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The wall carpet; Ektachrome 100.

 

Paul

 

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The red of Kodachrome :)

 

 

R8-35-70 Vario Elmar Macro

Uncorrected

 

 

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Henry

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I don't remember the striped pattern on the film cartridge. What era is this one, Henry?

 

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Ian 2009 I think  :)

Henry

 

 

Kodachrome 64-R8-VE 35-70 in Macro

 

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Henry

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Wayne bad light condition that day , but film well reproduced this time

Thanks

Henry

We are in the middle of a Winter monsoon season here, in Indiana. I have yet to be able to shoot this camera at aperture smaller than 5.6. I am pleased with the color rendering: that is exactly what it looks like. I think the French lens is going to be one of those where sharpness takes a back seat to other things. I am pretty excited about this camera find: its weight is about half that my other 6x9- Zeiss Super Ikonta C. They will make for a pleasant team to have on the shelf.

 

Thanks for the comment.

 

Wayne

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We are in the middle of a Winter monsoon season here, in Indiana. I have yet to be able to shoot this camera at aperture smaller than 5.6. I am pleased with the color rendering: that is exactly what it looks like. I think the French lens is going to be one of those where sharpness takes a back seat to other things. I am pretty excited about this camera find: its weight is about half that my other 6x9- Zeiss Super Ikonta C. They will make for a pleasant team to have on the shelf.

 

Thanks for the comment.

 

Wayne

 

Yes Wayne , I see you use Angenieux lens . It's a very good lens They did also a zoom mounted on Leica cam.

Henry

Edited by Doc Henry
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Kodachrome 64 continuation :)

red again

 

R4S-50 Summicron

no correction

 

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H

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another color with a soft green and color bokeh .

All pictures Kodachrome are uncorrected :)

 

 

R8-35-70 Vario Elmar macro

 

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Henry

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more red

 

 

Fréjus pagoda (South France)

 

Kodachrome 64-R4S-50 Summicron

 

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H

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Ian - I am not seeing anything really all that special here.  The rendition of the direct sunlight is nothing more than a blob of light.   The kind of unique flare that I would normally associate with this lens is illustrated with this photo, which is a totally throw away piece of junk, but it came up quickly in my pile and thought it was good for illustrative purposes, as I have not done any editing to it (b/c it aint worth my time)... But it shows the raw signature that the flare imprints on the negative that can be played around with and used as a strength in a photo rather than the usual weakness...

 

More lens testing with the new 28 Summaron. Fiddly ergonomics aside, this is an impressive lens. Tempted (though not convinced) to buy one.

 

32319386905_e4a13e2fd0_b.jpg

 
 
 
31494523503_820ff8f51b_b.jpg

 

 

 

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The London Eye on Ektachrome film, 100 ASA.

 

Paul

 

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Ian 2009 I think  :)

Henry

 

That makes sense. I stopped buying slide film (including Kodachrome), I'm sad to say, around the time I bought the M8 in late 2006. :-(

 

Up until then, colour transparency was pretty much the only film I used and it is only since 'going back' to film in the last 5 years that I've used colour neg in any quantity.

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Ian - I am not seeing anything really all that special here.  The rendition of the direct sunlight is nothing more than a blob of light.   The kind of unique flare that I would normally associate with this lens is illustrated with this photo.

I think we are looking for quite different things in the way a lens handles flare. I'm more interested in the absence of blobs and other artefacts and about how much contrast and/or shadow detail is retained when shot directly into a strong light source.

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I think we are looking for quite different things in the way a lens handles flare. I'm more interested in the absence of blobs and other artefacts and about how much contrast and/or shadow detail is retained when shot directly into a strong light source.

 

But aren't there indeed blobs and shadow-detail-robbing vignetting in your examples...?

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Indifferent to beauty; Elite Chrome 100.

 

Paul

 

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But aren't there indeed blobs and shadow-detail-robbing vignetting in your examples...?

Vignetting yes, but nothing like the flare blobs and artefacts I would get using my ASPH 28 and 35 lenses. I shoot all the time towards the light and the lens I was testing has impressed me in this respect. I'm also impressed by the sharpness which is not what I was expecting.

 

The characteristic flare and other handling I'm more used to is like this example.

Edited by wattsy
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Vignetting yes, but nothing like the flare blobs and artefacts I would get using my ASPH 28 and 35 lenses. I shoot all the time towards the light and the lens I was testing has impressed me in this respect. I'm also impressed by the sharpness which is not what I was expecting.

 

The characteristic flare and other handling I'm more used to is like this example.

 

Fair enough; I would just say that I have never been unimpressed with your contra-jour photos, especially those with your daughter gracing them.

But make on mistake, this lens produces the same "artifact" when angled in the right (or wrong) way....

I just happen to like it and try to use it as a strength....

A recent example :)

Wall Street, IIIg, 28mm summaron, Portra 400

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Tourists' road in downtown market, Athens. Low-resolution scan from Kodak T-Max 400 on SWC.

 

Paul

 

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Yes a little blurry and great picture . You're right for Fuji Neopan 400

Not too much black , not too much grey ...a soft rendering

Welcome BAC to our thread and thanks for posting

Have you more ?

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Henry

 

Thank you Doc.  I will post more.

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Low resolution scan from Portra 400; Zeiss 80mm Planar on Hasselblad.

 

Paul

 

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