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I like film...(open thread)

Doc Henry

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Michael Hiles
Michael Hiles

Bonjour Henri,   I still prefer black and white film (I use almost no colour). The advantages of digital don’t mean much to me. Seeing instant results is not so useful, since what comes out of a cam

grahamc
grahamc

Kodak Ultramax & 35:1.4v2 , MP 

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Cyril Jayant
Cyril Jayant

This photo is from a series from some of my crazy, extreme photo adventures I  had photographing Mountains "Alpinists " and rock climbers. This is Alpes mountain range which is called   "Le Massive du

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sblitz

sblitz

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So this is the Ektar version of the scene I just shared.  Taken within a minute or so of the Provia 100F photo shares above, and look at the difference in color palette!  The Fuji tilted more toward the blue/greens and the Ektar tilted more toward the warm tones....

attachicon.gifcompare1 Ektar.jpg

Now that I am focused on it, this Ektar version is growing on me!!!  Thanks, Phil!  :D

Ektar is sooooooo much better. Shot a lot of Provia100F this past weekend at Jared's wedding and, in retrospect, should've stuck to Kodak

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Leica M2 & 35mm Summicron - Fuji Sensia ( February 1999) 

 

I'd left a yellow/green filter on the lens but Lightroom rescued the shot by removing the colour cast.

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AntonioF

AntonioF

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I looked for a decent 50mm lens for the M6 for 2-3 months. I was really close to buy the new 7Artisans 50/1.1, but at the end I bought a Canon 50/1.4 LTM from Japan. It looks like a pretty good lens; I'm sure it's no where near a Zeiss or a Leica, but for now it seems to do a good job. Here's a couple of shots.

 

M6, Canon 50/1.4 LTM, Tri-X 400 in HC-110 dil B (V600 scan yet)

 

c01d727c0ad3036e4398cd3b8cdf7261.jpg

 

221c58b13937a3b8fa08555b2eb02f03.jpg

 

 

 

Sent from my iPhone using Tapatalk Pro

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Michael Hiles

Michael Hiles

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Advertisement (gone after registration)

 

Thank you Edward!

 

 

Thanks Adam!

 

 

Thank you!

 

Over the last week I have been using a borrowed Sigma 105 Macro lens, experimenting with more telephoto work and taking macro film photos for the first time.

 

Nikon FE, Sigma 105/2.8 Macro, HP5 @ 800, HC110:

 
 
Untitled by Brendan | Toews, on Flickr

 

 

Interesting picture. You can look at it two ways.

 

1) An out of focus grid with background stuff.

or

2) A window and exterior stuff seen through an out of focus grid.

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A miller

A miller

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Posted (edited)

Thanks, Steve.  Your valuable opinion is duly noted! :)

Ektar is sooooooo much better. Shot a lot of Provia100F this past weekend at Jared's wedding and, in retrospect, should've stuck to Kodak

 

This is really cool.  The highlights in the snow are blown but strangely not in an oft-putting way.  And the great detail in the white clouds is indicative of the narrow exposure latitude of the film, perhaps?

attachicon.gif2.99.jpg

 

Leica M2 & 35mm Summicron - Fuji Sensia ( February 1999) 

 

I'd left a yellow/green filter on the lens but Lightroom rescued the shot by removing the colour cast.

 

Very nice, Antonio.  I would love to see that lens in full glory with some wide open portraits.  Isn't this the lens with the "dreamy bokeh"? 

I looked for a decent 50mm lens for the M6 for 2-3 months. I was really close to buy the new 7Artisans 50/1.1, but at the end I bought a Canon 50/1.4 LTM from Japan. It looks like a pretty good lens; I'm sure it's no where near a Zeiss or a Leica, but for now it seems to do a good job. Here's a couple of shots.

M6, Canon 50/1.4 LTM, Tri-X 400 in HC-110 dil B (V600 scan yet)

c01d727c0ad3036e4398cd3b8cdf7261.jpg

221c58b13937a3b8fa08555b2eb02f03.jpg



Sent from my iPhone using Tapatalk Pro

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A miller

A miller

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Here's a shout-out to Velvia 50 in the strong glow of dawn over the salt formations in the Dead Sea....

 

Hassy 503cw, 80mm Planar

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stray cat

stray cat

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Here's a shout-out to Velvia 50 in the strong glow of dawn over the salt formations in the Dead Sea....

 

Hassy 503cw, 80mm Planar

attachicon.gifVelvia 50 morning.jpg

 

OK this is really interesting, Adam. Great shot - that almost goes without saying. You've really "felt" the landscape of the Dead Sea and that affinity comes through strongly in the pictures you've made. To think there are 80 rolls of these gems... :)

 

On first viewing my immediate thought is to miss the more muted tones of Ektar. This shot seems to have quite similar colours as the Ektar, especially compared with the Provia, but with way higher saturation. Had I not seen the earlier example done in Ektar colours (admittedly at a different spot and presumably a different day/time) this probably wouldn't strike me so much. But now the Ektar interpretation of this landscape occupies how my mind sees the "rightness" of the landscape (and perhaps even some desaturation here might even get a similar result to that). On the other hand, you were there taking the pictures - you will have a stronger feel for what you regard as the way you saw it.

 

Either way, a lovely shot, and a wonderful series in the making.

