I like film...(open thread)

[robert_parker]

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Autochrome. Technically not film. But, if you have not seen this, you simply must.

 

Henry, it features red as you may have never seen it.

 

http://mashable.com/2015/04/23/autochrome-photos-ogorman/#er2P1SoN.uqf

 

One of the best places in Paris to visit is the Musee Albert Kahn, just off the end of line 10 near the pont de St-Cloud; it houses his collection of Autochromes taken from around the world, including some superb shots of well known people of the time. 

 

One of the appeals of the autochrome technique, which was at the time based on potato starch on glass plates, was that the relatively long, but not too long, exposures avoided 'camera face' images, so that quite often the genuine character or emotion of the sitter came through.

 

Although it uses glass plates, personally I would count it as an early film technique

 

http://albertkahn.co.uk/

 

https://lesmuseesdeparis.com/2015/10/07/musee-albert-kahn/

 

http://albert-kahn.hauts-de-seine.fr/

Edited April 15, 2017 by robert_parker

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[AntonioF]

The Holy Week is pretty intese in my town. I experimented with a flash a little bit. Pilgrims do look scary!

 

 

Leica M6, SF20, Trix400 in HC-110

 

 

Sent from my iPhone using Tapatalk Pro

[gbealnz]

For your viewing pleasure, a few more IR film shots - Ilford SFX200 with 720 nm cutoff filter and Xtol development. I should add to my earlier post above that I used two 720 nm filters, one in larger 58 mm diameter size from Hoya for my CV 21/1.8 lens, and a cheap Chinese import one for my 39 mm 35/2 and 50/2 lenses. In the final photo I didn't see any difference in performance between them. Also good to know that all M lenses which I used worked in IR - no hotspots even at f/11, and I could use the same rangefinder focusing as in regular daylight (I was wondering why the M lenses didn't have a red focus mark which is used on many other lenses as focus shift correction in infrared).

Arrrgggghhh, you have me hankering for a bit more I/R film shooting.

 

I will buy some more SuperPan, what I liked about this was the factI could use it as I/R with the appropriate filter and exposure or course, but then swing to "normal" mid-roll or whenever the whim took me. I used it in the SWC, (and checked just now), with a 67mm 720Nm filter (most/all of my I/R filters for digital seemed to be 820+ for some reason).

 

Agreed, R/F cameras allow uninterrupted viewing. As an aside, I think some of the motorised wind SLR's used an I/R sensor to locate the film, and these were not compatible with I/R use? Could be wrong of course.

 

For focusing, with the SWC, I simply guessed, and then erred towards the f5.6 mark, but there is enough latitude with that camera to make I/R focusing a non-event.

 

Gary

[Martin B]

Arrrgggghhh, you have me hankering for a bit more I/R film shooting.

 

I will buy some more SuperPan, what I liked about this was the factI could use it as I/R with the appropriate filter and exposure or course, but then swing to "normal" mid-roll or whenever the whim took me. I used it in the SWC, (and checked just now), with a 67mm 720Nm filter (most/all of my I/R filters for digital seemed to be 820+ for some reason).

 

Agreed, R/F cameras allow uninterrupted viewing. As an aside, I think some of the motorised wind SLR's used an I/R sensor to locate the film, and these were not compatible with I/R use? Could be wrong of course.

 

For focusing, with the SWC, I simply guessed, and then erred towards the f5.6 mark, but there is enough latitude with that camera to make I/R focusing a non-event.

 

Gary

 

Yes, supposedly many Canon FD SLR cameras for example use this I/R sensor to locate the film and can't be used for IR photography for this reason. 

Edited April 15, 2017 by Martin B

[gsgary]

Walk up to the chapel, fuji GW690III, Foma 400

 

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Edited April 16, 2017 by gsgary

[gbealnz]

Not tried Fomapan 400, used quite a bit of 200 and 100, initially preferred the Fomapan 100, but am warming to the Fomapan 200.

What developer?

Gary

[christoph_d]

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Yes, supposedly many Canon FD SLR cameras for example use this I/R sensor to locate the film and can't be used for IR photography for this reason.

 

One Leica you have to be careful with when shooting IR film is the M7. To automatically read the DX coding it originally had build-in metal contacts at the place of the film cassette. Later these were replaced by an arrangement to read out the DX coding optically using LEDs. That second arrangement is not suitable for IR films.

 

Leica lenses commonly don't have an IR focus mark as the focus differences are changing with each IR wavelength (filter) used. I read somewhere that most lenses are adjusted to perform best at green. The optimal focus distance shifts when using a 720 (or 092) filter, and shifts even more when using a 820 (or 093) filter. When contacting Leica a few years back they advised that, as starting point for experiments one could use the focal length times 300 to focus at infinity. For example, for a 50mm lens the approximate point to focus an IR image at infinity would be 50mm x 300 = 15 m.

 

I do not know if the APO lenses are also corrected for IR wavelength. If so, then, obviously, the focus would not need to be adjusted for IR photography.

 

My biggest regret is that most fims offered for IR photography are only sensitive in the very near IR spectrum up to 750 nm. But I agree with Gary that films such as Rollei Superpan are nice as they can be used for dual-purposees, particularly for landscape photography.

 

Looking forward to more of your IR work appearing here,

 

Rgds

 

Christoph

[stray cat]

Hello Wayne,

 

Thank you for the interesting Autochromes.

 

I have been looking at them & I have a few questions & Given: That this is a Section of this Forum that deals with Film Photography: I would think that here, & with this group of people is, the proper place to ask them.

