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Thanks, Gary.  There is more one can squeeze out of this scene.  Imagine in the dead of winter after a strong snow blizzard the ice formations that will be floating in this water.  Add to that a little red/orange fog from the sunrise shining on the skyline.   That would be really cool....

Perfect, and nice boulders too.

Gary

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Here is one of my favorite compositions in all of Manhattan.  I have shot at this location many times before, but living here affords me the opportunity to keep returning to the place and trying different angles and perspectives.  I think I have now found me exact ideal spot that makes be giddy.  Now I just need some SKYFIRE under these clouds  :p   I shall keep hitting it!!

 

Uneventful sunrise

SWC/M, Ektar 

attachicon.gifbroklyn beach-1.jpg

 

Fantastic!!! This is really a very nice photo, I am totally impressed ... You make a great job, Adam.

 

Chapeau!

 

Regards

Gregor

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Another from my first roll of Fomapan 100 - could get to quite like this film...  Hasselblad 500C, Zeiss Planar 80mm, Rodinal

 

Reflections

 

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Thanks, Gentlemen.  Really appreciate it!

Fantastic!!! This is really a very nice photo, I am totally impressed ... You make a great job, Adam.

 

Chapeau!

 

Regards

Gregor

 

 

Adam and Keith,

Outstanding photographs. Really stunning. Thank you.

Cheers

J :)

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Another from my first roll of Fomapan 100 - could get to quite like this film...  Hasselblad 500C, Zeiss Planar 80mm, Rodinal

 

Reflections

 

really nice one, Keith.  How would you describe how the Fomo 100 renders relative go other B&W films?

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really nice one, Keith.  How would you describe how the Fomo 100 renders relative go other B&W films?

Much too early to make any definitive judgement as I have only shot one roll (120), all twelve frames taken within a short space of time in unchanging conditions.  My purpose in trying Foma 100 was to see if it was an acceptable alternative to Acros 100, should that become hard to obtain.  I'll be better placed to make a decision after I have used the other four rolls from the box of five (currently in the freezer). 

 

Initial reaction?  I have a suspicion that the tonal gradation of Acros is smoother and grain finer - but I would have to make two large prints of similar subjects and make a side-by-side detailed comparison before really drawing any conclusions. Below for a quick comparison is a 6x6cm Acros 100  of a not too dissimilar subject (water, trees, sky).

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A good comparison Keith, and one I am watching intently. I keep flip-flopping from film stock to film stock, right now I have Delta 100, T-Max 100/400, Fomapan 100/200/400, and Tri-X. All in use, all in storage, but to be fair not a huge quantity of anything.

 

I'm wanting to settle out a bit, and just use one emulsion if I can, and from the Europe trip last year where I used Delta 100 and T-Max 1oo, those are my preferences so far.

 

Always in R09, same reason as you.

 

Yet to try Acros, although the X-Pro2 simulation looks OK. An aside though, Acros is about 2-3x the price of Fomapan here, not sure about where you are.

Gary

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Hello All, and a *big* hello to Henry!

 

The colour photos are included to shock Henry who knows I'm a b+w photographer. The honest truth is that I ran out of film during our big family trip to Australia, so had to "make do" with the Fujifilm Xperia that I could find.

 

The last two are with Ilford Delta 100; which I'm rapidly running down, as I've pretty much switched to the lovely, slightly grainy HP5 Plus.

 

Oh, and all taken with my Contax T2... I also took along my Rolleiflex, and I'll be back soon with some of the results.

 

Stunning country, stunning landscapes, wonderful people.

 

Ric Capucho

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Shoppers at Queen Victoria Building, Sydney.

Leica M6, 35mm Lux, Kodak Ektar 100

 

Comments welcome.

 

Ramesh

 

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Ah, the "FogMeister" is back, welcome back Ric.

Gary

Indeed I am... and be warned, it's been *very* foggy over the last couple of weeks.

 

Managed to arrive at work a couple of hours late, earlier this week. Couldn't help myself.

 

Henry understands me. :-)

 

Ric

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0353fc1dae4a1ed10f09b6d31d07ab03.jpg

 

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And a few more from earlier this year, taken with the Rollei 35S (the last great Rollei!) and all with HP5+. I love this camera because it's fully manual, and basically does exactly what it's told to do.

 

I have quite a few pictures of that tree. Reminds me of Edvard Munch's The Scream.

 

I included a foggy picture so as not to disappoint Gary.

 

Not sure what was happening with the girls on the last picture. Something complicated, I'm sure.

 

Ric Capucho

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9cc914e9a1d0538252589cd761dad2ee.jpg

 

 

4035f685fa9ed5bd96831f34e687ca25.jpg

 

 

 

 

 

 

 

Hello All, and a *big* hello to Henry!

 

The colour photos are included to shock Henry who knows I'm a b+w photographer. The honest truth is that I ran out of film during our big family trip to Australia, so had to "make do" with the Fujifilm Xperia that I could find.

 

The last two are with Ilford Delta 100; which I'm rapidly running down, as I've pretty much switched to the lovely, slightly grainy HP5 Plus.

 

Oh, and all taken with my Contax T2... I also took along my Rolleiflex, and I'll be back soon with some of the results.

 

Stunning country, stunning landscapes, wonderful people.

 

Ric Capucho

Welcome back, Ric.  "make do" in this case resulted in lovely pastel colours - very pleasing.

 

Oh, & the b&w ain't too bad either  ;)

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I'm really not seeking an argument, particularly one based on the sophistry of an "uncorrected" file from a digital camera, when it is common knowledge that shooting into the light an M9 (and presumably an M8) has huge scope for lifting the shadows — indeed that is how one shoots with an M9 in this situation: that is not a problem it's an advantage.

 

 

Mitch, I wasn't going to get involved in this discussion because there's usually nothing to be gained from doing so but I've will chime in this time (belatedly). First off, I ought to state that I'm often a little uncomfortable with some of Henry's digital 'put-downs', especially when they veer off into hifi or other non-photographic territory :D but I think Henry has a point about the different way that the film and digital mediums are able to handle a strong light source in the frame. I shoot a lot towards the light, and often choose to include the sun in or around the frame and I have no doubts whatsoever that negative film (less so transparency) handles the gradations of light around such a strong source of light more gracefully than does any digital sensor I've used (which includes some good ones). I don't care how many stops you underexpose the scene (and later recover the shadows), the sun will still end up like a bullet hole through the paper – it's just the way it is. Of course, there are plenty of things that a digital sensor can do better than a piece of film but IMO the 'sun in the frame' scenario isn't usually one of them.

 

As a more general response, I wish members would try and resist rising to Henry's periodic (mildly) provocative statements about digital and film (or, with Henry, analogue more generally). For one thing, he is only expressing an opinion. For another, he started this thread with the title "I like film" so it shouldn't be a surprise that the thread is an expression of Henry's enthusiasm for the medium.

 

I will not talk any more but I will not post more photos , either if you are shocking.

Long live to this film thread. 

 

 

Maybe I have misread this point but I hope Henry isn't suggesting that he will no longer post in this thread?

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