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Forgive these digital photos in this thread, but I wanted to share my new toy. The auction was won on Friday evening and it's already here!!  :D

 

It came with a Soligor spot meter (in a leather case) as well as a leather case for the camera. I have not taken the camera out of the case yet (don't know how), but my initial thoughts art this camera has been well taken care of and is in fantastic shape. I tried clicking and cocking the shutter. Everything seemed smooth. I got this for a really great price. I'm ecstatic!

 

rolleiflex-1.jpg

 

 

 

rolleiflex-3.jpg

 

 

 

rolleiflex-4.jpg

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Simply register for free here – We are always happy to welcome new members!

 

m4-2 summaron 3,5/35 ektachrome?

 

Rgds

Joachim

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Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

 

M4-2 summaron 3,5/35

 

Rgds

Joachim

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Forgive these digital photos in this thread, but I wanted to share my new toy. The auction was won on Friday evening and it's already here!!  :D

 

It came with a Soligor spot meter (in a leather case) as well as a leather case for the camera. I have not taken the camera out of the case yet (don't know how), but my initial thoughts art this camera has been well taken care of and is in fantastic shape. I tried clicking and cocking the shutter. Everything seemed smooth. I got this for a really great price. I'm ecstatic!

 

rolleiflex-1.jpg

 

 

 

rolleiflex-3.jpg

 

 

 

rolleiflex-4.jpg

 

Great camera! If you want to put the case down you have to pull the two metal clamps on top (front open) nearby the leather straps. Then you can bend the case to the left and to the right and pull the camera out.

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I shot my first roll of Cinestill 50D a few weeks ago and scanned it yesterday. I rated it at 50. The roll was an on the spur of the moment purchase at Brunos Bildverkstad in the Old Town (worth a visit if you're a film photographer visiting Stockholm).

 

There's a lot to like about this film. It is very fine-grained and seems to give quite OK colours without too much trouble even in non-daylight lighting such as indoors. I scanned linear RAW in Vuescan to 'develop' the scans in ColorPerfect. Then I opened the files in Camera Raw for final colour corrections (as always based on my recollection of the scene and what looks 'good' on the screen), plus adjustments of blacks, whites, highlights etc.

 

Before Camera Raw, however, I spotted the scans in Photoshop. And this surprised me a bit.

 

It seems the film base is quite sensitive as I found lots of small scratches on it. Since they were all completely straight and running along the length of the film I guess they are either from when Cinestill loads the film into the cannisters or from the lab.

 

On perhaps five frames I also saw weird bright red and irregularly shaped 'burn' spots. There was also quite a lot of black 'dirt' spots and white dust spots. Along one edge on several frames I also noticed large faint brownish streaks which are pretty much impossible to clone away.

 

Now dust is common and something I accept as part of film photography, but what surprised me was that there appeared to be a lot more than I am used to seeing on C41 films. So I am wondering if the film base isn't actually a bit antistatic and attracts dust more than many other films do.

 

The black spots, together with the weird red spots and the brown streaks, are concerning. I am wondering if they do not originate in Cinestill's process to remove the remjet layer which may occasionally leave residue that then somehow reacts in the C41 chemicals. All my own armchair wonderings, of course. 

 

All the above taken together, though, makes me doubt whether I'll shoot this film regularly. It's not that the dust, scratch and dirt spotting takes an inordinate amount of time; it's about quality control and expectations/surprises. And for fine grain there are other options out there.

 

Anyway, enough words. The below is from an early January morning in central Stockholm. The fun fair in the background is Gröna Lund.

 

31804963333_8f3801e9ee_b.jpg

Flickr

TTL Summitar

Edited by philipus
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I shot my first roll of Cinestill 50D a few weeks ago and scanned it yesterday. I rated it at 50. The roll was an on the spur of the moment purchase at Brunos Bildverkstad in the Old Town (worth a visit if you're a film photographer visiting Stockholm).

