I like film...(open thread)

[A miller]

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A 470 Bridge neat Betws y Coed.

No post processing.

I agree with the point that SEFEX shouldn't really be used for film.  Different film stocks shoud be used, if you know what I mean.  Having said this, you are the artist and it is all about rendering according to your vision and you should really be free to use whatever is at your disposal.  I just think that it is unnecessary.

In this case, I like the second but would work on taming the highlights. 

Edited February 3, 2016 by A miller

[gsgary]

Gary, you may want to have a look at Peter Loy's site. He has both 35 and 50 Summicron in stock, for within your budget.

 

 

Cheers I'll have a look but my wife has found how much I have got for my tax rebate so it could all go on something else [emoji23]

[gsgary]

All my old stamping grounds on foot and on my bike. Born & bred in Marple just up the road from Stockport. Left the area a loooong time ago though!

I left when I was 13 mum and dad took us to St Ives Cornwall and the ex wife got me to move to Chesterfield

[gsgary]

Once described as "The enemy within" ex miners watch the parade at Durham Miners Gala Durham UK.

 

Leica M6 with 35mm Summicron lens Kodal TRI-X D76 1+1

Have you heard of Dennis Thorpe ? Theses are as good as his

[gsgary]

Durham Miners Gala Durham UK. Ex Pit Deputy from Clipstone Colliery, Nottingham, watches as the parade passes by:

 

 

Leica M6 with 90mmm Summicron lens Kodak TRI-X D76 1+1

This and the miners shot are fantastic just the sort of shots I love

[gsgary]

A 470 Bridge neat Betws y Coed.

No post processing.

I like both, don't forget when we are printing we use different filters we dodge, burn, split grade print, after my scanning I might just add a curves adjustment add slight sharpening Edited February 3, 2016 by gsgary

[dgc]

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I agree with the point that SEFEX shouldn't really be used for film.  Different film stocks shoud be used, if you know what I mean.  Having said this, you are the artist and it is all about rendering according to your vision and you should really be free to use whatever is at your disposal.  I just think that it is unnecessary.

In this case, I like the second but would work on taming the highlights. 

 

I should have mentioned that these are examples are, to some degree, extreme and not what I would consider a finished piece of work. The Silver Efex version is over processed but not to the extent that it has that glow. I don't mind it. 

You and Keith make interesting points as I was unaware that SEFEX was considered unsuitable for film (but as you say this is up to the artist). 

Thanks for your time.

[gsgary]

I should have mentioned that these are examples are, to some degree, extreme and not what I would consider a finished piece of work. The Silver Efex version is over processed but not to the extent that it has that glow. I don't mind it.

You and Keith make interesting points as I was unaware that SEFEX was considered unsuitable for film (but as you say this is up to the artist).

Thanks for your time.

If you like them it's doesn't mater what other people think unless you are trying to sell them

[A miller]

David - to be clear, the "unsuitability" point is not a technical one but merely a personal opinion. If you can use sefex to make your images sing, all the power to you!

[dgc]

I like both, don't forget when we are printing we use different filters we dodge, burn, split grade print, after my scanning I might just add a curves adjustment add slight sharpening

Exactly, this was my point. LR, PS etc is only a digital progression of the darkroom.

I do feel that scanned images (clearly including dng/ raw etc images) can be over processed (I hold my hands up) and it is difficult to control those sliders when they are at your fingertips.

[dgc]

If you like them it's doesn't mater what other people think unless you are trying to sell them

I hear what you say, but deep down we want everyone to love our photos !

[gsgary]

I hear what you say, but deep down we want everyone to love our photos !

