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Brenton C

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  • Member Title
    Erfahrener Benutzer
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    Male
  • Location
    Calgary, AB, Canad-eh!
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    Canada

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  1. Adan, Thank you so much for dropping in and giving me, essentially, a personal tutorial organized around the problems of this shot. This is most helpful, and much appreciated. You're right about limitations here -- we weren't allowed out of the safari vehicle, and the drivers were constrained to stay on the well worn trails, so there was no getting around to better lighting. In future, though, I might practice with some less threatening local wildlife where I do have those freedoms.
  2. Jaapv, thanks for that rule of thumb! That's a keeper!
  3. Thanks 105', Development was at the local drug store that has a lab on site. They did "high quality" scans for me there.
  4. Thanks for your thoughts, Jaap. Quite right about lenses. I was included in the trip at the last minute, and no time to acquire more suitable lenses. It's really better to plan these trips a bit better, but that wasn't an option here.
  5. I'd like to do this sort of trip, again, but with the right films, a decent telephoto, tripod, and maybe the right filters. I wonder if a skylight or uv filter might have reduced the haze and brought out some colour in the sky and crater walls in the back ground. Are there other filters that are commonly used in situations like this? I have no experience with filters in colour work, except for a skylight and a ND filter. I had a roll of Cinestill 50 in my bag back at the hotel -- never having used Cinestill, I was reluctant to experiment on this day, but now I'm kinda wishing I'd gone with the any slower film at all. I'm eager to receive all thoughts and recommendations. Thanks guys and gals, Brenton
  6. Greetings to all. I'd very much appreciate any input into what might have gone wrong. Attached is a picture that was typical of the many (majority) of pictures taken last summer on a safari trip at Ngorongoro park in Tanzania. I didn't keep track of whether I took this with my M3 or R4. Both cameras were equipped with a Summicron 50 f.2 lens. Film was (sorry again) either Portra 400 or Fuji Pro 400 (both films exposed at 200 asa). To me the faulty pictures look under exposed, overly grainy, with poor colour saturation and a lot of haze in the distance. I used a Sekonic light meter to take incident readings (in the same light as the subjects) -- until Africa, this had proved to reduce the number of wrongly exposed duds when, in the past, relying on the in-camera reflected light readings of my old Canon AE-1 (a camera "so easy, anyone can . . . " HATE IT!)
  7. Aren't they both versions "of color?" Oh, I just couldn't resist.
  8. I really enjoy the humor of this one, Louis.
  9. Purple smoke . . . almost as inspiring as that other lyric. Disturbing mural. Nice one, Louis.
  10. Try Cinestill. That film has a "dreamy" look I'm eager to try, but it has a halation "problem" that may be just what you're looking for.
  11. Gaz, we don’t get wet afternoons in Alberta. Now a cold, snowy day at -20C. . . Bet that makes you kiwis envious! Hopefully it’ll be a hard copy, so once done reading it, he can use it to dig his car out of the snow.
  12. Sorry, no pic, but I too have an R4 that I picked up after gettimg the M3. I wish I’d had the R4 all those years I fought with my Canon AE1with its stupid auto apeture, and relatively inaccessible full manual mode. The R4 is a lovely slr to hold and use. It’s exposure modes cover all the bases, if ever I’m in too much of a hurry for full on manual. It’s a good companion to my M3. And both fit nicely in my small Billingham camera bag.
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