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PLZ

  1. My interests toward film are ignited again by my dad’s efforts in developing C41, ECN-2 and E-6 at home after his retirement. We talked frequently on the chemicals, processes and experiment the push process together. We now have succeeded in pushing the Kodak Vision3 500T to 800 and 1600. For me, 800 is enough to cover my needs shooting streets from dawn to dusk and the artificial lights. And I now enjoy the M4 more than the M10-P. We use a Plustek 8200i to scan. Okay, let’s kick-off with a frame. Leica M4, LLL 35/2, Kodak 5219@800
  2. I’ve recently dug out my M6 TTL after getting on for 20 years of neglect, popped a battery in and cocked the shutter and checked metering and all seems well. I’m tempted to put a film through it, but don’t have any developing kit and don’t feel like buying at present. Does any one know a good lab for black and white? PROCESSING ONLY. I’ve still got my Nikon LS 4000 (recently serviced) so will scan myself if all goes well. I’d be grateful for any recommendations (also for film suppliers - Tri-x or FP4. I regret the passing of Neopan 400)…
  3. Shot film in the 80s and 90s (Olympus and Nikon) then digital only for past 20 years (including SL 601 since it came out) Loaded my Nikon F5 last year and loved shooting film again. Now considering an M. Have read and watched all I can, so understand the differences between the 3 currently available film M cameras but still undecided. Don’t mind black or chrome (and not chasing a BP finish). Have always had a light meter in my camera (apart from shooting my Dad’s old Ilford as a kid) but am attracted to the simplicity of the M-A. Areas I could use advice on include the following please: - quality control issues, not sure if M6 scratching film issue has gone away. - viewfinder, which is best? (My eyesight is ok but am in mid 50s). - reliability over the long term. Anyone else been in my situation? How did you choose? Thanks for your help everyone.
  4. nice to know they're developing new film cameras
  5. Hi everyone, I’m about to buy as second lens Elmarit M 90mm. I’d like to know about your user experience with this lens and of course to see some pictures if it is possible. What do you like to shoot using this lens?
  6. Article on the Online Photographer website about a recent interview with Dr Kaufmann on a French website. Interesting snippets regarding film & digital M production numbers. PS - wasn't sure if this was the best place for the post - feel free to move it if it would garner more readers elsewhere.
  7. Taken in my home town. I found the Agfa quite grainy in Adox FX39 so will change to Microphen as a trial. The grain is no major problem as I can reduce it in Lightroom but it would be if I wanted to go larger than maybe 25x20cm. Leica M6 + 35mm Summarit-M f2.5 - Agfa APX400 Gerry
  8. Hello, I have found expired ORWO reversal, greyscale double 8mm film from 1967/1968 It has been subject to harsh conditions of heat/ bad storage etc For these image stills shared here, i have been hand-processing the films with D94 chemistry, re-expose them in Cairo's sun for minutes, then using D94 as a second developer without fixing the image (hence all silver halide should be consumed at the last step) I have the following questions: 1) Could you help identify the cracks/wrinkles? 2) Some of the results seemed really good at the re-exposure process (image attached), but then turned out less contrasty at the end results- do you have an idea why? 3) Do you have extra general tips on how to get better results/ clearer images/ better contrast etc? Thank you very so much in advance
  9. It was an ominous dusk with the rainstorm hovering. The old MR-4 meter did a great job. I was holding my umbrella in left hand and then did all settings adjustment with my right hand, which I’ve practiced a lot so it was not a big deal. Leica M3, Light Lens Lab 35/2, Kodak Vision3 5219@800
  10. I am a long-term M3 and Rolleiflex shooter, and for black and white am more than happy making prints in the darkroom. Shooting color on film is also fun, but developing and scanning, for me at least, isn’t. And I’ve been wanting to have the experience of shooting digitally with my M lenses for a long time. So last week I took the plunge and bought a used M10R. I got the silver version and am struck by how much it looks and feels like my 1960 M3. The simplicity of the camera makes me happy — I was concerned about being overwhelmed with menus — but I’m sure I have much to learn about getting the most out of the camera, about post-processing, etc. (It renders black and white beautifully too, but I won’t put aside my film cameras). Do any other film shooters have advice or experience to share about their transition? Any thoughts are welcome.
  11. I am still editing images taken on my visits to Paris. This is the latest to be chosen. Taken on Tri-X in 1999 using an M6 with a 50mm Summicron f2 lens. You can see my 'Streets of Paris' portfolio at https://gwpics.myportfolio.com/the-streets-of-paris I am hoping to get a book together in the relatively near future, so comments are welcome. Gerry
  12. 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?
  13. Hatte endlich mal wieder die Gelegenheit und Zeit meine Kamera über einen längeren Zeitraum in der Hand zuhalten Mehr gibts hier: https://www.flickr.com/photos/derphilipppp/
  14. Die ganze Serie gibts hier: https://www.flickr.com/photos/derphilipppp/albums/72157659340180141 Leica M6 - 35mm Summicron IV - Kodak Portra 160 Almabtrieb by philipp wortmann, auf Flickr Almabtrieb by philipp wortmann, auf Flickr Almabtrieb by philipp wortmann, auf Flickr Almabtrieb by philipp wortmann, auf Flickr Almabtrieb by philipp wortmann, auf Flickr Almabtrieb by philipp wortmann, auf Flickr Almabtrieb by philipp wortmann, auf Flickr
  15. A small series I did on the Austrian tradition of "Almabtrieb". This is just a selection of pictures from the full series here: https://www.flickr.com/photos/derphilipppp/albums/72157659340180141 Leica M6 - 35mm Summicron IV - Kodak Portra 160 In case you don't know what an "Almabtrieb" is: The "Almabtrieb", which translates from German as: "drive from the mountain pasture", is an annual event in the alpine regions in Europe, referring to a cow train in autumn. During summer, all over the alpine regions cow herds feed on alpine pastures ("Almen" or "Alpen") high up in the mountains (a practice known as transhumance). In numbers, these amount to about 500,000 cows in Austria, 380,000 in Switzerland and 50,000 in Germany. While there is often some movement of cattle between the Almen during the summer, there is usually one concerted cow train in autumn to bring the cows to their stables down in the valley. This typically takes place in late September or early October. If there were no accidents on the Alm during the summer, in many areas the cows are decorated elaborately, and the cow train is celebrated with music and dance events in the towns and villages. Upon arrival in the valley, joint herds from multiple farmers are sorted in the Viehscheid, and each cow is returned to its owner. Almabtrieb by philipp wortmann, auf Flickr Almabtrieb by philipp wortmann, auf Flickr Almabtrieb by philipp wortmann, auf Flickr Almabtrieb by philipp wortmann, auf Flickr Almabtrieb by philipp wortmann, auf Flickr Almabtrieb by philipp wortmann, auf Flickr Almabtrieb by philipp wortmann, auf Flickr
  16. MSV

