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9 hours ago, Ernest said:

Not Blue
M-A APO 50

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No more Gray Rooms! It’s at least 50 (APO) shades of Red. Do you still know how furiously the heart is beating?

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At the edge of England.

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Leica M3, Summilux-M 50 ASPH, Kodak ProImage 100.  Some say ProImage has good latitude and dynamic range.  My first impression is that it is almost as finicky about exposure as Ektar 100.

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"B"

Maximilianstr., Munich, at night

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Kodak Tri-X 400, exp. 1984, Canon A1, Canon FD 50mm f/1.4 - Plustek 8200 i SE

https://www.flickr.com/people/contrelamontre/

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Lenox, MA, last week. M4-P VC 21 f/3.5 Portra 400 in Cinestill C-41

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... and we were photographers. (Monochrome of a colour photo I post long time ago.)

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Red muscle car. Pittsburgh

 

 

M2-R | Lux' 35mm f/1.4 | Kodak Ektar 100, N+2, CS-41

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Pentax 67, Takumar 105/2.4, Fomapan 400

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Light leaks. New York, 2021

 

M2-R | Lux' 35mm f/1.4 | CineStill 800T, CS-41

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23 hours ago, John Robinson said:

At the edge of England.

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Leica M3, Summilux-M 50 ASPH, Kodak ProImage 100.  Some say ProImage has good latitude and dynamic range.  My first impression is that it is almost as finicky about exposure as Ektar 100.

John, in my experience Proimage is only fickle wrt blues. Underexposure leads to grain. Overall it has wonderful colours though. 
Rgds C.

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New limited-run red-scale film was issued by CineStill. So, naturally, I had to try:

 

Mamiya m645 1000s | 80mm f/1.9 | CineStill RedRum | CS-41

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2 hours ago, christoph_d said:

John, in my experience Proimage is only fickle wrt blues. Underexposure leads to grain. Overall it has wonderful colours though. 
Rgds C.

Thanks, that is useful to know.  My observation about ProImage (and several other C41 films) is that the best images come when the exposure is spot-on with mid-greys in the middle of the "shoulder and toe" curve (takes me back to a lot of time spent studying the Zone method and using a hand-held spot meter).  Pushing the highlights onto the shoulder or the dropping the blacks down into the toe produces negatives that can be recovered but the colour balance can change quite dramatically.  I have some test shots with bracketed exposures where the same scene produces dramatic colour shifts one stop either side of the ideal exposure.  The trade-off when comparing to modern digital is more dynamic range and the "look" that is so different.  It is a matter of aesthetics, quite hard to pin down but definitely there.

I should add of course the disclaimer that a lot depends on the choice of scanning method.  I use the Nikon CS5000ED with the native Nikon Software that does a reliable job of auto white-balance on well-exposed negatives but clearly there is work that can be done at the scanning (as opposed to post-production) stage to adjust the white balance on under- or over-exposed frames.

Edited by John Robinson
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Narkis, 2021

Mamiya m645 1000s | 80mm f/1.9 | CineStill RedRum | CS-41

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Yellow

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Zeiss Ikon Super Nettel, CZJ Triotar 50/3.5, Portra 800 (C41 cold processed: 50 min Dev Stand; 1 hour Blix Stand)

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2nd St. Anthem Diptych
Tele-Rolleiflex Portra 800

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503cx, Planar 80, Pan F Plus, ISO 80, Diafine, LS9000 scan:

 

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Fujifilm Fuji GSW690 III Portra 400 in Cinestill C-41

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M4-P VC 21 f/3.5 Portra 400 in Cinestill C-41

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18 hours ago, dimm said:

Light leaks. New York, 2021

 

M2-R | Lux' 35mm f/1.4 | CineStill 800T, CS-41

I love light leaks like this; gives the impression of flames as if the river is on fire.
I have considered many times how to induce controlled light leaks, but basically I have no idea.

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Am 14.10.2021 um 20:39 schrieb Ernest:

Not Blue
M-A APO 50

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, but isn't there a hue of blue in most of the reds ?   A very convincing monochromatic  arrangement anyway, Rog. 

vor 23 Stunden schrieb AntonioF:

Pentax 67, Takumar 105/2.4, Fomapan 400

Rural brutalism. I like the composition, Antonio. And the Fomapan is getting more and more interesting. 

vor 21 Stunden schrieb Ernest:

Usual Time
M-A APO 50 Fuji 100 Acros II

Very elegant,  Rog.  I exspect a finger, an eye or something else showing in that window any time soon.... 

vor 2 Stunden schrieb chrism:

503cx, Planar 80, Pan F Plus, ISO 80, Diafine, LS9000 scan:

 

Pan F holds a special place in my heart--and your picture shows why: nice tones, about no grain ( in MF ) and as sharp as your technique ( or shutter ) will allow. And I like the dynamic perspective. 80mm--not 60 or less ? 

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