I like film...(open thread)

[gbealnz]

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G'day, Gary. It was great to catch up with you, and thanks for making the effort.

The results were better than expected, but still plenty of work to do. Highlight remains the decision to go South.

Speaking of which, Te Anau (903 w/ Delta 100)...

 

Likewise.

You've got a bit of fencing work ahead of you then, if that's the property, LOL.

Gary

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[EoinC]

More Te Anau (903 w/ Delta 100)...

C002 by Eoin Christie, on Flickr

[chrism]

Pentax MX, 50/1.2, XP2 @100, HC-110, X1 scan:

 

Fork by chrism229, on Flickr

[stray cat]

For some reason, this makes me think of that shot you posted from your trip to Boston a while back. I believe it, too, was some sort of  concrete still life. Very entrancing.

 

Looks like same quality of concrete.

 

Best,

 

Wayne

 

Thanks a lot Wayne. I guess I must be attracted to concrete for some reason. Hope it's not Freudian. This concrete, though, is definitely not Bostonian - in fact the more I think about it, it was in Richmond, in inner-Melbourne.

 

Hoosiers. A man and his excavator.

 

Having one building moved and new garage built.

 

img186.jpg

 

Minox B, Holga 400 film.

 

Proving the worth of having the tiny little camera - with you at all times. Each little gem from this camera of yours seems to scream "instant classic".

 

Well, if this doesn't flush him out, nothing will!

 

Let's hope so, Steve. He has been gone far too long!

 

Nice abstract, and superb light.

 

Thanks sincerely, Steve. I think I must have briefly thought something similar as I walked past, paused briefly to take a shot, then promptly forgot all about it!

 

Lovely tonality and textures!

As to exploring Wiltshire, my 'go to' book for the Marlborough Downs is entitled 'Exploring Historic Wiltshire - Vol 1: North' by Ken Watts. Published by Ex Libris Press, ISBN 0-948578-85-8.  A very knowledgable, readable book complete with photos and sketch maps.  Pretty much any snippets I include with my photos comes from that book!

 

PS - as and when you head this way, let me know if I can be of assistance with anything.

 

Thank you Keith. I will look for that book. Sue and I have been enjoying "The Old Ways" by Robert Macfarlane, another book about walking, especially in England, that was recommended on this forum a while back. And I really do appreciate your offer of assistance!

 

Great shot ! Very peasant Bokeh never used this lens must be a first pick for nice portraits too I beg ?

 

Good point, SS. I haven't actually used it all that much, and never for portraits. However you are right, it does have a very pleasant bokeh.

 

Thanks, Phil. Sorry for my tardy response and acknowledgement; your comment remained undetected until just now!

 

Now, about Helmut Newton's take on the light in Berlin... I honestly can't say much so definitively. Mine was a very short visit in October 2015 and the weather was mostly good.

 

However, it's sure that north and south of the tropics, the light does have a certain uniqueness, especially as winter and spring approach and the angle of strike makes long shadows in the mornings and evenings if the sun is not too harsh. New Zealand light is quite spectacular I found, as it is around here in Europe. Soft light on well-worn hard objects like cobblestones or metallic handrails or aged furniture, gun handles (even Lenny Kravitz edition Leicas [if you could find enough of them to replace the cobblestones!] etc. can produce pleasing photos if you manage a good 'take' on them and if you can line up all your other ducks (exposure etc.) well enough. I do also believe a good dollop of luck contributes greatly into making a decent picture if one is a frugal shooter.

 

Having said that, here's a photo taken in the tropics: Mandalay, Myanmar. These ducks didn't all line up, though!

Taungthaman Lake10.jpg

Ilford FP4 125 

 

Lining up the ducks - I like that expression very much! Thank you for your thoughts on the way light falls in different places, under different conditions. Interesting that you say New Zealand light is spectacular, a little like (I guess you're talking about norther?) European light. There are many parts of New Zealand that we observed could have been European - Milford Sound, for instance, is very similar to parts of Sognefjorden, and Queenstown's setting wouldn't look at all amiss if it were in Switzerland. So perhaps it is apt that the light is similar. Australia's light, on the other hand, despite its proximity to NZ, has an altogether different quality. One of the things I really treasure to have come out of my interest (well OK, obsession) with photography is that you are rewarded for getting an appreciation for the qualities of light.

 

It became a little bit crowded towards the end of the walk...    Extremely bright sun just out of frame top-right - so the little petal lens-hood that comes with the lens does a reasonable job.  (R5, 21-35mm Vario Elmar, HP5Plus).  

 

This is lovely Keith - that lens has certainly earned its keep. Is that a castle in the far distance in the top right-hand thirds intersection?

 

last one .... and yes, when i see these, I prefer film to digital :-)

 

Steve, these are just beautiful, and are destined to be treasured for ever. And I think your comment is apposite - I often wonder to myself why people with access to film bother with digital when skin textures and tones are critical to the picture.

 

Sama sama...