    Room 152

    Bigger > https://msvphoto.wordpress.com/2015/09/28/room-152/ Minilux 40/2.4, Scan from film Rollei RPX 100
  17. Sharing some shots I made on the streets of Vietnam. Duong Lam Ancient Village, Hanoi, Vietnam by Days of My Ordinary Life (Vincent), on Flickr Leica M7, 35/2 Summicron ASPH, Tri-X
  18. I know folks talk about how shooting film changes the way they think of shooting but it just hit home with me. I'm a digital shooter also, I have a great rangefinder (In addition to my M6) that I love; an Epson R-D1x, so it's not either/or for me. However, I just realized something about how shooting film affects my shooting habits; I shoot differently with my M6 than I do with my Digi-cam. For example, I was out walking to my wife's work this morning at sunrise to give myself a chance to shoot some images on the way (something I've done dozens of times) but this time I found that I was waiting for the light to be right; I wasn't just shooting scenes that "might be good" but ones that (in my mind) seemed to be interesting and would look good in B&W. Whereas before I might shoot a dozen frames while walking and possibly none might even be good enough to convert to B&W to "see if it's good" this time I waited and waited for the light to come over the tree line and cast some interesting shadows and such before I pulled the trigger at all. I even saw a doe and her fawns on my street and sat down and waited until they forgot me and began to dart across the street in front of me. Before I'd have just shot a few images in different poses and chose the best one. It's not that film is more expensive per shot (though it is) it's that I know that when I pull the trigger, that's just the beginning of making an image happen, there is a LOT more work involved and I'll be darned if I'm going to waste my time developing, scanning and then culling an image in lightroom that I know will probably be mediocre at best...it's a complete waste of time. That's a good thing, and I hadn't realized that it was happening until just this morning. So far I'm on roll #2 and loving the process. I'm learning a bunch and having fun. By the way; my wife has polaroid 600 and this is me with her Zorki 4 and my M6 just clowning around.
  19. Film noob here. I've only shot digital so far and this is my first roll of developed negatives. I used Tri-X 400 in my M6, developed in New55 Monobath and scanned with a flatbed scanner; Canon 9000F II. I'm just not happy. I think (though I don't know) that it's a combination of lots of grain but mostly the scan is just "not quite sharp" not quite in focus. I scanned both using the film holders, and then going against the glass, and got better results against the glass with no holder. I'm also guessing that the Monobath developing is pretty grain-enhancing....true? In any case, here is a shot from my first roll. Any comments and suggestions to guide me are more than welcome.
  20. Read it > https://msvphoto.wordpress.com/2015/10/06/misunderstanding Leica Minilux 40/2.4, Rollei RPX 100
  21. "The ultimate goal" Read it > https://msvphoto.wordpress.com/2015/10/05/the-ultimate-goal/ M6ttl, 35'cron, Scan from film Fuji Across 100
  22. Hey guys, I wrote a new article! In this article I will go over my workflow for photos taken on film rather than digital. I will be using software suite Nikon Scan 4, and will go over the settings I use for scanning with the Nikon Super Coolscan 4000 ED. This article will be most of interest to anyone using Nikon Scan 3 or 4 with any of the Nikon Coolscan film scanners. Some features and options will vary per scanner but most will be the same. It will also be interesting for people who use other scanners and software but will need to take this information as is and ‘translate’ it into their own software suites functions and options. Please read the article here: Scanning film with Nikon Super Coolscan 4000 - Jip van Kuijk I would love to receive comments and feedback here on the forum or in the comment section on my website.
  23. 4 photos don't really do the place justice but well... see the rest at: All on Portra 160 film - Leica M6 - 35mm Summicron IV
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