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Recently posted a number of b&w images from testing my 'new' Zeiss Tessar 160mm CB on my 500C.  On Wed I put a roll of Ektar 100 though it see how it perfoms with colour film.  It just so happened to be market day & the sun was shining...  Posted the film that afternoon & received the negs back this morning (Fri).   :)

 

35387089480_0ec9e44d14_o.jpg

 

35605511612_fc85abf556_o.jpg

Seems to work well enough ;)

 

J :)

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Montauk NY

Portra 400 - M6 - 50 Summicron

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Right on, Gary.  If I had to live with only one slide film stock it would be the Provia 100F as it is the most versatile.  And this example proves that it can be made to not be so far off from Velvia 50.

Adam,

 

You may be right that you can make these films look alike, though even on the restricted screen of my pre-historic mini ipad it seems to me that the velvia shots do show a more intense red color. And not having seen the original I find it difficult to give a film preference, particularly with an artificially colored subject such as this.

 

Rgds

 

C.

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'The Egg' Albany NY

Portra 160 - M6 - 21/4.5 Zeiss Biogon

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Thanks for the warm welcome! Unfortunately, I do not very often have the opportunity to travel to the mountains. Moreover, for more rugged terrain, I still prefer my indestructible D700 - thus, being an honest man, I cannot post my Bhutan images in this forum ;-)

 

Schatten and Edward,

 

When I scan I always use the software of the scanner. I have tested Vuescan and Silverfast not simple IMO

I go for the easier solution and with no purchase of software .... :)

In print I also need an enlarger and the print is nicer than what I post here ... :) I just finished some dozens

of pictures during my last nights ...

 

For moutain I have many pictures of M9 in digital but I think the color is not satisfying in example the blue

sky. I also noticed when you converted digital color to b&w the black is not nice , unhomogeneous and black

is not natural. Black seems coming from a synthesis image not nice at all  like you can see in film.

... the reason , I think the fault comes from software photo  !

 

correction is a bad habit we take , when you shoot in digital !

 

 

Here a picture uncorrected directly from the Nikon Coolscan 5000 with Nikon software delivered by

Nikon . I have the habit not to use photo software with film , unlike with the digital where you have to

constantly use it.

 

 

Kodak TX400-Leica MP-35 Summilux Asph

 

Grand Bornand village

1300m French Alpes

 

 

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Best

Henry

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Guest NEIL-D-WILLIAMS

Miss my bike TMAX400 135

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Another picture uncorrected with Kodak TX , not need

 

 

MP-35LA-KodakTX400 > dev Kodak D76 pure (6mn45 sec at 20°C)

 

Good camera lens combo + development home lab , the best choice for

a good result

 

 

Grand Bornand 1300m

 

 

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Best

Henry

Edited by Doc Henry
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Schatten and Edward,

 

When I scan I always use the software of the scanner. I have tested Vuescan and Silverfast not simple IMO

I go for the easier solution and with no purchase of software .... :)

In print I also need an enlarger and the print is nicer than what I post here ... :) I just finished some dozens

of pictures during my last nights ...

 

For moutain I have many pictures of M9 in digital but I think the color is not satisfying in example the blue

sky. I also noticed when you converted digital color to b&w the black is not nice , unhomogeneous and black

is not natural. Black seems coming from a synthesis image not nice at all  like you can see in film.

... the reason , I think the fault comes from software photo  !

 

correction is a bad habit we take , when you shoot in digital !

 

 

Here a picture uncorrected directly from the Nikon Coolscan 5000 with Nikon software delivered by

Nikon . I have the habit not to use photo software with film , unlike with the digital where you have to

constantly use it.

 

 

Kodak TX400-Leica MP-35 Summilux Asph

 

Grand Bornand village

1300m French Alpes

 

 

attachicon.gifImage4grdbornkodtwmplfht++++1000.jpg

 

Best

Henry

 

For being "directly out of the scanner", your picture is amazing with regard to greytone separation etc.

