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Found 40 results

  1. At a museum a couple of weeks ago This jet looks small in the front view here, there's more info in the Wikipedia: Saab JAS 39 Gripen M7 Summicron-M 50/2 Ilford XP2
  2. I am looking for recommendations on on good photo labs in Germany. I need C-41 development and scan, mostly 35mm but also medium format. I don't need some exclusive high end labs, but also don't want to send my film to the corner drugstore photo lab. Any recommendations please. Thank you!
  3. An der Werse bei Münster in Westfalen. An der Werse #2 by Herr Sharif, auf Flickr An der Werse #1 by Herr Sharif, auf Flickr Leica M2, Zeiss C-Biogon 2.8/35, Adox CHS 100 II, 12 min in Rodinal, Scan mit Plustek Opticfilm 7600 und Vuescan Sharif
  4. I am scanning some T-Max400CN taken back in the year 2000 using my M6, and I am working through some work I did in Paris that year. I am pretty sure this was taken with the 50mm Summicron f2. I hope you like it. Gerry
  5. I took this in 2002 in Notre Dame cathedral using available light with the M6 and T-Max400CN, but have only just got round to scanning it. I hope you like it! Gerry
  6. Offenbach, Bismarckstraße #1 by Herr Sharif, auf Flickr Leica Standard, Elmar 3.5/50, Trix! Sharif
  7. This was just a lucky capture whilst planning to photograph just the building - sometimes luck is on your side. Taken in Paris in 2002 using an M6 with 50mm Summicron f2 and T400CN film.
  8. I purchased a new Leica MP some time ago, and I've been seeing bright stripes on my scans frequently ever since. I assumed it was the scanner - dust on the glass or the sensor or something similar. Recently my wife started scanning her negatives however, and she has a Leica MP too, albeit a n older one. She did not get the same bright stripes in the scans as I do. Our development process is the same. The same gear is used. A lot of our film are even developed together at the same time in the same tank, and for our color films the same lab has developed them. It happens with all the film I've tried: TX400, HP5+, Silvermax 100, Acros 100, Portra 400, Superia 200, Fuji Pro 400h, etc. So I recently started to inspect my negatives, and to my surprise there is a dark stripe on them, that matches what I'm seeing in the scans. I've checked the back plate of the camera, and it's clean without any sharp edges as far as I can see or feel. I've attached a few images that clearly shows the stripes on the negatives and how the scans looks. Does anyone have any idea what this could be caused by? Negative: Scans:
  9. I took this on a trip to Beijing in 1998 using my M6, and I have just scanned it to give it a new life. I am sorry but I have no details stored with the original, but can say that it was taken on Fuji RDP 100iso film. I hope you like it! Gerry
  10. 'Alices Adventures in Wonderland' based on the wonderful children's books by Lewis Carroll (Taken in Southampton, England), this was taken on a Leica M7 with 35mm Summarit lens. Film was Fuji Neopan 400CN commercially processed and scanned using Silverfast. Gerry
  11. Various flowers in the city park a couple of weeks ago M7 Summicron-M 50/2 Fujifilm Superia 200
  12. After owning the MP for about a year I decided to write some of my experiences with this camera, and with film cameras and the film process as a whole. Check it out: http://indergaard.net/2016/02/26/leica-mp-review/
  13. Hallo allerseits, vielleicht ist die Frage weit hergeholt, aber wenn ich Sie nicht stelle, kann ich auch keine Antwort bekommen. Nach meiner letzten Fototour mit meiner M4-P stellte ich mir folgende Frage: Gibt es Objektiv-Film Kombinationen, die Ihr/wir bevorzugen bzw. die besser oder schlechter funtionieren? Beim Durchstöbern des Analog-Forums habe ich nichts adäquates gefunden. Sicherlich ist es subjektiv, aber bei den vielen möglichkeiten an Objektiven bei gleicher Brennweite in der Historie von Leica, wäre es interessant zu erfahren, wer mit der einen oder anderen Objektiv-Film Kombination welche Erfahrungen gemacht hat. Es wäre toll, wenn ihr mit Bildbeweis antworten könntet um eure Argumentation pro/con eurer Objektiv-Film Kombinationen bildlich zu untermauern. Freue mich auf eure Inspirationen. Und nun allzeit gut Licht und Korn! Gruß Michael
  14. It just shows how slowly I have been working because of what has happened, but this was on the latest roll of film back from the lab. Taken using my M7 and Fuji neopan 400CN film. Out of the box maybe for me, but I hope you like it: Gerry
  15. Hello, does anyone here have experience with this film? http://www.japanexposures.com/shop/film-analog/fujicolor-industrial-100-135-36-100-pack.htm Is it comparable with Reala or Superia? Or like a low cost film like the C200? Regards Frank
  16. I don't post here much but post frequently over on RFF so am just throwing this out there to hear your opinions and/or experience. I have been taking photos since 1966 and spent a couple years as a professional photographer back in the mid-1970's. I have owned Leica's starting with a CL from 1975 and owned every film M up to the MP. Additionally, I had an M9 for a couple years but sold it last year and returned to film. I enjoy Leica's but also realize there are many other great cameras to be enjoyed and used. So, with my background out of the way I am curious as to what people here enjoy traveling with. I will be leaving Texas in a few days to hike the C to C trail across Northern England. For those not familiar, it is an 192 mile journey from one coast to another and will take me 15 days. I have decided to carry a Leica M5 (best meter Leica ever put into a camera) with 35/90 lenses and a Fuji X70 (28mm fixed lens and big sensor). For the hike, it may only be the X70 due to size but the M5 will be great fun in York. Now, I have hiked the West Highland Way in Scotland and the Portuguese route of the Camino de Santiago in Spain three years ago (90 and 70 miles respectively). I carried the M9 on that trip but sold it when I realized I actually preferred film. So, what do you think?