B003 by Eoin Christie, on Flickr

 

This is such a great portrait, Eoin - half man, half fly. As is the one with the same man (?), mouth open, expending that last effort at the finishing line.

[stray cat]

 

New York City

M3, 28mm cron, Portra 400

nyc-2.jpg

 

 

Adam, the more I look at this marvellous picture, the more I'm drawn to its innate mysteries, and the details which suggest so many questions and half answers - the smoke billowing above gives almost a sense of dread, the wire in front of the bike - there to trap him?, his mountain bike in a classic urban setting, his Pearl t-shirt - is he listening to the drums now?, the repetition of orange etc etc. All this adds up to this being a fantastic picture - so well seen and delivered to us on an amazingly appropriate palette of Portra 400 colour.

 

As I saw someone comment elsewhere - I wish I could say Thanks twice for this one!

[Guest JMF]

Just got back from an assignment in Mauritius and finished the Adox 25 - GR21 roll...

 

L'Exil by JM__, on Flickr

 

L'Exil by JM__, on Flickr

 

Vent d'Un Rêve by JM__, on Flickr

[Wayne]

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Duck decoy, in Monochrome TriX 320

 

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Linhof 4x5, Schneider 120mm 5.6

[A miller]

Wayne - Not really, certainly none that look like a Linhof!!

Do you have Mailboxes in NYC?

 

Thanks

 

This is beautiful, Phil.  I like the crisp sharp center of the flower bud and of course the red!

To try to tempt an errant Doc Henry back: a poppy of course!

 

 

 

poppy 2017

Canon F1N, FD 80-200mm F4L, Agfa Vista Plus 400 (lab scan)

 

The best of the lot, Chris, IMO.  Very crisp and sharp and nice even natural tones throughout.

Last one of the XP2 pulled to ISO100 and exposed with bounced flash:

 

 

Pippa 2017 #18 by chrism229, on Flickr

 

Beautiful beach scenes, Jean Marc.  Is that vignetting really produced by that lens?  I suppose some of it could be due to the exposure or development?

Adox 25 with Ricoh GR21

 

 

no Rio by JM__, on Flickr

 

 

uma garota de Ipanema by JM__, on Flickr

 

I like this one a lot!

 

 

It actually does show heavy fall off enhanced with contrasty film, some of it can be removed digitally.

 

Adox 25 + Rich GR21

 

 

no Saco de Mamanguá by JM__, on Flickr

 

I like the first one  lot, Ian.  The glow of the patch of flowers is very vibrant.

Some chalk flora from earlier in the year.

I spent more than a roll of film trying to photograph this flower rich sward here one late June evening. None of the resulting photos really matched what I had in my mind’s-eye so I’ll have another go next year. Melbury Beacon near Shaftesbury in Dorset. Portra 400 and 28 Summaron-M.





On the Devil’s Dyke in Cambridgeshire. The dyke is a 7 mile defensive ditch and raised bank from the Iron Age (one non-mainstream theory posits that this area is the real site of Troy). Same film and lens.
 

 

Awesome, Steve.  Congrats again.  Both films did excellent, although I think I like the Portra 400 better.  Did you push it?

My new granddaughter, and my "old" daughter-in-law and son ...... portra 400 and 800 and summicron R90 and summilux 50mm

 

Hey Eoin, WELCOME BACK!!!  Hope all is well.  A beautiful photo to relaunch the fun!

Coromandel, New Zealand (not that location means much for a plant photo).

EOS 1V HS w/ ZE135 - Neopan Acros 100

A001 by Eoin Christie, on Flickr

 

I really like the contrast and abstract composition on this one.   Congrats.

Pentax MX, 50/1.2, XP2 @100, HC-110, X1 scan:

 

 

Fork by chrism229, on Flickr

[A miller]

Sincere thanks, Phil.  This was just a couple of weeks ago and I remember the moment quite well.  Most people walking around are quite boring but the interesting ones (and moments) do come around every so often.  

Adam, the more I look at this marvellous picture, the more I'm drawn to its innate mysteries, and the details which suggest so many questions and half answers - the smoke billowing above gives almost a sense of dread, the wire in front of the bike - there to trap him?, his mountain bike in a classic urban setting, his Pearl t-shirt - is he listening to the drums now?, the repetition of orange etc etc. All this adds up to this being a fantastic picture - so well seen and delivered to us on an amazingly appropriate palette of Portra 400 colour.

 

As I saw someone comment elsewhere - I wish I could say Thanks twice for this one!

 

Very nice, Jean Marc.  Looks like you had a nice trip

Just got back from an assignment in Mauritius and finished the Adox 25 - GR21 roll...

 

 

L'Exil by JM__, on Flickr

 

 

L'Exil by JM__, on Flickr

 

 

Vent d'Un Rêve by JM__, on Flickr

[Wayne]

Boyhood.

 

Glad to be with Dad and the guys, discussing football picks.

 

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Minox B, Holga 400.

Edited November 28, 2017 by Wayne

[sblitz]

No pushing hard to tell at the moment which was which as I did this all by mail and have yet to see the negatives to tell definitively. Some of it is the lens as well. The M summilux is far superior to the R 90mm summicron, from a purely subjective basis.

