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Showing results for tags 'film'.
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I just got a brand new MP (manufactured July 2025) and the vertical alignment is slightly off. The dealer offered to exchange it but they don't have a replacement on hand and will have to wait for Wetzlar (unfortunately with no timeframe). I know the vertical alignment is just behind the small screw on the front. Does anyone know if the recent MPs require a special tool for the vertical alignment like some of the other film Ms such as the M6 do? Or is it just a 2mm hex like the horizontal adjustment? -
I'll be visiting Paris in September with my MP. To save space in my luggage and avoid airport X-ray machines, I'd prefer to buy film in Paris, shoot it, and have it developed there. I emailed the Leica Rive Gauche store to ask if they sell film. They don't, except for the new Leica Monopan 50 film when it arrives, maybe in August. But that's too slow a film for my needs. So, can any of you familiar with Paris recommend a place where I can buy Ilford films, like FP4 and HP5? Also, is there a lab in Paris that provides a relatively quick turnaround (three or four days) for developing negatives and providing scans? Thanks for any help.
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Taken a while ago but just added to my street photography portfolio on my website at https://gwpics.myportfolio.com/street-photography. Leica M7 + 50mm Summicron-M f2 Gerry
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Cinestill CS Negs Basically presets combination, im used to NLP… but sometimes im away from my laptop for a while.. now the ipad might be handy.. but this is far from professional tools.. only more manual adjustments, used in LR mobile i did for fun, here’s ektar
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Taken in the pedestrianised cutural quarter in the centre of Southampton. Leica M7 + 35mm Summarit f2.5 with Kodak Tri-X which was lab processed and then scanned using a Plustek 8200i and Silverfast software. Cropped from about one-third of original and post-processed using Lightroom Classic. Gerry
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Hi everybody, I’m a computer science engineer who has been working, as a hobby, the last three years in a new, more precise, way of recreating film look with digital cameras. I’m posting here for feedback, in case anybody of you would like to test the application (with the M9) and show the results and your opinions. I usually shoot film photography but also I like the comfort of digital. The problem is that I’ve never been happy with existing film emulations. Mainly because of that, because they are emulations instead of simulations. METHOD USED For doing so, instead of doing a generic conversion for every camera, I’ve done a specialised conversion for the Leica M9 based on simulating the chemical process and spectrum response, instead of applying curves and other stuff. In the end, I thought, if analog and digital are just two instruments which capture light, I thought, maybe is there any mathematical conversion to make the digital to look like film? I mean, if I take the same photo with analog and digital, under exact same conditions (light / aperture / exposition /…) could I make them look exactly the same? It’s based on chemical simulation and the Leica M9’s response to spectrum. Then LUTs and finally some extra calibration. I think that it could be improved because I’ve used home made or open source tools for calibrating and so on, which are far from perfect. EXAMPLES (Analog vs Converted Digital) Following are some examples of Superia 200 and TriX 400. Click in each photo to see high resolution. DNGs shoots taken with Leica M9 (left), and FILM shoots taken with Minolta CLE (right) at same conditions (aperture / exposition / ISO). All shoots taken with Zeiss Biogon T* ZM 35mm f/2. The examples show several photos, which are the following: +------------------------+------------------------+ | original DNG | | +------------------------+------------------------+ | converted DNG | scanned FILM | +------------------------+------------------------+ | developed DNG | developed FILM | +------------------------+------------------------+ For the generated simulated negative TIFF file and the scanned TIFF file I’ve applied exactly the same develop parameters. TriX 400 - 1 TriX 400 - 2 TriX 400 - 3 Superia 200 - 1 Superia 200 - 2 Superia 200 - 3 Superia 200 - 4 Superia 200 - 5 Superia 200 - 6 CONCLUSIONS Tonal range - Biggest difference between digital and film Dynamic range - Digital is faaar more detailed in the blacks, film never gets burnt, meanwhile digital gets burn quite fast. Film has more microcontrast, it's more sharpen Digital is a little bit more contrast after developing, I imagine it’s because it reach white level faster, then, when doing autolevels with the developing program, as a result, it’s a more contrast image. DOWNLOAD I'm having a console application ready, if interest is shown it will be ready quite soon! CAVEHEATS / LIMITATIONS The program only accept DNG, because I need all the light captured by the camera, instead of a JPG already converted and really dependent on camera self made adjustments. The program only accepts photos taken at the ISO of the certain film that is gonna be used. For example, for TriX400 it will accept only Leica M9 DNGs at 400 ISO. I’ve also done tests with ISO 200 and 800, and the results were quite satisfactory but, for complexity reasons, I prefer to let it be native film ISO for the moment. Highlights are not always correct, and sometimes they look weird, mainly in color film. This is due to bayer sensor pattern and its different intensity response (for Red, Green and Blue channels). FUTURE (& PAST) WORK Leica M10-D Leica M8.2 THANKS Super thanks to the creator of LibRaw, a wonderful C++ library for working with RAW files. Any questions I’m open to answer 🙂 Best regards everybody. Tomás AKA “Camalogica”- 176 replies
