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Found 161 results

  1. Ich erlaube mir mal einen Thread für das Format 6x6 zu eröffnen und beginne mit ein paar Bildern. Rolleiflex Automat K4b, TMY 400, D76.
  2. For those who use the Q2 to create black and white images, what have you found is the way to get the best results in terms of image quality? Do you shoot in color then convert to B&W in post processing? If so, which software program do you prefer? I know we already have a Q2 image thread, but if we could see some examples of B&W images made with the Q2 in this thread by way of example, that would be great. My Q2 is on the way and I want to learn about how to maximize it for black and white imagery, particularly for making exhibit quality B&W prints. I'm sure many others will be interest in this, too.
  3. Paris 1997 Leica M3 + 50mm Summicron f2 and Fuji Neopan 400PR © Gerry Walden/gwpics.com When, oh when, are we going to get Fuji Neopan 400PR back! Gerry
  4. It was the annual Gay pride event in my home town of Southampton, and there was the usual plethora of street vendors including the balloon sellers. This guy only sold unicorn belloons, and made an interesting subject. This is a very colourful event and it would have been easy to be overwhelmed by the colour, but I made the decision to shoot it b&w: Leica M240 + 50mm Summicron-M f2 Gerry
  5. I have just acquired a 50mm Summicron-M f2 IV so I took it for a test run (which consisted of one shot) today. This was at 1250 iso 1/125 and f6.8 - Gerry
  6. As the saying goes "Birds of a feather flock together". I spotted these gulls taking advantage of a pontoon to have a rest after a hard rainstorm. I found it fascinating that they were all facing exactly the same way. Leica M240 + 35mm Summarit f2.5. Shot as .dng and converted to black and white in Lightroom Classic. Hope you like it Gerry
  7. I was just leaving the waterside park area when I spotted this guy. I was already driving so I drove back around the park and parked up so that I could catch him. It had just been pouring with rain so I think he stopped under the tree to take shelter, but he then sat on the wet grass. Leica M240 + 35mm Summarit f2.5. Shot as .dng and converted to black and white in Lightroom Classic. Hope you like it Gerry
  8. Low Rider parked in front of local hotel in Santa Fe NM SHOT with M8_35MM Sumicron f2 ...
  9. New to my street photography gallery: June 2019Leica M7 + 35mm Summarit f2.5 lens. Kodak Tri-X.
  10. Children look at each other out in the city with their parents. Leica M240 with Zeiss 50mm Sonnar f1.5. 1/180 f8 at 320iso. Gerry
  11. We never grow up, we just get older. People with balloons. Southampton, England. Leica M240 with Zeiss 50mm Sonnar f1.5. 1/180 f8 @ 320iso. Gerry
  12. rpoppes

    Juxta

    © Rudi Poppes

  13. rpoppes

    L1000018

    CL with Voigtländer 50mm. Taken outside with natural light.
  14. A drizzly, cold, damp afternoon on New York City's famed High Line gave a moody, monochrome atmosphere which called for this shot to be captured in B&W. This M240 is my first Leica since my M2. This camera made me fall in love with B&W all over again. I could so trade this in for the M262 Monochrom.
  15. When you arrive to the tiny church of San Giovanni in Ranui, on the Dolomites (Italy), you are faced with one of these classic views that have been photographed to death but which timeless beauty is just undeniable. On a beautiful May sunset, I forewent the sunset colours and portrayed it in a dramatic black & white, with the help of an amazing sky and of a 2-minutes long exposure. With Leica SL, Leica Vario-Elmarit-SL 24-90mm and the incredible Formatt-Hitech Firecrest Ultra filters. Thank you for viewing, best regards Vieri
  16. futura

    Margaux

    From the latest shoot in and around London. SL + 50mm 1.4
  17. gwpics

    Ali

    Guarding the local convenience store in the heart of a multi-ethnic community Ali, an immigrant from the Middle East, is proud to be working and contributing to society. Taken with a M9 and 35mm Summarit-M f2.5. Hope you like it! Gerry
  18. More black and white girls on streets can be found at BigBigLens.com - Summicron-c.
  19. Grabbed the yellow foil tube, ripped it open, popped the film into the SWC. Meter to 320, shoot pictures, practicing my scale-focusing technique. Got home, popped the roll out, into the darkroom, "TMax 400 - hmm, HC-110, 4.5 minutes 72°F normal" Developed away. Poured out the developer - looked like a slasher movie - red gore everywhere. What the....? Got the film into the stop bath, and then grabbed for the backing paper in the trash. "KODAK EKTAR 100" (My mistake of course - but gosh-darn Kodak for giving up on the old color-coded individual wrappers. Green for 400 B&W, Red for CN, Purple for Plus-X/Tmax 100. I've loaded and exposed the wrong film before, in the distant past - never unintentionally run a roll through the wrong process before, though.) Went ahead and fixed - there are images there. Dense reddish base, of course. Finished as for B&W, wash and Photoflo. Actually - for underexposed two stops, run through the wrong chemicals for the normal (wrong) time at the wrong temperature - the results are amazingly usable! I wanted B&W, and that's what I got. Not God's gift to the Zone System for tonality, perhaps, but certainly within the functional range for gritty street shots. A bit on the contrasty side - and with ZERO latitude. Shots that were right on the money scanned very well - but 1/2 stop under were really thin on shadow detail. Bit of sludging on some frames - if they were important shots, I'd rewash and use C-41 stabilizer instead of Photoflo for the final bath. Very fine grain. Interesting that Ektar 100, usually known for bright reds, in this case reproduced red/orange/pink very dark (DOGGS kiosk was pink, drink crates red, traffic cone orange).
  20. I'm starting a thread for anyone who would like to create, and share full color images by shooting three black and white photos of the same subject. The technique is called Trichrome Photography, and it was used to create the first color image in 1861. Here's some early examples http://tricrhomephoto.tumblr.com/ Creating a color image from three black and white photographs is done by using a different color filter in front of the lens for each exposer (Red, Green, and Blue.) When those three black and white color records are combined, a full color image is created. Today, the easy way to combine those three black and white color records, is with Photoshop. The highest quality Trichrome images are produced with a tripod, and a still object. However, interesting color effects can occur if there's movement between exposures. This technique can be done on film or digital cameras. As much as I consider myself a film enthusiast, I think the best black and white color records will come from Leica digital Mono cameras. Of course, Leica digital color cameras can be used, however they have a filter in front of the sensor to create color (possibly reducing detail.) Leica mono cameras do not have this filter, therefore possibly increasing the amount of information being recorded. With film cameras, the process is a bit more involved. There's the choice of what black and white film to use (slowest speed possible is best since three images will be layered on top of each other.) Processing of the film, then scanning of the film. Also, layering the three black and white color records together in a program like Photoshop may not be as precise, depending on the quality of the scans. The following link shows examples of Trichrome Photography today https://www.flickr.com/photos/tags/trichromes The following link shows a Trichrome created with a M6 http://www.pirate-photo.fr/forum/viewtopic.php?t=820 And a Youtube video on how to stack the three color records into one shot. https://www.youtube.com/watch?v=S28OUlavAvg The idea to start this thread came from two books I'm currently reading. "The Dawn of Technicolor 1915-1935," and "Technicolor Movies; The History of Dye Transfer Printing."
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