 

 

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[stray cat]

Boyhood.

 

Glad to be with Dad and the guys, discussing football picks.

 

img193-2.jpg

 

Minox B, Holga 400.

 

Wonderful, Wayne. Puts me in mind of one of my all-time favourite pictures: https://media.artgallery.nsw.gov.au/collection_images/2/293.1995%23%23S.jpg

[MT0227]

Duck decoy, in Monochrome TriX 320

 

img198 (1).jpg

 

Linhof 4x5, Schneider 120mm 5.6

 

 

   ^^^^  I was looking at one of those today; great stuff Wayne. 

[stray cat]

Another "interesting" shot I found of the lab scans that were emailed to me yesterday. This is using a way out-of-date and poorly stored roll of Cinestill 800T that I'd found recently. I just love that nexus between the colours and the gritty grain. When I receive the negs in the mail, I'll be tempted to scan this and make a large print:

 

 

Clouds 2017

Canon F1N, FD 80-200mm F4L, Cinestill 800T (lab scan)

[A miller]

Another "interesting" shot I found of the lab scans that were emailed to me yesterday. This is using a way out-of-date and poorly stored roll of Cinestill 800T that I'd found recently. I just love that nexus between the colours and the gritty grain. When I receive the negs in the mail, I'll be tempted to scan this and make a large print:

 

 

Clouds 2017

Canon F1N, FD 80-200mm F4L, Cinestill 800T (lab scan)

 

indeed, Phil.  Interest texture and colors.

[stray cat]

Anyone doing their own C41 processing...

 

I'm pretty committed to trying it and hope for some advice. I don't have a rotary processor so will be just doing it in the same Paterson tanks I use for black and white. Is this what any of you do? Also, the Tetenal chemistry which seems to be the most easy to obtain and economical specifies that temperatures must be kept to within +/- 0.2 degrees celsius. Is this feasible? How do you get those temperatures that accurate?

 

Any help or advice will be greatly appreciated.

[A miller]

From last Sunday morning in Central Park, where it is such a pleasure to be in the peak of Fall

Ektar, 503cw, 80mm Planar

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[christoph_d]

Phil,

Persuaded by the images of Doc Henry (where are you?), I started C41 about 6 Months ago. So I am not an expert, but a beginner also.

Main difference is indeed to keep the temperature constant. To that end I use a square plastic bucket (from a DIY store, as used for holding wall-paint), to hold the warm water and in it the bottles of developing chemicals. A heating as used in a small aquarium for tropical fish the temperature constant. I use metal developing tanks as they are easier to clean. Things start by bringing the film in the tank up to the right temperature with a waterbath, once that is done, and the chemicals are at the right temperature develop as prescribed.

Much easier than I had feared.

Looking forward to seeing your results!

 

Rgds

 

C.

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Hallo,

Look here: Interesting Leica gear

[maate]

Anyone doing their own C41 processing...

 

I'm pretty committed to trying it and hope for some advice. I don't have a rotary processor so will be just doing it in the same Paterson tanks I use for black and white. Is this what any of you do? Also, the Tetenal chemistry which seems to be the most easy to obtain and economical specifies that temperatures must be kept to within +/- 0.2 degrees celsius. Is this feasible? How do you get those temperatures that accurate?

 

Any help or advice will be greatly appreciated.

I place the chemistry in hot water, let the water warm up the chemistry to circa 40 degrees Celsius, then let the temperature drop slowly by just waiting. When temperature is within the accepted span of +/- .2, I just start processing. It's only 3-4 minutes that the developer will be active, so no need for temperature control while developing. I do preheat my Paterson tank with the film with water of the same temperature to keep temperature consistent. It is really easy if you stay calm and precise. Just do it:-) Just started 2 months ago, and I love the process!

 

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[Guest NEIL-D-WILLIAMS]

Anyone doing their own C41 processing...

 

I'm pretty committed to trying it and hope for some advice. I don't have a rotary processor so will be just doing it in the same Paterson tanks I use for black and white. Is this what any of you do? Also, the Tetenal chemistry which seems to be the most easy to obtain and economical specifies that temperatures must be kept to within +/- 0.2 degrees celsius. Is this feasible? How do you get those temperatures that accurate?

 

Any help or advice will be greatly appreciated.

im doing mine now in a biucket in a sink. Basically I put the bucket in the sink full of water around 100 degrees. Then in the bucket I put the 4 bottles of chemicals and fill the bucket with water to get the chems to ~100 degrees then stat the process of 5 minutes hot water wash. 3 1/2 mins devoloper 1 1/2 min stop then 3 min wash with 100 deg water. 6 1/2 minutes BLIX then wash for 3 mins the stabilizer for 1 1/2 mins

The important bit is making sure you get the temperature correct for the devoloper then the rest of the chems can be ~10 degrees either side

I hope this helps

This is one of my first tries at C41

Edited November 29, 2017 by NEIL-D-WILLIAMS