  17. Hi all, I have been reading on this forum for a long time, but never posted before, so first let me introduce myself. My name is Ole, I am from Norway, and I have been into photography for nearly a decade. Hence, I am still a junior:) A month ago I both my first Leica film camera, a nearly mint M3 from 1966. I love shooting with 50mm, so when deciding between an M2, M3 and M6 the choice was easy. I also have an M246 which I couldn't be more happy with. In addition, I have a Sony A7 for convenience, and because my wife forbids me from selling it ("we need a camera that can take colour photos of our future kids"). Yes, we are expecting one later this year:) Moving on. When I bought the M246 I quickly opted for the Zeiss C Biogon 21/4.5 as my UWA. My rationale was that this lens would give me what I needed for the least amount of $$$. The colour issues are not a problem on the M246, and the lens have plenty of qualities. In fact, in many ways its a real gem - small, nearly zero distortion, and plenty of sharpness in central and midfield areas. Towards the edges the sharpness drops rather quickly though. And, as many of you know, the lens vignettes A LOT. On a digital camera with a histogram I can overcome this. But what about on a film camera? Have any of you used this lens on a film camera, and how do you usually expose? Does it vignette as much on film as it does on a digital camera? I know, the best way to find out is to go out and test, which I will do as soon as I get 21mm viewfinder. But until then it would be very nice to hear your experiences with this little gem:) Thanks for reading. All the best, Ole
  18. I spent my last two weeks in Sri Lanka taking pictures of the locals and the stunning landscape/ culture. In the first half of the trip, which I travelled alone, I rented a motorbike and travelled from the west coast up north, across the continent to the east coast and back to Negumbo in 8 days. It was a 1100 km ride and a very pleasant journey. It was a very impulsive trip, in which I have no solid plan of where to go. I just acted freely according to the advises of people and my mood ))) I interacted with the friendly Sri Lankans, found a home for a lost puppy and enjoyed lots of beautiful scene. 174041m3l7kcru6kbiohle.jpg.thumb by Terence Yam, on Flickr Just to share some snapshots in Colombo before I went on my MotorBike trip. Leica M6M + Fuji RVP film. #1 - When the sun goes down @ Colombo Main Street SriLanka - RVP02 -02_s by Terence Yam, on Flickr #2 - Magic hour SriLanka - RVP02 -05_s by Terence Yam, on Flickr #3 - Christmas lighting SriLanka - RVP02 -07_s by Terence Yam, on Flickr #4 - Local market SriLanka - RVP01 -31_s by Terence Yam, on Flickr #5 - What an angry hawker lol SriLanka - RVP01 -30_s by Terence Yam, on Flickr #6 - Motorbike riders still wear their helmet in market SriLanka - RVP01 -27_s by Terence Yam, on Flickr #7 - Lottery tickets SriLanka - RVP01 -25_s by Terence Yam, on Flickr #8 - The colorful bus in Sri Lanka SriLanka - RVP01 -13_s by Terence Yam, on Flickr #9 - Kite time! SriLanka - RVP01 -07_s by Terence Yam, on Flickr Happy new year everyone! More to come! Best, Terence from Hong Kong
  19. Greetings - I treated myself to a M-A, and I'd like your help deciding upon lenses for my kit. I intend to only shoot film, and initially to shoot only Tri-X, but I expect to move into color film as well. My intent is to optimize the lenses for film work, but also with the potential to work well with digital sensors if the need/desire arises. I'm coming from a background of 28/50 for 95% of my photographs. I bought the Summarit 35mm F/2.4 (latest version) as my "base" lens for the M-A to force me out of my comfort zone. It also straddles both the 28 & 50 perspective, a compromise on my standard way of viewing the world, and I welcome the challenge. Frankly, I've never "got" street photography - "Why am I taking pictures of people I don't know, will never meet again, and have no connection to?" - but after studying the works of many "street" photographers who do "get it", the 35mm deeper depth of field perspective versus the thin in-focus layer combined