I like film...(open thread)

[MaDeVa]

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Vintage motorbikes

M7, Summicron 35 “8 elements”, yellow filter “Leitz 1”, Adox Silvermax 100 developed in R09 One Shot 1+50, scan from negative with Plustek 135

 

 

 

 

Inviato dal mio iPad utilizzando Tapatalk

Edited September 24, 2017 by MaDeVa

[MaDeVa]

Cugini

M7, Summicron 35 “8 elements”, yellow filter “Leitz 1”, Adox Silvermax 100 developed in R09 One Shot 1+50, scan from negative with Plustek 135

 

 

Inviato dal mio iPad utilizzando Tapatalk

[MaDeVa]

My wife discussing with my friend Renato

 

M7, Summicron 35 “8 elements”, yellow filter “Leitz 1”, Adox Silvermax 100 developed in R09 One Shot 1+50, scan from negative with Plustek 135

 

 

 

Inviato dal mio iPad utilizzando Tapatalk

[edwardkaraa]

Really nice, James.  Love the color palette.

 

Strikingly majestic!

 

Awesome, Brendan! A gripping composition to say the least

 

Simply sublime painterly scene, Edward.  Great use of light to execute on your vision for the mood.

 

This one is for the wall, Christoph.    Amazing.

 

To me, your head make this a special one for you.  Whether you intended it or not, really well done!

 

Love this one, Edward!  Like Niagra Falls without the falls

Thanks Adam!!!!

[edwardkaraa]

 

Early morning on the beach of the Dead Sea

Velvia 50 all the way

Hassy 503cw, 80mm Planar

dead sea morning.jpg

 

Another amazing shot Adam! Just wondering how do you get these subtle tones from Velvia. My experience with it is that it is much too contrasty and saturated. Is it due to slight overexposure, or a really good scanner, or photographer skills?

[edwardkaraa]

My nephew.

 

M7 ZM 50/2 Portra 160 by edward karaa, on Flickr

[Steve Ricoh]

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I've not seen many (any?) images posted here which include sprocket holes. I suspect the purists would think it's childish, but I like to see clear evidence of film.

[Sparkassenkunde]

Vintage motorbikes

M7, Summicron 35 “8 elements”, yellow filter “Leitz 1”, Adox Silvermax 100 developed in R09 One Shot 1+50, scan from negative with Plustek 135

 

Cugini

M7, Summicron 35 “8 elements”, yellow filter “Leitz 1”, Adox Silvermax 100 developed in R09 One Shot 1+50, scan from negative with Plustek 135

 

 

My wife discussing with my friend Renato

 

M7, Summicron 35 “8 elements”, yellow filter “Leitz 1”, Adox Silvermax 100 developed in R09 One Shot 1+50, scan from negative with Plustek 135

 

 

 

You achieved great results with the Silvermax film! 

 

My nephew.

 

 

 

Lovely portrait and a lasting memory.

[Sparkassenkunde]

I've not seen many (any?) images posted here which include sprocket holes. I suspect the purists would think it's childish, but I like to see clear evidence of film.

 

 

I am a fan of sprocket holes, if the film is exposed over the whole width. The reason for the absence of sprocket holes could be related to the wide use of dedicated scanners.

[Sparkassenkunde]

This picture was kind of an experiment. I made a long exposure with guestimated exposure time of about 1 min, pressing the camera on another stone. I tried some different angles, but this one looks quite good in my opinion:

 

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M3 - Summicron 50 DR - Fuji Superia 100

[Steve Ricoh]

This picture was kind of an experiment. I made a long exposure with guestimated exposure time of about 1 min, pressing the camera on another stone. I tried some different angles, but this one looks quite good in my opinion:

 

 

Bild-1-69.jpg

 

M3 - Summicron 50 DR - Fuji Superia 100

Looks great, like something captured by Cassini

[Steve Ricoh]

I am a fan of sprocket holes, if the film is exposed over the whole width. The reason for the absence of sprocket holes could be related to the wide use of dedicated scanners.

I have to agree, it looks great if the whole film is exposed to the scene, and to a lesser extent if the sprocket holes, film numbering and film type can be read. However the unexposed areas turn black when the scan is inverted, even the sprocket holes are difficult to make out. It's on my to-do list to sort this, but I only have a Plustek and BEOON setup at my disposal.

[edwardkaraa]

This picture was kind of an experiment. I made a long exposure with guestimated exposure time of about 1 min, pressing the camera on another stone. I tried some different angles, but this one looks quite good in my opinion:

 

 

Bild-1-69.jpg

M3 - Summicron 50 DR - Fuji Superia 100

Awesome shot James! Love the dreamy look and high key exposure.

 

Thank you for your comments by the way.