 

Please excuse any disillusionment, however, I would like to qualify "uncorrected" a litle bit:

 

The CCD-sensor of a scanner works rather like a digital camera. The scanner firmware is optimized for color slides. Scanning b/w, the raw data (as close as you can get to sensor output) show a massive rightward shift of the histogram, especially if you 'expose to the right' as is customary with b/w. With all scanners that I know (I have no experience whatsoever with professional drum scanners), the raw sensor data do not look like anything we would expect from film/ darkroom print. Thus with each and every scanner, each and every software will perform very significant "corrections" for scanning output. In conclusion, with a modern hybrid workflow, it is inherently illusionary to work with "uncorrected" film images.

 

That being said, with good software (good meaning that it gives you the results that you want and that you get along with the user interface) and a little experience, you can get very close to a result that makes your massive in-software corrections render an uncorrected look and feel. However, it will always be a heavily postprocessed digital image file like any digital file OOC or out of LR or P1 or PS or whatever.

 

I totally agree with you that it is often difficult to get a satisfactory black/ deep gray separation in b/w conversions from digital color photography. But this seems to be a matter of diligence and experience rather than a principal limitation (I am still on the low end of my learning curve there). The only true limitation imho is, that in digital you have to be very careful not to blow the highlights when taking the picture, which gives you less leeway for shadow separation as compared to film.

 

Along many other esthetic incentives, one of the reasons I recently have turned to almost exclusively working in b/w is that I am often unhappy with the color rendering of digital cameras. But this may be due to a lack of skill on my side or due to the problems of a truly color-managed workflow (I have not heavily invested into a $$$$ pro photography monitor, but use a calibrated consumer monitor).

 

With regard to scanner software, I really took offence to the reflecta software crashing with the batch task that the scanner is being marketed to in the first place, and with no reply at all to support questions in this regard. If the specific proprietary software works with a specific scanner model, I would not see any necessity for third party software.

 

Sorry for the longish rant.

 

Kind regards

Mathias (Schattenundlicht)

 

[When I signed up to this forum, I thought that I would mostly read and post in the German language section, thus I chose a German nickname. However, I found the conversations much more civilized and amiable in the international forum so that I maybe should change to 'shadowandlight' ;)]

Edited by schattenundlicht
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Hi Mathias , thank you for this interesting comment.

...and for commenting the picture. I must thanks a combo MP-Lux lens and especially

excellent film Kodak TX 400 which gives a good rendering to the photo

 

First , just to say you I have tested D800 in 2013 during some weeks

It's a good digital camera and with great lens like from Leica R you can have

nice pictures

http://gallery.leica-users.org/v/Doc+Henry/?g2_page=10

 

.... with a modern hybrid workflow, it is inherently illusionary to work with "uncorrected" film images.

 

Yes , I agree, the best way is to pass directly from negative to print (with enlarger)  , no digital intermediary :)

When I say uncorrected I mean ,  I don't use photosoftware like I did when I shoot digital

But it's correct that you pass a "digital step" when you use a scanner

 

https://www.l-camera-forum.com/topic/205842-i-like-filmopen-thread/?p=3299090

 

... The only true limitation imho is, that in digital you have to be very careful not to blow the highlights when

taking the picture, which gives you less leeway for shadow separation as compared to film.

 

It's difficult IMO to correct a part of the picture without altering the rest of the picture , but for me this is a

manipulation and therefore a distortion

 

 

For conversion color to b&w I'll post some demonstration for you in comparison, but I can already tell you

that with both color film or color digital , you lose details in the shadows , when you convert specailly in digital

black is unhomogeneous in some part ot the image , visible when you crop .I think squarred pixels are

responsible .

Best

Henry

Edited by Doc Henry
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Two views of the local tea-room.  Hasselblad 500C, Zeiss Tessar 160mm CB, Ektar 100.

34953517214_5ea24781fd_o.jpg

 

 

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