 

There's a lot to like about this film. It is very fine-grained and seems to give quite OK colours without too much trouble even in non-daylight lighting such as indoors. I scanned linear RAW in Vuescan to 'develop' the scans in ColorPerfect. Then I opened the files in Camera Raw for final colour corrections (as always based on my recollection of the scene and what looks 'good' on the screen), plus adjustments of blacks, whites, highlights etc.

 

Before Camera Raw, however, I spotted the scans in Photoshop. And this surprised me a bit.

 

It seems the film base is quite sensitive as I found lots of small scratches on it. Since they were all completely straight and running along the length of the film I guess they are either from when Cinestill loads the film into the cannisters or from the lab.

 

On perhaps five frames I also saw weird bright red and irregularly shaped 'burn' spots. There was also quite a lot of black 'dirt' spots and white dust spots. Along one edge on several frames I also noticed large faint brownish streaks which are pretty much impossible to clone away.

 

Now dust is common and something I accept as part of film photography, but what surprised me was that there appeared to be a lot more than I am used to seeing on C41 films. So I am wondering if the film base isn't actually a bit antistatic and attracts dust more than many other films do.

 

The black spots, together with the weird red spots and the brown streaks, are concerning. I am wondering if they do not originate in Cinestill's process to remove the remjet layer which may occasionally leave residue that then somehow reacts in the C41 chemicals. All my own armchair wonderings, of course. 

 

All the above taken together, though, makes me doubt whether I'll shoot this film regularly. It's not that the dust, scratch and dirt spotting takes an inordinate amount of time; it's about quality control and expectations/surprises. And for fine grain there are other options out there.

 

Anyway, enough words. The below is from an early January morning in central Stockholm. The fun fair in the background is Gröna Lund.

 

31804963333_8f3801e9ee_b.jpg

Flickr

TTL Summitar

I shot my first roll of Cinestill 50D a few weeks ago and scanned it yesterday. I rated it at 50. The roll was an on the spur of the moment purchase at Brunos Bildverkstad in the Old Town (worth a visit if you're a film photographer visiting Stockholm).

 

There's a lot to like about this film. It is very fine-grained and seems to give quite OK colours without too much trouble even in non-daylight lighting such as indoors. I scanned linear RAW in Vuescan to 'develop' the scans in ColorPerfect. Then I opened the files in Camera Raw for final colour corrections (as always based on my recollection of the scene and what looks 'good' on the screen), plus adjustments of blacks, whites, highlights etc.

 

Before Camera Raw, however, I spotted the scans in Photoshop. And this surprised me a bit.

 

It seems the film base is quite sensitive as I found lots of small scratches on it. Since they were all completely straight and running along the length of the film I guess they are either from when Cinestill loads the film into the cannisters or from the lab.

 

On perhaps five frames I also saw weird bright red and irregularly shaped 'burn' spots. There was also quite a lot of black 'dirt' spots and white dust spots. Along one edge on several frames I also noticed large faint brownish streaks which are pretty much impossible to clone away.

 

Now dust is common and something I accept as part of film photography, but what surprised me was that there appeared to be a lot more than I am used to seeing on C41 films. So I am wondering if the film base isn't actually a bit antistatic and attracts dust more than many other films do.

 

The black spots, together with the weird red spots and the brown streaks, are concerning. I am wondering if they do not originate in Cinestill's process to remove the remjet layer which may occasionally leave residue that then somehow reacts in the C41 chemicals. All my own armchair wonderings, of course. 

 

All the above taken together, though, makes me doubt whether I'll shoot this film regularly. It's not that the dust, scratch and dirt spotting takes an inordinate amount of time; it's about quality control and expectations/surprises. And for fine grain there are other options out there.

 

Anyway, enough words. The below is from an early January morning in central Stockholm. The fun fair in the background is Gröna Lund.

 

31804963333_8f3801e9ee_b.jpg

Flickr

TTL Summitar

"Good morning," Philip. And welcome to the discussion. It could be worse, much worse :(
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OMG it is soooo depressing in London! I cant see down the block!

More sunshine from Tel Aviv is in order :)

M7, 50mm lux asph, Portra 160

Welcome, dear visitor! As registered member you'd see an image here…

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