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Jon Warwick

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  1. Final example. Dusk arrives ....bridge lights turn on .....action!
  2. For night shots, I prefer it when it's not properly dark .....instead I like to shoot at dusk, just after the lights come on. Later than that, and I find it's so dark that everything becomes too contrasty. Another example here better shows what i mean. Fuji Acros (again on 5x4) also found this easy, exposure here was closer to 15 seconds from what i recall ....
  3. Which film stock do you shoot at night ? .....Fuji Acros, given its reciprocity response. For this scene that metered at 2 minutes, I didn't need to make any further adjustment ...2 mins was still 2 mins. There is weird stuff going on with this compressed jpeg (the original drum scan off 5x4 is rather better!), but you get the idea of the benefit I found of using Acros at night
  4. Yes! Certainly the latter for me, it always felt like I was slightly pushing back on the hinges of the cover flap to get the card out.
  5. The Mamiya 7 is a great camera! Anyhow, to the question, I find medium format digital has helped me get to a more filmic look much more easily than 35mm (the latter being digital Ms and SL2). In my case I got a GFX100S, but I really liked the rendering of others such as the Hassie X1D. What the medium format digital gives me is smoother transitions (better differentiation of shades of colour, and more smooth transitions between highlights/shadows), and it is this aspect that makes it easier for me to get to the look of film. Also, things like a Black Pro Mist filter can help (I often use
  6. Really helpful, many thanks. As someone with experience just in stills photography, I feel I can learn a lot from people like you with a background in cinema! I get the impression that cinematographers are rather up to speed in knowing how to use some of these filters, including detuning the "digital" look into something more subtle and beautiful. I'm recently using a 1/4 Black Pro Mist on a medium format GFX100S. Early days, but so far am liking the filter across many scenes, from portraits to landscapes. Personally I find this Black Pro Mist more controlled and less over the top th
  7. You're probably right. But with the rangefinder, the problem is every eyeball with a 75mm Noctilux wide-open would need to be bang in the middle of the frame. An EVF, even if slightly less accurate than the rangefinder, would give many more options for both composition + for focus accuracy outside the very middle of the image.
  8. I'd assume a high reliance on EVFs is pretty important when certain recently designed M lenses are otherwise compromised out-the-gate with a rangefinder (eg, the close focus on the 35 ASPH; and especially focus accuracy of both the 75mm Noctilux + 90mm Summilux) ....what's the point of such incredible telephotos like those 75 and 90, unless we're really meant to assume that Leica conceived them for non-native use only on the SL via an adapter?
  9. Yes, but one could argue the same for the SL2, especially with many apparent similarities to the Panasonic S1R and with many (very good and cheaper) L Mount lenses also made by Panasonic and Sigma. But that aside, an M with an EVF that has a sensor with the right cover glass to actually work “properly” with M lenses is a major differentiator in itself, IMHO. Not many bodies exist that work without some smearing etc with M glass, especially the wide angle. I had the SL2 at one stage with the M adapter, and thought it very unbalanced for the M lenses. IMHO the SL2 is simply clumsy for
  10. It’s an interesting view. Each to their own opinion and reaction to B&W, of course. In my case, I know B&W doesn’t work as well for me when I take images of family. It feels like a layer of reality (ie, colour) is stripped away from the recording of that memory. That makes me hesitant to use it for that purpose. But for many other situations, where I’m not as connected to the subject, I feel the art created by B&W can exist as its own beautiful form.
  11. Ha ha, I’ve admittedly been guilty of that stance! ….. but then I get reminders just like I did this evening when I pulled out some portraits sized at 30”x20” on FineArt Baryta from the M240 that I bought (and sold) now seemingly years ago ……and realised just how really good that tool could be in terms of image quality, if the execution (all the way from capture through post processing and printing) is done right. I was a bit shocked at just how beautiful the print was, in fact. Sometimes I can almost feel myself going round in circles when it comes to model upgrades.
  12. I am inclined to agree with that specific statement …. but separately, if a theoretical and much improved Visoflex came out, then perhaps the M can work well at higher megapixels.
  13. Crikey that is a lot of images! Then again, even with film, it’s surprising how many images some of the famous photographers would take …..I think I once read that Richard Avedon, for his project “In the American West”, took something like 17,000 negatives (on 10”x8” film!) for a final curation of around just 125 images.
  14. I certainly think the pixel shift on the GFX100S can make a difference in very fine detail, mainly by eliminating the digital artefacts from the interpolation that owes from the Bayer filter. It’s that cleanliness of pixel shift images (no false colour, no moire) that I think adds to the apparent resolution, noting of course it’s still the same megapixels underlying the sensor. For the right subject matter (ie, completely static), it’s incredible …the file opens up as a 78” wide print at 300dpi!! For something like a hugely detailed landscape when there is no movement …..something like t
  15. I’ve been on a lengthy pursuit of trying to find a digital camera that gave me an output that pleased me as much as film (which for me would mean a B&W darkroom print, or a drum scan of either E6 or B&W). I’ve used M analogue, Mamiya 7, Hasselblad 501cm, and 5x4 over the years. The M240 certainly didn’t get me the look I wanted (and bolting on a M 50 APO, hoping for improvement over my Mandler 50mm Summicron v5, made it worse for me). The SL2 and SL 50 APO was smoother in colour gradation, but still too much acuity for me. So I got a Fuji GFX100S after selling my SL2. I
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