or pointed in the right direction.
Thanks for the answers.
1) And I should have specified the film. I picked up several roles, but I was really talking about Portra400 in my photo above and color negative film in general like ektar100 or portra160/400. The one thing that is distinctly different about film is your essentially getting a "new sensor" with each film strip given the variable technical, pictorial and speed characteristics. I am spoiled by in modern in-camera reflective metering, I should probably pick up an external meter for incident.
How would you optimally expose for a high contrast scene with TMax-100 or Tri-x400 (without pushing or pulling)?
2) I think I need to throw the Sonnetar 73 on my a7r2 and check for focus shift. It does have a 1 meter MFD, but most of the photos are OOF, even though they are at between 1-3 meters. It's definitely coupled. I had the same issue with my ZM 50 1.5 (OOF shots) but if I stop down to 2.8 they are sharp. My copy is probably optimized for f2.8 which is the factory default and makes no difference with an EVF but I am unable to send it back for optimization with COVID.
3) I am not looking to drop much more money with a scanner, and it's not my profession, so curious for others to chime in.
May 06, 2020 at 08:23 PM
p.794 #8Post your recent film shots!
nehemiahphoto wrote:
1) film is hard
2) I like filmWelcome and thanks for sharing your first set of well taken photos! I also started with film in the mid 80s, fully left film for digital in 2005 for about 10 years. Came back to film in 2016 just before the back-to-film hype started, and where excellent film cameras were still affordable for reasonable prices online. Built my own darkroom after I was also fortunate to get very good setup nearly for free at the time. My recommendation is to learn to develop film on your own - it is a huge cost saver, and you are in full control over the process.Thank you!
Yeah, sadly I am moving a couple times in the next couple months with a job switch and this COVID stuff, but I am excited to start processing on my own. I do have some questions for you film shooters if you'd lend me your experience/input.
1) Exposing/DR - I am used to exposing to save hightlights as shadows are so easy to bring up on current Sony fabricated sensors. I am used to sensors with 13.5-14.5 stops, and know exactly how to work with them.
With film, I know the DR is less (at least on 135mm), and with a...Show more →
Regarding #2, I have no experience with the Sonnetar 73mm but I was disappointed to find that my M-Hexanon lenses don’t focus accurate on any of my Leica bodies. This is a known issue though I’m also aware that some forum members are using M-Hexanons successfully on their M cameras.
As for #3, retrofocus is correct when he states that “This is a big area with multiple possibilities, and nearly everybody will recommend something else.” So here I go... Like retrofocus, I have a Plustek 8200 Ai, which I bought at an attractive price when I mistakenly thought my Coolscan 9000 had given up the ghost. The Coolscan produces slightly sharper output than the Plustek so I’ll keep using it for 35mm until it does finally fail and can’t be repaired. Although the Coolscan has the advantage of handling medium format negatives, I’ve decided to try scanning those with a Sony A7R4 using a Lomography DigitaLIZA. However, Hamish Gill, who runs the 35mmc blog, has designed a device called the PIXL-LATR which will handle 35mm, 120 rollfilm, and 4x5 negatives and I ordered one of these yesterday. Some late production issues and the coronavirus outbreak mean that I probably won’t receive mine for a few months but it does look promising.
Whichever method you decide upon I strongly recommend that, if you use Lightroom, you purchase Negative Lab Pro. USD99 might seem a lot for a plugin but it’s worth every cent. Currently I use Vuescan with both scanners to output a RAW DNG which I import into LR, open with NLP, and create a TIFF that I can then open in Photoshop, fuss around with, and send back to LR for final export. NLP also handles the output from digital cameras.
retrofocus wrote
nehemiahphoto wrote
I am new to film after shooting digital extensively for over a decade. My thoughts:1) film is hard
2) I like film
Yeah, sadly I am moving a couple times in the next couple months with a job switch and this COVID stuff, but I am excited to start processing on my own. I do have some questions for you film shooters if you'd lend me your experience/input.