with lots of bokeh from my 50mm perspective seems intriguing. So the question is: "Now What?" Many suggest just shoot with the 35mm lens for a year and see what I learn. Others suggest adding more Summarit lenses now - 50/75, and maintain the 46mm diameter to make filter selection easier across the entire lens kit. Some in this camp also note that the slower f/2.4 lens will actually mate very well with digital bodies (if I go in that direction), and may draw images more consistent with great film lens designs of the past - enhancing the fun of shooting film with the M-A. They argue that the Summarit line may be the "best" solution for my lens kit since it works for all of my anticipated shooting. Still others note that Leica makes great lenses, but they are really great "wide open" and for that you need the Summilux lenses. So instead of trying to reinvent the wheel, and potentially wasting a lot of energy and money, I'd like your thoughts on how to build the lens kit, primarily designed for the M-A and film, but flexible enough to accommodate digital bodies. Your thoughts are welcome, and my thanks in advance for your comments.
  20. Hallo zusammen, gibt es hier zufällig noch jemanden, der Spaß am Filmen hat und dieses Hobby auch schon mal mit seiner Leica Q näher verfolgt hat? Oder kennt vielleicht wer andere Foren in denen dieses Thema schon einmal erörtert wurde? Mir ist bewusst, dass die Leica Q in erster Linie auf das Fotografieren ausgerichtet wurde (zumindest bis jetzt)... Theoretisch hat sie es ja technisch drauf und mit dem 28mm bei der Lichtstärke und einem Vollformat Sensor in der Package ließen sich echt tolle Filmchen machen. Was ich absolut nicht verstehen kann: Warum darf ich als Nutzer der Leica Q Handy App im Video Modus ALLE Belichtungseinstellungen manuell vornehmen, nur nicht direkt an der Kamera? Warum werde ich dadurch außerdem gezwungen mir das Bild auf dem per WLAN gepairten Handy anzuschauen statt durch den integrierten Sucher oder den Kamera Bildschirm (mit Lag)? WARUM??? Mit dem Handy ist ja super wenn ich eine Stadicam benutze. Von daher gibt's für dieses Feature definitiv schon mal 100 Punkte von mir. Aber dann doch bitte bitte auch direkt an der Kamera...! Liebes Support Team bei LEICA: Bitte kommt endlich mit einem vernünftigen Firmware Update um die Ecke! Die Kamera kann so viel mehr
  21. Interesting article; I guess I can stop fretting about what kind of results I will get when I process my backlog of now expired but already shot film...
  22. In this article, the author makes the claim that "A digital camera would have to be 156 megapixels to give you the same kind of detail as 35mm film." That may be true from a technical point based solely on counting line pairs; in my experience, it does not seem to translate in terms of printed image quality. Thoughts? http://istillshootfilm.org/post/114131916747/the-real-resolution-of-film-vs-digital?utm_content=buffer55d85&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer
  23. Taken back in 1998 using a Leica M6 with 50mm Summicron-M f2 and Fuji Provia film. Recently scanned and post-processed in LRCC Gerry
  24. Comeback?? Film photography never went anywhere to begin with! I will always remember the first time a tech head kind of photographer declared to me that "film is dead" and that it was only a matter of time until you wouldn't be able to buy film anywhere or have it processed. It was July of 1997.
  25. Mark II

    MACBA

    A short set of photographs of the Museu d'Art Contemporani de Barcelona (the MACBA, excellently described in this thread). We are lucky to live in Barcelona, which makes it easier to catch the best light for these kinds of photographs. All shots were made using the M7 and a 21mm lens with stacked filters. This was Delta 100 processed in ID-11. I have a difficult time shooting with the 21mm on the M7, as getting accurate framing with the external viewfinder is problematic. For some of these, I used the rangefinder to get the alignment as accurate as possible, but they still needed some slight rotation during scanning.
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