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I'm planning on purchasing a polarizer from URTH (https://urth.co/products/cpl-polarizing-filter-plus) but I am unsure of whether or not I will be able to set the filter rotation correctly on my M3. I had contacted URTH themselves and they said to set the orientation correctly by looking through the filter before attaching to the lens, I though this sounded impractical. As the M3 does not have any way of seeing through the taking lens, how should I use a polarizer and/or other filters that rely on achieving the correct orientation to produce the desired affect. -
https://youtu.be/2wmkHDrR2cc?si=dOUXF1HybtbAo3U9
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So, my M3 arrived on Christmas Eve and now has a roll of HP5+ in it. Still working on the settings to cope with the light and lack of meter (using iPhone Light Meter App for now). Just means taking two shots all the time as I realise I've checked something but not made any changes! A real change from my previous SLR/DSLRs - things are now always in focus, except in the little square. I know practice is the best form of learning, and I'm doing a lot of that. But does anyone have any recommendations for books on rangefinder technique? -
Greetings all! This past December I decided to dive into film photography for the first time. I bought a new Leica MP and used 35mm summicron ASPH (v5). I took the camera and a number of different film stocks on a family trip to Taiwan. What a joy to use! I finally understand what others have said with regards to the pleasure of using these cameras, regardless of how the photos come out. A few things I learned: I tended to underexpose and need to get a better handle on the exposure meter. As a wearer of glasses, the 35mm framelines at 0.72x magnification can, at times, be challenging to see. I also found myself wanting to frame tighter (50mm Summilux is on the wishlist!!). I need to get better at ensuring that the camera is level - I had to straighten a few photos in post. I need to work on white balance and editing in post. Either way, I'm really excited to continue down this path and looking forward to more participation in this forum! Here are a few photos from the trip:
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https://vimeo.com/208254533 A short video clip I made on SL with Summarit 35/2.4 in L-log and graded in FCP X as Arri Log C footage. Wanted to finally see what can be done with those L-log files. Not bad results, looks really promising. Anyone here has any experience with making films on SL? How do you capture the footage, how do you colour grade later? What LUT do you use? I've looked at buying some extra LUT loaders and use some custom LUTs but decided that it's not really needed. I can work with what's in the Apple Final Cut Pro X quite effectively it seems. How about you?
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This might be a stupid question and many have been answered in some form before. I have an M6 TTL 0.72 and a Summicron 35 f2 ASPH, both in Chrome. First off, I love film and shooting, but other things have over the past few years have taken more of my time. I typically only pull out the M6 during extended vacations/travel, which seems to be once every 2 years. For everyday photos, we pull out the cheap-o digital point and shoot. Film is great, but scanning is a hassle (used to be fun). Also film is getting harder to find locally. I feel like the anyone with a good point and shoot can take decent photos these days and shooting film has really lost it's uniqueness (at least for me). I'd love to get a M9, but I have no budget for it. I'm a bit out of the loop and just noticed the Fuji X-Pro 1. I was thinking about getting rid of the M6 body and picking up the X-Pro 1. So, I guess my question is, is it worth it to keep the body, or get rid of both the body and lens and just go with the X-Pro 1. Will the Summicron be that much better than the lens that comes with the X-Pro 1? I have a number of people interested in the M6 and lens. Should I sell now while I can or hang on to it in case I ever get psyched about film again? Any advice would be appreciated. Thanks.
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Two small Berber childen, one shoeless, and wearing dirty dresses sit outside their cave home in Tunisia. This is from 2002 when North Africa was a safer place to visit. I wonder where they are now? I used a Leica M6 and I think this was taken using the 50mm Summicron f2. Gerry
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Hi! Today I received a batch of negatives which I had processed and scanned at a dedicated b/w lab. Usually I do the scanning myself, but this time I needed some quick results to check the technical validity of some vintage cameras and I had little spare time available. These scans are low res jpeg and only substitute for contacts. I am thinking of re-entering the dark abodes of home-developing, especially after reviewing the result that I want to query this forum about. Seven rolls of TriX, TMax and HP5 from diffeent cameras (M3, IIIf, M7) came out fine, but one roll of film (TMax) from a 1934 IID shows peculiar scratches not typical of ones that I have seen or produced myself before. Since this is the only roll of film from this newly acquired camera that I have available (it is currently away for a focusing CLA), I would be particularly interested in whether it is a problem that might be related to the camera or whether it is related to film handling pre/during/post development, which I find more likely. Since I bought the camera from a respected dealer, he should be noticed of any problems soon as possible. The scratches start at #25 and continue until #36A, where the scratch line tapers off into the perforation. It is not a strictly parallel scratch like ones I have seen from damaged back plates or sloppy enveloping/ rolling and it is not continuous for all the way. I will post three example images. I hope diagnosis can be made from forum resolution. (1): #29, Inadvertent picture of my lens cap (idiot me ) (2): #32, Oyster bed, 300 million years old, today grounding a cottage, situated 600 Km from the nearest shoreline (3): #35, Casino, Wiesbaden, Germany Has anybody seen a scratch configuration like this before? Thanks! Kind regards, Mathias EDIT: By the way, the scratches are on the emulsion side.