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A miller

A miller

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OK this is really interesting, Adam. Great shot - that almost goes without saying. You've really "felt" the landscape of the Dead Sea and that affinity comes through strongly in the pictures you've made. To think there are 80 rolls of these gems... :)

 

On first viewing my immediate thought is to miss the more muted tones of Ektar. This shot seems to have quite similar colours as the Ektar, especially compared with the Provia, but with way higher saturation. Had I not seen the earlier example done in Ektar colours (admittedly at a different spot and presumably a different day/time) this probably wouldn't strike me so much. But now the Ektar interpretation of this landscape occupies how my mind sees the "rightness" of the landscape (and perhaps even some desaturation here might even get a similar result to that). On the other hand, you were there taking the pictures - you will have a stronger feel for what you regard as the way you saw it.

 

Either way, a lovely shot, and a wonderful series in the making.

 

Phil - First, thanks a ton for taking the time and providing your opinion.  Very often the photos I share here evolve in my Lightroom as I get feedback and stare more and more.  I think this is going to be one of those photos.  Given the terrain and the strong saturation of the colors on the oily water, the atmosphere in this scene was like from another planet.  I used the Velvia 50 b/c I thought there was enough light to not get a magenta mess and wanted to enhance the strength of the saturation that I was getting from the reflection (even if all I got was silhouettes).  Ektar would have been nice, for sure - but different.  I think there may be some balance between the colors and the luminance that I still need to restore in this photo.   Below is  further revised photo.   I no doubt will continue to noodle further!  Thanks again my good friend!

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stray cat

stray cat

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Many thanks Adam. As "johnny on the spot" for these pictures you have obviously have a visual recollection/visceral reaction to what you were witnessing and, being a fine photographer/artist, previsualized how you'd want a resultant picture to be presented - resulting in, inter alia, your choice of a particular film stock, considering you presumably had some variety to hand. Therefore, the process you describe - adjusting a little, stepping back and looking, checking again after some time has passed and maybe adjusting this or that again - is fascinating, and an absolute treat for us to be able to watch the process.

 

And yes, it is a peculiarly other-worldly scene. Had you told me it was by NASA and showed the surface of Venus I might not have disbelieved you!

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A miller

A miller

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Posted (edited)

Many thanks Adam. As "johnny on the spot" for these pictures you have obviously have a visual recollection/visceral reaction to what you were witnessing and, being a fine photographer/artist, previsualized how you'd want a resultant picture to be presented - resulting in, inter alia, your choice of a particular film stock, considering you presumably had some variety to hand. Therefore, the process you describe - adjusting a little, stepping back and looking, checking again after some time has passed and maybe adjusting this or that again - is fascinating, and an absolute treat for us to be able to watch the process.

 

And yes, it is a peculiarly other-worldly scene. Had you told me it was by NASA and showed the surface of Venus I might not have disbelieved you!

 

Thanks again, Phil.  As I reflect more on your point about "what I saw" and the fact that I was using Velvia 50 in rather low light, it is dawning on me that perhaps the magenta in the photo I shared is a distortion caused by the "Velvia 50 gone wild."  So I went in and reversed some of it and I think it actually is a step in the direction of conforming the photo to the colors of light that I actually saw.

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Guest )-(

Guest )-(

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Very nice Adam, looks like a very surreal and eerily quiet? spot to spend a sunrise. I've added Velvia 50 in 120 to my growing film-for-spring shopping cart (note to self: buy a mini fridge!)

 

Delta 400, just b/c I like the white cube things.

34464239146_f080b923a7_c.jpg

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A miller

A miller

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Very nice Adam, looks like a very surreal and eerily quiet? spot to spend a sunrise. I've added Velvia 50 in 120 to my growing film-for-spring shopping cart (note to self: buy a mini fridge!)

 

Delta 400, just b/c I like the white cube things.

34464239146_f080b923a7_c.jpg

 

Thanks, Richard.  As you have just witnessed, in low light Velvia 50 can be even more funky than Ektar, so be warned!  Bright even daylight is really where the film shines, IMHO.  I have some examples of this that I will be sharing...and sharing...and sharing...until the cows come home :)

Love the cubs, btw, and the detail in the pencil-gray tones.

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Guest )-(

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Thanks Adam, a little bit funky sounds good to me, we get up early for those 'fruit salad skies' after all :) and colour is such a subjective thing.

I have had difficult green/magenta colour shifts with Ektar in the past in lower light that put me off using it for a while but I think a little underexposure by me was at least partly to blame.

 

A couple of older Ektar shots on 35mm from NSW 'for the love of saturated colours', look forward to more from the Dead Sea.

 

24473928454_6699c2969c_c.jpg

 

25174140270_42a967e76c_c.jpg

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dmitchell

dmitchell

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Another with the Mamiya C330 and FP4+

 

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mdachs

mdachs

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M6 Summarit 90

 

Joachim

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AntonioF

AntonioF

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Thanks, Steve.  Your valuable opinion is duly noted! :)

 

This is really cool.  The highlights in the snow are blown but strangely not in an oft-putting way.  And the great detail in the white clouds is indicative of the narrow exposure latitude of the film, perhaps?

 

Very nice, Antonio.  I would love to see that lens in full glory with some wide open portraits.  Isn't this the lens with the "dreamy bokeh"? 

 

Thanks, Adam.

I think the so-called "dreamy lens" is the Canon 50/0.95 and it is a 3000 dollars or more lens. Mine was like 250 dollars. I have not tried it open wide yet, but I guess it is going to be soft. I should try it (and I'll probably misfocus ... )

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redkea

redkea

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Melbourne in autumn,  M6 TTL 35mm f2 Summicron ASPH  Kodak Ektar 100

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