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A shot from last Sept in Brantôme in the Perigord region of France.  Bright sunshine on the forecourt of the Abbey.  MP, 35mm Summaron f2.8, Portra 400.

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Also for Dirk  :)

I notice that Dirk prefer color with his M digit isn't ?

I post these 2 pictures to show him that color is also nice in film for cars :)

He must compare the 2 systems for the color just to see ....

 

Montléry circuit *

 

Kodak Ektar

MP-50 LA (picture 1)

Nikon Coolscan V

 

attachicon.gifImage1montlektavvlfht+++--2-950.jpg

 

and A-Cron 90 (picture2)

 

attachicon.gifImage2montlherykodaktalfhtfec++++2-950.jpg

 

Rg

H.

 

* https://en.wikipedia.org/wiki/Autodrome_de_Linas-Montlh%C3%A9ry

Very nice Henry!!

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Ari Asks a Question (Ari is a trained Sinologist, now working for the MLA in NY).  Caught him asking an erudite question while visiting at his cabin in the Catskills.   

 

M4, Elmar-M 50/2.8 wide open, Acros in Rodinal 1+100 (probably not the best combination but the rest of this roll was boring test shots for a new lens so I wanted something as painless as possible for processing and it's hard to beat stand dev for that).

 

 

27800144583_c3e3e9526f_b.jpg

Edited by KevinL
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Superia 400 with 35/2 v1

 

27814407264_e9067e8db8_b.jpg

 

 

 

Love that there's no outside details, no context other than the interior, here.  Whatever he is raptly looking at remains completely up to our imagination.  

Edited by KevinL
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A fantastic photo Steve. Makes me want to travel and experience this part of the world.

 

br

Philip

Thanks Philip, you really should. BTW areas were chock full of European tourists.

 

 

Sent from my iPhone using Tapatalk

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Hi Adam...would you mind elaborating on this point...I'm trying to understand a bit more when you'd choose Provia over Velvia....thx.  Looking forward to seeing Israel through the lens of your camera.

 

occasionally Provia 100 (for when I want slide film but the exposure or contrast is too much for the velvia 50). 

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M4-2, Elmar M 2.8/50, Superia 200

 

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Klaus...I really like the subtle grain in this shot; especially in the whites in the flower. 

Thanks! Rodinal is not a grainy developer in general, as claimed often. It should not be used above the 20°C and it is not the right developer for Tmax or Deltas. They turn way to grainy in Rodinal, in my opinion.

But with classic ISO 100 (about) BW-Films like APX, FP4, Rodinal works very well.

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Also for Dirk  :)

I notice that Dirk prefer color with his M digit isn't ?

I post these 2 pictures to show him that color is also nice in film for cars :)

He must compare the 2 systems for the color just to see ....

 

Montléry circuit *

 

Kodak Ektar

MP-50 LA (picture 1)

Nikon Coolscan V

 

attachicon.gifImage1montlektavvlfht+++--2-950.jpg

 

and A-Cron 90 (picture2)

 

attachicon.gifImage2montlherykodaktalfhtfec++++2-950.jpg

 

Rg

H.

 

* https://en.wikipedia.org/wiki/Autodrome_de_Linas-Montlh%C3%A9ry

Love it! But I'm a bit of a Lotus fan.

sorry these are *not* film pics:

 

LotusGarage5.jpg

 

LotusGarage6.jpg

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I think the development worked very well, Kevin. I don't know Rodinal but I have shot a bit of Acros and think this looks very good. Also nice to see a fellow M4 shooter :)
 

Ari Asks a Question (Ari is a trained Sinologist, now working for the MLA in NY).  Caught him asking an erudite question while visiting at his cabin in the Catskills.   
 
M4, Elmar-M 50/2.8 wide open, Acros in Rodinal 1+100 (probably not the best combination but the rest of this roll was boring test shots for a new lens so I wanted something as painless as possible for processing and it's hard to beat stand dev for that).
 
 
27800144583_c3e3e9526f_b.jpg

 

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Thank you very much, that's very kind Kevin. Leiter's been one of my favourite photographers for a long time. One can see that he trained as a painter because there's something very graphic about his photographs. Early Color is a fantastically inspiring book and also one that made me realise that I am not alone in shooting all sorts of apparently bizarre things, like odd little reflections or details. I believe he initially studied to become a rabbi but was encouraged to take up photography by W Eugene Smith. Funny how so much is connected. Smith also shot some amazing photos - walk to paradise garden is, to my mind, the most beautiful photograph ever shot. 

 

 

This reminds me very much of some of Saul Leiter's images.  Well done.

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I think the development worked very well, Kevin. I don't know Rodinal but I have shot a bit of Acros and think this looks very good. Also nice to see a fellow M4 shooter :)

 

 

M4 was my first Leica -- later joined by an M6.  Won't ever part with it, even though it's a workaday chrome that's "user" grade only.  Has the best shutter sound, just a little "snick" and the smoothest wind on ever.  I've been using my M6 more the last year or two, and when I finally went back to the M4 I realized just how much more refined all those details are on the earlier camera.  

 

 

Thank you very much, that's very kind Kevin. Leiter's been one of my favourite photographers for a long time. One can see that he trained as a painter because there's something very graphic about his photographs. Early Color is a fantastically inspiring book and also one that made me realise that I am not alone in shooting all sorts of apparently bizarre things, like odd little reflections or details. I believe he initially studied to become a rabbi but was encouraged to take up photography by W Eugene Smith. Funny how so much is connected. Smith also shot some amazing photos - walk to paradise garden is, to my mind, the most beautiful photograph ever shot. 

 

Leiter's painting background really shows, especially in his color work.   Some of those images I find startling for how he takes mundane details that pass completely unnoticed by my eyes at least and imbues them with magic and significance.  A good friend gave me a copy of Early Color when it was first released; as you say, it's "fantastically inspiring" even for me, an exclusive b/w shooter!  

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