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Leica iiif, Jupiter-9 85mm LTM, Fuji Acros100

Misty Morning

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Leica iiif, Jupiter-9 85mm LTM, Fuji Acros100

misty morning, a bit underexposed but i quite liked it anyways..

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5 minutes ago, bags27 said:

screwed up development, pouring developer on top of a pre-soak. had to guesstimate time & agitation. Mamiya 7 150 HP5 in HC110 -- B??

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nice shot

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On 12/13/2020 at 1:40 PM, philipus said:

That's a large wind farm John. I'm also a bit surprised at the grain and my first thought was a slight under exposure. I mainly shoot Ektar in C41 and have noticed it's quite sensitive in terms of exposure. Still I like this photo and how the grain adds an almost gritty dimension to the scene. Oh do please pull out the Hasselblad too :)

Incidentally, and this is probably old hat to all of you old post-processing dogs, I've discovered that one can control grain quite well in Adobe Camera Raw under the Detail tab's Color, Luminance and Amount (under Sharpening) sliders. I use them in that order and it reduces grain and improves sharpness. Here's an example, a 100% crop of a 35mm Kodak Gold 200 frame.

A great lesson (for me) in how hard it can be to get a good image out of 35mm film taken under "interesting" lighting conditions.  I went back to the scanner to see if I could do better.  Re-scanned with Vuescan instead of Nikon Scan 4 (getting that to work at all on Windows 10 a completely different story) in "fine" mode at 48 bit, then several passes to try to get the white balance to resemble what the scene looked like, using Vuescan to re-process its own first pass.

Grain?  A different story.  A workflow I developed for DNGs out of the SL which involves quite a lot of detail enhancement turns out to be the wrong way to handle the grain in the film.  Here's a second look at the Thanet Wind Farm without the over-enthusiastic use of the "detail" slider but avoiding the temptation to overuse the "grain reduction" option in the scanning software.  Now, to my eye, the grain blends reasonably well with the texture of the image and the blue cast is pretty close to what I saw with the color of the sea reflected back off the clouds.

Thanks also to Ourorobos for suggestion to review the workflow.

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Leica R5 with Vario-Elmar-R 4/35-70 on Kodak Ektar 100.

Edited by John Robinson
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2 hours ago, bags27 said:

screwed up development, pouring developer on top of a pre-soak. had to guesstimate time & agitation. Mamiya 7 150 HP5 in HC110 -- B??

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That's worked out really well!

 

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Man in a Captain's Nest. Mamiya 7 150 HP5 in HC110 -- B

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Lagoon Tide Table
M-A APO 50 ADOX Color Implosion & Rolleiflex Planar f/2.8 E100

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Am 14.12.2020 um 23:22 schrieb verwackelt:

Love your wineyard pictures. It is a pity that leica discontinues the 3,8/24mm. I hope i have the chance to get one used of this lens in future...

It partners well with a 50 mm as a travel combo--for me. On the other hand, you have to think about the foreground much more than with a 35 or 28 mm lens . I think that could be  the reason why people are  disappointed by this focal length. Actually, after "learning" this angle, it is very rewarding.   Performance-wise this lens is incredibly sharp, flare resistent, has a high contrast ( if you like that) and a filter thread that takes the same filters as the SlX range .. So I use this lens quite often. 

vor 7 Stunden schrieb philipus:

This is definitely tree-free, phew. Or wait, is there something on the hill there in the middle? Gaaaah.


Flickr
1N EF100-300 Velvia 50 X1

Philip, great choice of frame here. Tree or not. Perfect. 

Edited by Kl@usW.
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Transport Perimeter
M-A APO 50 ADOX Color Implosion & Rolleiflex Planar f/2.8 E100

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Leica iiif Avenon 28mm LTM, Acros100

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Leica iiif canon 50mm f1.4 LTM, Acros100

intersection

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Leica iiif Canon 50mm f1.4 LTM, Fuji industrial/CYO

Chaos Theory

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Edited by frame-it
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