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  1. This thread is for any picture that is the first frame of a film roll. Please feel free to contribute and share your photo with any camera and film. Please elaborate your camera, film relevant info and a timestamp is not permanent but preferred. I'll share some examples for further reference. There are some reasons that make this thread meaningful: The first frame is unique for each roll of your film. That also reflects the amount of analog photography activities. It's not 100% accurate, but it could be a benchmark for the trend of revival. The first frame is mostly imperfect but often comes with surprise, joyful, pleasant and, sometimes, it could be even artistic as well. (reserve for further notes here) Thank you to everyone who joins this loop and share your valuable first frames with us. Have fun! Example: 2022-11-12, ILFORD ORTHO PLUS, ISO 80, M4
  2. Another from my latest film back from the lab. This was taken on the M7 prior to getting rid of it (big mistake!) using the 35mm Summarit-M f2.5. Film is Kodak T-Max400 processed by Harman Labs who do a pretty good job. No idea of exposure (sorry) but was available light only. I particularly love the face of the little child in the background. Gerry
  3. 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”
  4. It’s only my 2nd roll of film through the camera, so it’s probably a user error. I rewound a roll of Kodak Tri-X (36 exp) film today on my M4-P. During the rewind I could feel the tension on he film being rewound and then it went slack. Thinking the film had been rewound into the canister I opened up the bottom plate. To my surprise the film hadn’t been fully rewound. I reattached the bottom plate and started rewinding again, feeling the tension again. Once I felt the tension release I was able to remove the film as normal. Did I do something wrong? Has anyone had this issue and is there a solution?
  5. I use a M2 for practising film photography. But then I have the film scanned for further processing on the pc. I wonder: is this film photography or is this digital photography?
  6. Back in 2000 I was invited to give a guest lecture at Nasau Community College on Long Island, New York. I took a number of photographs of the students while waiting to start, and have been revisiting them now. Leica M6 + 50mm Summicron f2. Available light and handheld but have no record of the camera settings. Kodak T400CN film which I had processed locally to avoid problems with x-ray machines at the airport on the way back (those were the days!) One basic error in the photo, that is my Billingham bag in the background (oops!) Gerry
  7. Could anybody comment on possible causes/ remedies for what I see on all films from a newly acquired 1932 II (D)? The film is exposed into the lower (in camera upper) sprocket holes and the image is slightly misrotated. This happened on all films so far. I cut all film leaders with my template as usual. I did not encounter any problems while loading. I did exactly according to the old Leica instructions (as I always do with my other LTMs). Any suggestions? Thanks! Mathias
  8. interesting article https://www.thedrive.com/the-war-zone/beale-air-force-base-finally-says-goodbye-to-film-for-its-u-2-spy-planes https://www.af.mil/News/Article-Display/Article/138474/sensor-shop-ensures-successful-u-2-missions/ “Each roll of OBC film is 5 inches wide and 10,500 feet long with each frame of imagery measuring more than 6 feet long... With an entire roll of film, the camera can take about 1,600 frames in one mission. Each frame covers roughly 110 square nautical miles in a panoramic horizon-to-horizon format. Basically, a roll of film can shoot an area the size of Colorado... When the OBC was on the SR-71 it took a frame about every 1.7 seconds, but for the U-2 it was slowed down to one frame every 6.8 seconds... This had to be done because the difference in the cruising speeds of the aircraft could cause the imagery to blur if the timing and speed of the camera was wrong." "The OBC could return into service as needed and will remain available when called upon. As of now, no perfect digital replacement has been developed. Digital imaging technology doesn't quite match the resolving power of the OBC."
  9. Clook

    Watching You!

    Leica IIIc, Fomapan 200.
  10. This is from the latest roll of film received back from the processors today. Taken on the Leica M7 with the 35mm Summarit f2.5 using Ilford 400 Delta film. Gerry
  11. Taken at this years Mela Festival in Southampton using a Leica M7 with 35mm Summarit f2.5 and Ilford 400 Delta film. Gerry
  12. 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.
  13. 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?
  14. Leica M7, Summilux 50/1.4 pre-asph, Ilford HP5+
  15. It's not a done deal just yet, but this is good news. I usually shoot Tri-X as an all-around B&W emulsion, but lately I have been thinking of picking up a fine grained higher contrast ISO emulsion for landscapes and some travel work. If Fuji actually does resurrect Acros, it would be a truly outstanding turn of events.
  16. I'm selling my 21mm Super Angulon f/4 M mount in favor of something a little more "practical". While in Cuba earlier this year, I found myself using the Zeiss 28mm f/2.8 on my Contax G2 quite a bit but for my next few trips, I'll bring only a couple of M bodies (M7 & Typ 246). I really love the results that I got out of my Zeiss and am wondering if I should go with another Zeiss (25mm f/2.8 or 28mm f/2.8) OR a new-ish 28mm Elmarit ASPH. So my two questions are "is the Elmarit ASPH quality worth more than double the price of a used Zeiss 25mm or 28mm?" and "In order to keep my work consistent, should I just stick with the Zeiss 28mm f/2.8 for the way it renders colors?" Examples of my work in Cuba with the 28mm f/2.8 on the Contax G2 below. Both photos with Portra 400.
  17. First sample is at 1/125 ss. Notice the white stripe near the right edge. It looks pretty much the same at 1/250 and 1/500, however, at 1/60 it's gone. I haven't seen the results at 1/60, but that's what I've been told. Last sample is at 1/1000 and things are much worse there. I am going to make more tests, but what do you think it can be? Shutter? A body was stored without lens attached to it and without front cap covering the mount, so shutter was basically uncovered. However, I couldn't find any obvious signs of damage on shutter. And if it's a shutter problem, repair would probably cost more then a camera itself, right?
  18. Last week I visited London with my son. I brought my M4-P and some rolls of film with me and want to share some of the pictures I made in this thread. We had a really great time in a sunny London and managed to see a lot of this town. My last visit dates back to the mid 90's and I have to admit, that my memories to this last visit where not the best. Back then we had the typical London weather with the occasional rain, and as I was much younger in those days, my wallet was a lot thinner than nowadays Although you will only see my touristic view on London in this thread, any feedback is strongly appreciated. Let's start with some street art from the East End. While we where walking on the tracks of Jack the Ripper and searched for some of the locations of his crimes in this area, we where excited about the many pieces of street art all over the place: M4-P - Summicron 35 - Agfa CT 100 Precisa (slide film)
  19. I started using a Leica M3 a few days ago. After loading the film, the rewind lever pushes the film forward; however, the rewind knob (to the left) does not rotate. It starts rotating after about 5 exposures, and then the lever becomes really stiff. Any idea what the problem might be?
  20. 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.
  21. gwpics

    Kodachrome

    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
  22. Leica M7 + 35mm Summarit f2.5. Fuji Neopan 400CN. Southampton, England 2016 Gerry
  23. 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.
  24. Taken on the streets of Southampton last week using a Leica M7 with 35mm Summarit f2.5 and Fuji Neopan 400CN. Gerry
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