 

First, A little background: Among other things: Where I work we also do Fine Arts Restoration & Authentication: Paintings, porcelain & such.

 

NOT: Photographs.

 

But, I have seen some Old Photographs. Including Autochromes.

 

When I look at these very nicely done photos: I see appropriate Period Costumes, Settings & so on. But something doesn't "ring" as quite correct.

 

It appears to me that these are photos done at a later date AFTER THE STYLE of the Autochromes of the Period. 

 

What do others here on this Thread think?

 

Best Regards,

 

Michael

 

That's an interesting point, Michael, and I must admit that I myself was impressed by how they looked as if they were taken yesterday.

 

Yet the exhibition is being shown at the Media Museum in Bradford, UK, and I feel pretty sure they'd have done their homework. Also, I prefer to believe what people tell me, and I accept on face value that these are genuine Autochromes of the period.

 

Having said that, they have been reproduced digitally for promotion/display on the internet, and perhaps some things were done to saturate the colours or increase contrast or whatever. I have no problem with that either, because whichever way you look at it they are beautiful photographs.

[philipus]

Flickr

Ektar 100

[gbealnz]

OK, enough colour, back to mono monotony.

SWC
FP4+

R09

Epson 4870

Gary

 

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[christoph_d]

I do not know.

 

One overriding aspect of the set, at least in my mind, that gives credibility to the story is that the sense of an adoring father attempting, and succeeding, in creating beautiful images of his beloved daughter simply oozes out of the images.......Even today.  I am a father. although they are older now, I remember the level of  adoration I had for my daughters when they were about this age.  I still adore them, but this was a magic age. I sensed that they were not my little girls any longer. I was desperate to retain what I could of them.  These images make me feel it again.....It is palpable.

 

Best, Wayne

Thanks for your - only too true - insight Wayne. To me the photos stick out from the mist of time precisely because of that, a personal view in a time where most photos of persons were fashioned according to a more formal view of the world.

 

Perhaps, for those who are interested in this kind of photography, two more resources:

 

The factory where Autochromes were developed and produced stood in Lyon, and is today a museum dedicated to the history of the Autochrome process, the making of movie films (the Lumiere brithers were pioneers here as well), and the photographic medium in general (http://www.institut-lumiere.org/musee/pr%C3%A9sentation.html)

 

An excellent book on the technical aspects of the Autochrome process is: The Lumiere Autochrome , by B.Lavedrine anf J-P Gandolfo, ISBN 978-1-60606-125-1.

 

Rgds

 

Christoph

[wattsy]

When I look at these very nicely done photos: I see appropriate Period Costumes, Settings & so on. But something doesn't "ring" as quite correct.

 

It appears to me that these are photos done at a later date AFTER THE STYLE of the Autochromes of the Period. 

 

What do others here on this Thread think?

 

That was my reaction too, when I first saw them. But I downloaded several of them and desaturated them in Apple Photos and they look very much of the period.

 

 

These photos have been seen in public for a few years now and I haven't heard any rumours that they are inauthentic. I think part of the problem we might have when we look at them is that we are so used to seeing these kind of photographs in black and white that the presence of colour – especially such strong reds – lends an air of artifice to the photos and Doug's experiment with desaturating seems to support this. I must admit that I find the ones in the garden a little troubling. The pot with geraniums in it looks a little anachronistic (obviously geraniums were chosen for the strong reds) and the buddleja davidii somehow seems a little out of place. It is true that buddleja had been introduced to English gardens by that time but I don't think it would have been common. That said, Albert Kahn's colour photographs can look a little jarring too but I don't think there is any question about their authenticity.

 

Incidentally, the photographs of Christina on the beach are not taken at Lulworth Cove but a few miles further west down the coast near Durdle Door. What is odd is that the photos on the beach appear to be reversed.

[chris_livsey]

 

That's not grain it's the wall.

 

 

 

Can dogs read?

 

 

Shooting the shooters, no idea what the 10x8 was about.

 

All on Delta 100 HC110 M2/35mm IV Summicron

[gbealnz]

That's not grain it's the wall.

 

All on Delta 100 HC110 M2/35mm IV Summicron

A shame too, 'cos that's real Henry grain. He'd love it.

Gary

[gsgary]

Not tried Fomapan 400, used quite a bit of 200 and 100, initially preferred the Fomapan 100, but am warming to the Fomapan 200.

What developer?

Gary

Rodinal 1+25 for 5.5 minutes

 

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[philipus]

That tree has found a fairly precarious spot...

 

OK, enough colour, back to mono monotony.

SWC
FP4+

R09

Epson 4870

Gary

 

Does the LF camera perhaps belong to the man they're interviewing?

 

 

 

 

Shooting the shooters, no idea what the 10x8 was about.

 

All on Delta 100 HC110 M2/35mm IV Summicron

[stray cat]

This one is from 1996, when my family and I had the good fortune to live in France for a year:

 

Two dogs, Prats de Carlux, France 1996

Nikon F801s, AF Nikkor 35mm f2, Tmax 400

Edited April 16, 2017 by stray cat

[gbealnz]

Now you understand why I love going to Europe. Nothing here like this, our country is too young.

Gary

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Hallo,

Look here: Interesting Leica gear

[stray cat]

Yes, Gary, too true - Australia is also bereft of quaint little villages and scenes like this. We are lucky if we are able to travel and see these things, and lucky in other ways to live in the countries we do.

[gbealnz]

Indeed, every time a newsflash tells of more terror or destruction I think we're lucky to live in this little out of the way backwater.

Gary