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okay ..... now that I am back to film, here are some shots with eastman xx pushed 1 stop to 400 .... shot with my M4 and 35mm summicron .... 

 

 

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oops .... here it is 

 

 

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and some Brooklyn Bridge pictures, this time Ilford Fp4 120 using my Fuji GA645, a purchase from a wonderful member of this forum, so I feel a responsibility to do good  . . . . . 

 

 

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and a couple more . . . . .

 

 

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and some Brooklyn Bridge pictures, this time Ilford Fp4 120 using my Fuji GA645, a purchase from a wonderful member of this forum, so I feel a responsibility to do good  . . . . . 

 

I like the first.  I may like the second as much but the side by side view is a bit distracting.  

You may want to add some spaces in between the insertion of each photo to give some headroom for better viewing

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oops posted one twice ..... here is the fourth

 

 

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I like the first.  I may like the second as much but the side by side view is a bit distracting.  

You may want to add some spaces in between the insertion of each photo to give some headroom for better viewing

 

never been good at that ..... anyway I like the first too, others I feel like I have taken them before ..

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This is an interesting observation.  I wonder what makes for a black and white photo to look right as a black and white photo?

 

The carrots picture shows a long and smooth spectrum of grays, whites and blacks. The picture was clearly intended to be sharp, and it is. To draw a parallel to a paper print, there are deep and rich blacks, and whites as clear as the paper will give. The shadows show loads of detail (look at the tops) and the shades of gray of the carrots themselves are just the right tones to represent what a light carrot actually looks like. The separation of middle tones is outstanding, and the image has a sense of grainlessness. It also has a sense of 3 dimensions and depth. I expect that a skillfully made paper print would be wonderful, mounted, matted and framed.

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The carrots picture shows a long and smooth spectrum of grays, whites and blacks. The picture was clearly intended to be sharp, and it is. To draw a parallel to a paper print, there are deep and rich blacks, and whites as clear as the paper will give. The shadows show loads of detail (look at the tops) and the shades of gray of the carrots themselves are just the right tones to represent what a light carrot actually looks like. The separation of middle tones is outstanding, and the image has a sense of grainlessness. It also has a sense of 3 dimensions and depth. I expect that a skillfully made paper print would be wonderful, mounted, matted and framed.

 

Thank you very much.  The image was printed with a Canon Pro-1 on Canson Baryta Photographique and in a frame with glass is virtually impossible to distinguish from a silver gelatin print.

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More great shots Eoin.  Really like those colours.

The image of the islands...is that a view across Lake Argyle? Or perhaps more probably, off the Kimberly coast?

 

I think Samba is a lovely, very practical yacht...did you have to handle any heavy weather during your yachting?  Because there aren't too many harbours to run to??

 

all best..

Hi, Dave.

 

The dry island is out on tidal flat in King Sound during a series of low tides.

 

Yes, Samba was at her very best in heavy weather. We dropped a mooring in at a little cove up there, where the reef formed 3/4 of a circle, and would dry out on a low tide, leaving the perfect mini-lagoon for Samba to drift around in. It was usually sheltered by the same cliffs that run up from the beach where we careened her, but one time a cyclone swung down and made straight for us from the East, leaving her exposed. My partner and I decided that, rather than watch her get pummeled and end up as firewood, we'd do the valiant (stupid) thing and head straight out to sea to try to find some deep water.

 

We ended up with it so wild out there that we were bare stick, and she was still getting knockdown after knockdown all through the night. We each burrowed into a quarter-berth, with all the pillows and sails we could stuff in there, and left it up to Neptune to sort out. Although everything loose got trashed, she felt eminently safe (casks of wine may have helped promote that concept). Despite the howling and banging, and more missiles than you could point a wobbly stick at, it felt like being embedded in a cork, albeit one with a rather wet inside (at least that's how I remember it). She would dip her mast, but didn't go much further than that.

 

The next day, the worst of it had past, but there was a massive swell feeding straight back towards our little sanctuary, so we held off for a second roly-poly night before making our way back in. There is something bewilderingly wonderful about the way the stupid can (at least sometimes) survive.

Edited by EoinC
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