I hardly do anything to my negs they are so good [emoji3] [emoji3] [emoji3] [emoji3] [emoji3] [emoji3] [emoji3]

[gsgary]

If you believe that you'll believe anything

[gsgary]

Hi Gary - thank you for your comments. Dennis Thorpe was the Guardian photographer and based in Manchester. He was a Leica user and shot most of his pictures on a M3 with 35mm Summilux lens - the old pre FLE Canadian one. If you ever see it, he did a famous pic for the Clapham Cave Rescue group as a charity gift, of a steam train going over Ribblehead Viaduct in N Yorks - this was on his M3 and 35 mm Summilux. I have this pic as a poster in my darkroom and it's always good for inspiration.

 

If you like B&W photojournalism then have a look at the work of Jane Bown. She was the Observer photographer and although she lived in Hampshire used to travel around the UK a lot on assignments. Originally she used a Rolleiflex but around 1970 she changed to 35mm originally with a Pentax and finally Olympus OM. The thing with her was that she used minimum equipment and took along a angle-poise lamp with her for lighting. I once went to photograph an author and as you do, we got talking. He said "The last time I was photographed it was by a little old lady who came on the bus and carried all her equipment in a shopping bag" I said I know who that was and sure enough it was Jane Bown who had snapped him for The Observer. She almost always worked in B&W and with just one camera and 50mm lens - 60th sec at F8 was her mantra and always developed the TRI-X in D76 developer that was going slightly off with a brown tinge as she believed that it lowered the contrast and gave better tones. I have just bought her book called "A lifetime of looking" and it charts her life from starting out to her very last picture of her grandchildren. I also have a DVD that was made about her called "Looking for Light".

 

Sad news today that The Guardian is in financial dire straits - it's a great paper and I would hate it to go under. Remember the heady days when the Independent first started and used brilliant B&W photography on the front page, especially on the Saturday edition.

 

If you like that sort of thing again, have a look at the work of Herbie Knott who was on the Indy staff right from the word go. His book is called simply "Black and White"

I already have all Jane Brown and Dennis Thorpe's books, the shot of the sheep by Jane Brown is great

[gsgary]

Hi Gary - thank you for your comments. Dennis Thorpe was the Guardian photographer and based in Manchester. He was a Leica user and shot most of his pictures on a M3 with 35mm Summilux lens - the old pre FLE Canadian one. If you ever see it, he did a famous pic for the Clapham Cave Rescue group as a charity gift, of a steam train going over Ribblehead Viaduct in N Yorks - this was on his M3 and 35 mm Summilux. I have this pic as a poster in my darkroom and it's always good for inspiration.

 

If you like B&W photojournalism then have a look at the work of Jane Bown. She was the Observer photographer and although she lived in Hampshire used to travel around the UK a lot on assignments. Originally she used a Rolleiflex but around 1970 she changed to 35mm originally with a Pentax and finally Olympus OM. The thing with her was that she used minimum equipment and took along a angle-poise lamp with her for lighting. I once went to photograph an author and as you do, we got talking. He said "The last time I was photographed it was by a little old lady who came on the bus and carried all her equipment in a shopping bag" I said I know who that was and sure enough it was Jane Bown who had snapped him for The Observer. She almost always worked in B&W and with just one camera and 50mm lens - 60th sec at F8 was her mantra and always developed the TRI-X in D76 developer that was going slightly off with a brown tinge as she believed that it lowered the contrast and gave better tones. I have just bought her book called "A lifetime of looking" and it charts her life from starting out to her very last picture of her grandchildren. I also have a DVD that was made about her called "Looking for Light".

 

Sad news today that The Guardian is in financial dire straits - it's a great paper and I would hate it to go under. Remember the heady days when the Independent first started and used brilliant B&W photography on the front page, especially on the Saturday edition.

 

If you like that sort of thing again, have a look at the work of Herbie Knott who was on the Indy staff right from the word go. His book is called simply "Black and White"

Dennis Thorpe came to our club, first thing he did was hold up his M3 and 35mm and said this is all I have ever used and needed

I have another great book called "The Young Mavericks"

Edited February 3, 2016 by gsgary

[Doc Henry]

A 470 Bridge neat Betws y Coed.