[edwardkaraa]

I have to agree, it looks great if the whole film is exposed to the scene, and to a lesser extent if the sprocket holes, film numbering and film type can be read. However the unexposed areas turn black when the scan is inverted, even the sprocket holes are difficult to make out. It's on my to-do list to sort this, but I only have a Plustek and BEOON setup at my disposal.

As far as I know, the only scanners that can do this in an attractive way are drum scanners. It could be possible to do it with MF scanners but I guess they would cause too much flare.

[A miller]

Oh yes  You can't go to the Dead Sea and not take a dip!!  Just don't dunk you head 

Well, did you take a dip?  Must be cool.

 

Thanks, Edward!  The key to good (i.e., not over) contrast with Velvia 50 is to use it for scenes that have a range of EVs of no more than 4.  So the brightest highlights (in this case, the brightest part of the salt formations) would be +2 from middle gray (or EV of 7) and the darkest part of the scene where detail is wanted (in this case, the reflection of the palm tree leaves) would be no darker than -2 (or an EV of 3).   Throughout my usage of Velvia 50 on this trip I very gently used ND grad filters (even just a single stop soft grad) to take the bite off of bright highlights in the background that could be distracting.  If you noticed, I pretty much stayed away from Velvia 50 for the low light sunrise/sunset photos, except where I deliberately wanted a silhouette effect.  I also happen to think that the lab that I used in Tel Aviv does a really good job of somehow smoothing out the tones that in some way tames the highlights.  I think the knock on effect is that the film tends to come slightly underexposed; and I learned through trial and error to add a half stop beyond what I normally would expose in order to nail the exposure.  I have a dozen or so rolls that I had to bring home to NY with me and have my NYC lab develop and the results were ok but more of the high contrast that one would expect.  I managed ok through some bracketing but I would have been better off having the film developed in Tel Aviv - never thought I would say that!!

Another amazing shot Adam! Just wondering how do you get these subtle tones from Velvia. My experience with it is that it is much too contrasty and saturated. Is it due to slight overexposure, or a really good scanner, or photographer skills?

 

Steve - The only film that I have even seen come back from my lab with the sprockets still in tact and part of the image is the beta test-version of the Cinestill 800T film.  I thought it was kinda cool but rather instructive on the scene that I framed - not sure I'd offer it as part of the final product unless someone asked.

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I've not seen many (any?) images posted here which include sprocket holes. I suspect the purists would think it's childish, but I like to see clear evidence of film.

 

Very well executed, James!  There's lots of potential with LEs with your M3.  You might consider getting a very inexpensive short cloth cable release so you can have maximum control and not worry about camera shake or blisters on your fingers

This picture was kind of an experiment. I made a long exposure with guestimated exposure time of about 1 min, pressing the camera on another stone. I tried some different angles, but this one looks quite good in my opinion:

 

Bild-1-69.jpg

 

M3 - Summicron 50 DR - Fuji Superia 100

Edited September 24, 2017 by A miller

[A miller]

More salt formations with the early morning glow, Velvia 50 and 250mm Zeiss Sonar Superachromat

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[Wayne]

As far as I know, the only scanners that can do this in an attractive way are drum scanners. It could be possible to do it with MF scanners but I guess they would cause too much flare.

I once had a problem with exposure on a certain variety of film. The film supplier requested I send him a scan of the effected film strip, sprocket holes included. I was able to scan the holes on my Epson V800 flat bed scanner by simply placing the film on the bed. When done this way, the scanner allows you to specify what area you wish to scan. In fact, this is how I am scanning the Minox shots. Works pretty good. The scanner does not seem to handle color as well, though.

 

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Zenit 2, 50mm 3.5 Industar, Agfa Vist 200

[edwardkaraa]

Thank you Adam for the technical details. It's a very fine balancing job. I will keep it in mind next time I shoot Velvia.

 

Very nice colors in the cinestill test shot, and again nice soft and subtle tones from the Velvia!

[edwardkaraa]

I once had a problem with exposure on a certain variety of film. The film supplier requested I send him a scan of the effected film strip, sprocket holes included. I was able to scan the holes on my Epson V800 flat bed scanner by simply placing the film on the bed. When done this way, the scanner allows you to specify what area you wish to scan. In fact, this is how I am scanning the Minox shots. Works pretty good. The scanner does not seem to handle color as well, though.

 

img913.JPG

 

Zenit 2, 50mm 3.5 Industar, Agfa Vist 200

That looks very good Wayne. I understand how the color coded borders may confuse the scanner algorithms but this shot looks surprisingly well balanced.

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Hallo,

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[Wayne]

Speaking of the Minox......Self portrait.

 

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Minox B, Delta 100