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  2. Linford

    M10 M-D

    I guess tomorrow will tell the tale......
  3. jmahto

    Leica M2 with 135mm lens

    Why didn’t I think of that! thanks.
  4. howiebrou

    Neoprene or rubber case for M

    I use an Artist and Artisan neoprene case similar to the Leica one, although i can not fit my M + Noctilux in it.
  5. robert_parker

    Barnack's Monthly for October 2018 is: Ending in ~ment.

    Amusement, Tweed Run, Bloomsbury, London; M240 50 'lux pre-Asph LTM
  6. Jeff S

    Still worth to buy S 006?

    What are the warranties on the 006 and 007 you’re considering? Leica Miami lists an 006 with one year Leica warranty, recent service and new CCD (and another similar one with just 30 day dealer warranty). Both about $4k. I always find a test drive to be the best approach for camera decisions. I did just that with the 006 through a dealer about 18 months ago, but found it constrained for my handhold-ability in less than ideal light. The files, however, were superb and fit nicely into my print workflow. The 007 likely would have better served my goals, but costs were high at the time and I’ve since held off pending tests of other alternatives. Only you can decide. Jeff
  7. Today
  8. adan

    Have I Had An Epiphany?

    If you use the ISO (International Standards Organization) standard or definition for determining ISO film speed: For black-and-white negative film, the "speed point" M is the point on the curve where density exceeds the base + fog density by 0.1, when the negative is developed so that a point N where the log of exposure is 1.3 units greater than the exposure at point m, has a density 0.8 greater than the density at point m. (translation: the speed of a film is that "ISO" that will produce "normal" shadow detail with "normal" development and a "normal density range" to the whole negative) .....then yes, it is technically a myth. No amount of pushed developing of TX exposed at 1600, will result in the same or "right" amount of shadow detail as TX shot at 400 and developed normally. For the same reason already noted - additional development is multiplicative. It will mess up that M=0.1/N=0.8 density relationship. Some compensating techniques or developers can squeeze out the absolute maximum amount of shadow detail to meet the ISO test, but not really more than 1/2 stop or so (ISO 640, maybe) to satisfy the ISO definition. Silver photography is magical, but it can't fight physics. Not enough photons = not enough silver. _________________ HOWEVER, if your standard is "a usable picture in dim light," you can throw the ISO technical definition out the window, and just use the definition "I got a usable picture." And in that case it is not so mythological. Ideally, one would call it an EI (exposure index) rather than an ISO (since it doesn't meet the ISO definition). Ideally, a "good push" would mean that a gray-card gray (not a shadow tone) comes out with about the same silver density as an unpushed negative, and about the same total amount of silver in the negative, but redistributed (less than normal in the shadows, about normal for a gray-card gray, and more than normal in the highlights). A "heroic push" as in the sample below, means a negative that with "heroic" measures in the darkroom (high-contrast paper, dodging, burning, maybe ferricyanide bleaching) can still produce a final picture. Just barely enough silver in the film - with any amount of film development - to coax out the necessary tonal distinctions to reveal the subject. I shot with a 28mm f/3.5 lens, under the "available darkness" of one 500-watt floodlight 40 meters/yds from the subject (back over my shoulder). I didn't really "pick" an EI for my TX - I just shot to avoid camera shake; 1/15th at f/3.5. Then I took an incident meter reading (which showed that that exposure in that light was about equivalent to EI 4000). I then just developed the film for "infinity" (30 minutes or so), and accepted the very thin neg that resulted (see simulated neg densities in the "negative" version). Definitely not really ISO 4000, or even close, according to the amount of shadow detail/density the ISO standard calls for - but just enough mid-tone/highlight density for a dramatic picture. In any case, you will start to see the classic "charcoal and chalk" look of pushed film with more than a 1-stop "push" - a few mid-tones that are "about right," with increasingly inky black shadows and nearly blank white highlights everywhere else. Contrasty.
  9. Yesterday
  10. A miller

    I like film...(open thread)

    Thanks a lot, Gary. "Weird" is one way to describe this, for sure 😉
  11. dkmoore

    Ektachrome ......... and?

    BH Photo Video has some. I bought 5 rolls and it shipped right away.
  12. ianman

    Desirable Leica Legacy Lenses

    I like the Thambar too, but that one will probably be even more controversial than any other suggested here.
  13. ianman

    Have I Had An Epiphany?

    Pushing Tri-X to 1600 is only 2 stops. I've heard of people pushing it to 3200. Yes, the result, after a longer development time, will be more contrast and more grain.
  14. gbealnz

    I like film...(open thread)

    The typical expectations we all have now from the Dead Sea/SWC/Miller combo, and this certainly lives up to those expectations. A "weird" looking landscape, to me anyway. Gary
  15. pico

    Desirable Leica Legacy Lenses

    See part of the history of the subject here unless are you asking for a Reader's Digest summary; good luck with that.
  16. goatsby

    Desirable Leica Legacy Lenses

    I would recommend the 35mm Summaron f2.8. Great classic glass with a build quality second to none!
  17. tgdinamo

    Black and White Image Thread

  18. A miller

    I like film...(open thread)

    This one reminds me of the biblical "burning bush" 🌅♨️ Sunrise, Dead Sea 🏝️ SWC, Ektar 💕
  19. ckuwajima

    Desirable Leica Legacy Lenses

    Although it is a Schneider-Kreuznach design and manufacture, the Super Angulons, both 21/3.4 and 21/4 are Leitz lenses with proper Leica order # and Leitz Wetzlar inscriptions.
  20. A miller

    I like film...(open thread)

  21. dkmoore

    M10 - calibration

    If your rangefinder truly went out of alignment twice in 6 months (without bumps, etc) you should 100% send the camera to Leica to resolve. Chances are a faulty component of the rangefinder that will need to be replaced, not adjusted. This recommendation comes directly from a Leica engineer in Jersey.
  22. frame-it

    I like film...(open thread)

    Leica M5 + 50mm Summilux f1.4 ASPH + AgfaVista 200 "Variety"
  23. frame-it

    I like film...(open thread)

    Leica M5 + 50mm Summilux f1.4 ASPH + AgfaVista 200
  24. frame-it

    I like film...(open thread)

    Leica M5 + 50mm Summilux f1.4 ASPH + AgfaVista 200
  25. ianman

    Desirable Leica Legacy Lenses

    Come to think of it, it's not a Leica lens so it's disqualified from your thread!
  26. SMAL

    Desirable Leica Legacy Lenses

    Why? What makes it so special?
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