1) Exposing/DR - I am used to exposing to save hightlights as shadows are so easy to bring up on current Sony fabricated sensors. I am used to sensors with 13.5-14.5 stops, and know exactly how to work with them.
With film, I know the DR is less (at least on 135mm), and with a...Show more →
Regarding #2, I have no experience with the Sonnetar 73mm but I was disappointed to find that my M-Hexanon lenses don’t focus accurate on any of my Leica bodies. This is a known issue though I’m also aware that some forum members are using M-Hexanons successfully on their M cameras.
As for #3, retrofocus is correct when he states that “This is a big area with multiple possibilities, and nearly everybody will recommend something else.” So here I go... Like retrofocus, I have a Plustek 8200 Ai, which I bought at an attractive price when I mistakenly thought my Coolscan 9000 had given up the ghost. The Coolscan produces slightly sharper output than the Plustek so I’ll keep using it for 35mm until it does finally fail and can’t be repaired. Although the Coolscan has the advantage of handling medium format negatives, I’ve decided to try scanning those with a Sony A7R4 using a Lomography DigitaLIZA. However, Hamish Gill, who runs the 35mmc blog, has designed a device called the PIXL-LATR which will handle 35mm, 120 rollfilm, and 4x5 negatives and I ordered one of these yesterday. Some late production issues and the coronavirus outbreak mean that I probably won’t receive mine for a few months but it does look promising.
Whichever method you decide upon I strongly recommend that, if you use Lightroom, you purchase Negative Lab Pro. USD99 might seem a lot for a plugin but it’s worth every cent. Currently I use Vuescan with both scanners to output a RAW DNG which I import into LR, open with NLP, and create a TIFF that I can then open in Photoshop, fuss around with, and send back to LR for final export. NLP also handles the output from digital cameras.
May 06, 2020 at 08:38 PM
p.794 #9Post your recent film shots!
nehemiahphoto wrote:
How would you optimally expose for a high contrast scene with TMax-100 or Tri-x400 (without pushing or pulling)?
In this situation I normally use incident metering with my external meter which I recommended in my earlier response. I am holding the meter pointed towards the camera so the readout takes into account the available (diffused) light and not just the reflected light from the high contrast scene. This normally works well with any film.
How would you optimally expose for a high contrast scene with TMax-100 or Tri-x400 (without pushing or pulling)?
In this situation I normally use incident metering with my external meter which I recommended in my earlier response. I am holding the meter pointed towards the camera so the readout takes into account the available (diffused) light and not just the reflected light from the high contrast scene. This normally works well with any film.
May 07, 2020 at 05:37 AM
p.794 #10Post your recent film shots!
Leica MP with a mix of Superia 1600 and Portra 400
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p.794 #13Post your recent film shots!
A few more from yesterday - sun and clouds were ideal even it was cold and windy. Taken with large format 4x5" Swiss Alpina rail camera and Schneider-Kreuznach 210/5.6 Copal lens. Arista 100 film, developed in Xtol (1:1). In all shots, I used a red filter to bring out clouds and contrast. Digitized with Epson V850 scanner and SilverFast 8 SE.
May 10, 2020 at 09:51 AM
p.794 #14Post your recent film shots!
Fuji GA645i 'Limited' + Portra 400
This balustrade has been battered by oceanic storms since 1957. It is now being torn down and replaced with a modern stainless steel stanchion & cable design.... While the replacement is due, it certainly won't be the same without it.
Dallas Road
This balustrade has been battered by oceanic storms since 1957. It is now being torn down and replaced with a modern stainless steel stanchion & cable design.... While the replacement is due, it certainly won't be the same without it.
Dallas Road
May 10, 2020 at 12:35 PM
p.794 #15Post your recent film shots!
helimat wrote:
Fuji GA645i 'Limited' + Portra 400
This balustrade has been battered by oceanic storms since 1957. It is now being torn down and replaced with a modern stainless steel stanchion & cable design.... While the replacement is due, it certainly won't be the same without it.