No post processing.

David I prefer the unprocessed  

Sometimes the accentuation gives a picture with too much contrast

I think it's not  when you have taken this bridge

As we say here , SE must be used "sparingly"

I noticed that each brand of film has its particularity, if you do not like

you change and you take another film

Thanks for sharing and asking our choice

Best

Henry

Edited February 3, 2016 by Doc Henry

[Keith (M)]

 

 

Remember the heady days when the Independent first started and used brilliant B&W photography on the front page, especially on the Saturday edition.

 

 

Indeed I do - I switched allegiance to the Independent purely for its photography, particularly the Saturday magazine.  A shame when it changed hands later.

[Doc Henry]

Durham Miners Gala   Durham UK.  Ex Pit Deputy from Clipstone Colliery, Nottingham, watches as the parade passes by:

 

 

Leica M6     with 90mmm Summicron lens   Kodak TRI-X     D76   1+1

 

Once described as "The enemy within" ex miners watch the parade at Durham Miners Gala Durham UK.

 

Leica M6  with 35mm Summicron lens      Kodal TRI-X     D76 1+1

These two portraits are wonderful Paul

Really nice

Best

Henry

[Doc Henry]

Henry, I prefer the composition of the second image, which I would score more than the colour, detail etc. providing they are not detrimental to the image. The second image is warmer in colour and sharper.

David , the second image comes from film Ektar 100 and M7 (+35LA)

as I have said above , it is closest to reality.

The other comes from the M8 (+35 LA) , Adam likes the first but the

stone is too light.

If I have to keep a digital camera,  it will be the M8 which is closest

to the color of the film level, but unfortunately it is digital with a bit

"flat" side of images.

Thanks

Best

Henry

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Hallo,

Look here: Interesting Leica gear

[gsgary]

Hi Gary - thank you for your comments. Dennis Thorpe was the Guardian photographer and based in Manchester. He was a Leica user and shot most of his pictures on a M3 with 35mm Summilux lens - the old pre FLE Canadian one. If you ever see it, he did a famous pic for the Clapham Cave  Rescue  group as a charity gift, of a steam train going over Ribblehead Viaduct in N Yorks - this was on his M3 and 35 mm Summilux. I have this pic as a poster in my darkroom and it's always good for inspiration.

 

If you like B&W photojournalism then have a look at the work of Jane Bown. She was the Observer photographer and although she lived in Hampshire used to travel around the UK a lot on assignments. Originally she used a Rolleiflex but around 1970 she changed to 35mm originally with a Pentax and finally Olympus OM. The thing with her was that she used minimum equipment and took along a angle-poise lamp with her for lighting. I once went to photograph an author and as you do, we got talking. He said  "The last time I was photographed it was by a little old lady who came on the bus and carried all her equipment in a shopping bag" I said I know who that was and sure enough it was Jane Bown who had snapped him for The Observer. She almost always worked in B&W and with just one camera and 50mm lens - 60th sec at F8 was her mantra and always developed the TRI-X in D76 developer that was going slightly off with a brown tinge as she believed that it lowered the contrast and gave better tones. I have just bought her book called "A lifetime of looking" and it charts her life from starting out to her very last picture of her grandchildren. I also have a DVD that was made about her called "Looking for Light".

 

Sad news today that The Guardian is in financial dire straits - it's a great paper and I would hate it to go under. Remember the heady days when the Independent first started and used brilliant B&W photography on the front page, especially on the Saturday edition.

 

If you like that sort of thing again, have a look at the work of Herbie Knott who was on the Indy staff right from the word go. His book is called simply "Black and White"

 

I'm sorry Paul that book i have is not The Young Maverick's it is "Young Meteors" Philip Jone's Griffiyths was one of them the others are John Bulmer,Don Mc Cullin,  Nigel Henderson, Roger Mayne, John Deakin, Robert Freeman, Tony Armstrong-jones, just to name a few