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Hi everyone, i own both a m2 and a m4p. on all the rolls that ive shot on both cameras, ive noticed this weird flaring across the frame. i dont know if it is a light leak or if it could possibly be my lens. the m2 definately hasnt been cla'ed in a while but the m4p i just bought from a shop and has been cla'ed. i use a canon 50 1.4ltm and a voigtlander 35 1.4sc, but its the newer of the two lenses. Ive noticed that the rolls of film occasionally have flare across the top of the frame usually spanning from the top right to 3/4 of the way to the left but only in some frames. in the m2, this light streak crosses frames on the flim, whereas on the m4p, it doesnt but the flaring seems to be in the same position ass the m2 (top right to the left). i suspect that my canon 50 1.4 may be the issue however im not sure if a lens is even capable of that kind of effect. otherwise i think i may have a light leak but i dont think id get a leak in both cameras at the same spot. the attached photo is from the m4p. can anyone shed some light on the matter
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MP, 35mm Summaron f2.8, HP5Plus.
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Taken with Leica M4-P and 35mm Summarit f2.5 using Ilford HP5+ film. This is from the first film I have home-processed in16 years and I processed it in Tetenal Paranol S (the rebranded Rodinal formula). I managed to control the resulting grain using LR Classic, bit I won't use the dev again. I bought a 'starter kit' and it was included in that but I have Ilford DD-X on order for the next film. I should have remembered Rodinal from many years ago. Gerry
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Another from my latest roll of film. Leica M4-P with 35mm Summarit f2.5. Ilford HP5+ commercially processed. Gerry
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Inconsequential evening stroll with M7 / Summicron 50 and a roll of 400 TX. Approaching the Philharmonie de Paris / Drab Dusk (1)
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Leica M7 + 35mm Summarit f2.5. Fuji Neopan 400CN. Southampton, England 2016 Gerry
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I completed my first year of back to film (stopped shooting film in 2003 when digital became convenient). I did shoot digital for past one year as well and it was fun to compare. I shot around 32 rolls of film (mostly 36 frames each) and almost 90% was in M2 (rest on Nikon FM2 and Konica T2). Many were experimental but I did use it for my summer roadtrip and to capture life as well. I got around 86 pictures that I like very much. That is 7% of total. Still small but I was experimenting a lot. Around the same time I shot more than 6000 digital pictures (with M240 and Nex6 evenly distributed). I got around 4% keepers from that. How much do you shoot in one year? (Note: Nobody pays me, I shoot for myself) All my film keepers
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From Kosmo Foto, here are two articles on the future of film based photography. Both are long reads but present some worthwhile information IMO. A passage from the above article: "...the nearly one billion rolls of film a year sold in the US at the height of the film market in the early 2000s has dwindled to a few tens of millions a year..." Yes. it is always better to sell a billion rolls of film a year - but if photographers are buying a "paltry" 30 million rolls of film a year - 1/33rd of the billion rolls a year of legend and lore - that still amounts to over 576,900 rolls of film purchased per week. If the profit per roll of film for both manufacturer and retail seller were $2.00 a roll - and I would guess that given film prices today, that is a reasonable estimate, and may be low for the manufacturer - that amounts to a over a million dollars profit per week for both manufacturers and retailers. That's not pocket change and I would think there are a lot of other businesses out there who compete for much smaller pots of gold than $52 million plus per year.
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I am relatively new hear and love to see the wonderful photos here and I visit site to see the authors work but I have a question. In my search on Google I read that xrays will effect film by turning it black. If this is the case how do I protect it while going through airport security? Help... I suppose I could but it through checked baggage but I've heard this sometimes get xrayed too. I'm excited. I get to use my R lenses on my film Leica film cameras and on my Canon digital. My first real outing in quite some time.
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I am intrigued that Kodak are now pushing Kodachrome photography (note, I did not say Kodachrome is back) by publishing a new Kodachrome magazine, edition 2 of which is now available at a price of £20 here in the UK. It features Kodachrome images from the archives but is very expensive for what it is. I also note that a contact sheet featured in Edition 2 was shot on Ilford HP5, but it is what the featured photographer was using ‘back in the day’. Does this re-emergence mean that they are trying to raise interest in Kodachrome again? Pretty unlikely, but a strange move. Gerry
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Hello there, I have decided to start a topic on jammed shutter issue of Leica film cameras. I experienced this issue while taking photos at the Shard. My camera had been loaded with Adox CMS 20 II, the microfilm had the highest resolving power. The first fifteen frames were beautiful to enjoy the view. Yet after 16th frame, the camera was jammed. Since I tried to force its advance lever, it was totally broken. One wondering what was happened may look at the result here. I sent my camera to Wetzlar via Leica Store Mayfair. After eight weeks, it came back to London in a repaired condition under warranty. Recently, I have heard similar experiences to mine. Some of them is not related to choose Adox's films, since they have occurred while using Ilford's HP5+, and so on. In order to build a guide for one who could experience the same, may you share your experiences on jammed shutter, or advance lever stuck?