That's one thing very interesting in photos we might take - it's a snapshot at a given time which we might find out later is unique after things changed. It occurred to a bunch of my photos over the years that a place or scenery taken in a photo changed over the course of years passing by and was never alike later (due to new construction and/or buildings torn down or renovated, etc). Rarely I was conscious about an upcoming change and to photograph it well like in your above mentioned case. I am still missing that I never took the opportunity in 2005 to take sticker photos on cars here in the US during the Iraq war for example. Unique at the time and totally disappeared soon after. I saw it as a big deal later but not at the time when it actually occurred.
Fuji GA645i 'Limited' + Portra 400
This balustrade has been battered by oceanic storms since 1957. It is now being torn down and replaced with a modern stainless steel stanchion & cable design.... While the replacement is due, it certainly won't be the same without it.
That's one thing very interesting in photos we might take - it's a snapshot at a given time which we might find out later is unique after things changed. It occurred to a bunch of my photos over the years that a place or scenery taken in a photo changed over the course of years passing by and was never alike later (due to new construction and/or buildings torn down or renovated, etc). Rarely I was conscious about an upcoming change and to photograph it well like in your above mentioned case. I am still missing that I never took the opportunity in 2005 to take sticker photos on cars here in the US during the Iraq war for example. Unique at the time and totally disappeared soon after. I saw it as a big deal later but not at the time when it actually occurred.
May 10, 2020 at 01:34 PM
p.794 #16Post your recent film shots!
retrofocus wrote:
That's one thing very interesting in photos we might take - it's a snapshot at a given time which we might find out later is unique after things changed. It occurred to a bunch of my photos over the years that a place or scenery taken in a photo changed over the course of years passing by and was never alike later (due to new construction and/or buildings torn down or renovated, etc). Rarely I was conscious about an upcoming change and to photograph it well like in your above mentioned case. I am still missing that I never took...Show more →
Yes, that's exactly true. It makes me have some regrets that I set aside photography from my early teens through to my late twenties. It would be great to look back to see what has changed, not just in the urban landscape but in life in general
That's one thing very interesting in photos we might take - it's a snapshot at a given time which we might find out later is unique after things changed. It occurred to a bunch of my photos over the years that a place or scenery taken in a photo changed over the course of years passing by and was never alike later (due to new construction and/or buildings torn down or renovated, etc). Rarely I was conscious about an upcoming change and to photograph it well like in your above mentioned case. I am still missing that I never took...Show more →
Yes, that's exactly true. It makes me have some regrets that I set aside photography from my early teens through to my late twenties. It would be great to look back to see what has changed, not just in the urban landscape but in life in general
May 10, 2020 at 06:07 PM
p.794 #17Post your recent film shots!
Kodak pro image 100 (exp 2015, frozen since new), metered at 80, canon 7ne, 17-40L, pushed half a stop in home dev., pakon f135+ scan...from last weekend. Milk Sick Creek Falls.
May 10, 2020 at 07:08 PM
p.794 #18Post your recent film shots!
Like the greens in the Pro Image 100! 👆🏻
May 10, 2020 at 07:21 PM
p.794 #19Post your recent film shots!
helimat wrote:
Like the greens in the Pro Image 100! 👆🏻
Thank you! The new green of early spring is always best!
Like the greens in the Pro Image 100! 👆🏻
Thank you! The new green of early spring is always best!
May 10, 2020 at 07:35 PM
p.794 #20Post your recent film shots!
Figured I would share this..captured with a Leica IIIc, 35/3.5 elmar at maybe 1/10th a second hand held wideopen. The inside of this camera store, here since the 1800's, where one can still get some film (usually fresh hp5+, gold 200 and 400), second hand film cameras dropped off for resale, some old chemicals from 20-30 years ago (I get my stash of ancient diafine here!), the occasional filter, or, if you fancy, a cheap point n shoot or or old polaroid, still in the original package as well as other ancient NOS film/darkroom gadgetry. This place is just barely hanging on and I fear, in the not so distant future, it will be no more.
May 10, 2020 at 09:07 PM