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On the street

Topcor 5cm F1.5, Astia 100F(Expired, 2011-May batch), M4

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18 minutes ago, Doc Henry said:

and I can add Aryel  that it is more beautiful than in digital because I compared film and digital there is "smoothing" in the digital ,  no grains of silver

I fully agree with you. Your photos are really beautiful and perfectly illustrate the beauty of film. Such a mood. Thank you for sharing!

Edited by Aryel
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On 12/21/2022 at 4:18 AM, Ernest said:

Radio Bollard
MA Thambar-M ADOX Color Implosion

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On 12/21/2022 at 1:43 PM, Aryel said:

One of my first test shot after getting the Thambar back from servicing:

Electric bikes

m3, Thambar 90 ltm, sfx200 (fx39 1+14), scanned negative

 

 

On 12/21/2022 at 1:52 PM, Aryel said:

Same as above

 

On 12/21/2022 at 1:57 PM, Aryel said:

 

These two images are in less than 'ideal' condition. 

Wonderful how you use that imperfect lens. Any light is spread out, so those high key effects are particularly entrancing. 

I was wondering Aryel, if you could screw your Thambar into your enlarger and enlarge some images using this lens. Contrary to the Light spreading into the shadows, the shadows should then spread into the light, and I would be curious as to that effect. I seem to remember that William Klein played with the enlarger when doing some work for "Life is Good & Good for You in New York" (see here) and I imagine the effects would be similar? And I shudder to think what that would look like in colour...

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7 hours ago, Doc Henry said:

Here is the proof Aryel  of what I said about the fog , the clouds , the smoke ...  that film and digital do not see the same thing , for people who are used to it and who have a critical mind , the difference jumps to the eyes.

-same lens 35mm (one Summilux 35 Asph on Leica MP -Ilford HP5 400 Isos and one Summicron 35 Asph on Leica M9 set at 320 Isos)

-same place at  -  5 degrees C

Ilford HP5 dev home lab and scan in TIFF with Nikon Scan Software no correction > crop 100% include

Best

Henry

PS : this was posted here and earned me the qualifier of digging up the "can worms" because I defend the film that deserves it  ( not the digital )

Photo 1 and 2  > what photo is it digital ? what photo is film ?

Crop 100%  left of the picture ... notice the silver grain of film like micro-droplets of fog water 

Notice that behind the trees you can't see anything in digital on the Crop .....   on the film we see other trees behind
 
The digital camera software "smooths" the square pixels , hence the smooth aspect in the digital for fog , clouds ,  smoke
Best

Henry

 

 

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Thank you for sharing, this is quite a big difference. Not only more trees are visible but even without this, the grain is beautiful and enhance the image.

My own journey to film was very simple, I was shooting 100% digital when I discovered the film filters. Liked them very much and decided to try the ‘real thing’. 100$ got me a Minolta 570 with a 50mm. 5 years later all the digital gear was long gone and I never looked back. To me, film is closer to the way I want to remember things. We are making a statement each time we press the shutter. As a dad, it helps me get some control over fleeing time. When asked what I like to make photos of the most, my reply is ´everyday life’.

11 hours ago, christoph_d said:

 

 

 

Wonderful how you use that imperfect lens. Any light is spread out, so those high key effects are particularly entrancing. 

I was wondering Aryel, if you could screw your Thambar into your enlarger and enlarge some images using this lens. Contrary to the Light spreading into the shadows, the shadows should then spread into the light, and I would be curious as to that effect. I seem to remember that William Klein played with the enlarger when doing some work for "Life is Good & Good for You in New York" (see here) and I imagine the effects would be similar? And I shudder to think what that would look like in colour...

Thank you for your kind words and encouragement! I also like the idea of checking if it is possible to use the Thambar as a tool in the darkroom. I will definitely check it out and report back if we can create ´glowing’ shadows. Please give me some time as the darkroom needs some maintenance (very dirty and the safelight and curtains dropped 😅). 

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Kyoto, November 2022

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m3, summicron 50 rigid (most likely) or summilux 35 v2, rollei retro 400 (fx39ii 1+9), scanned negative

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Kilter 
MA APO-Summicron-M 50 ADOX Mission

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Window

 

 

 

M6, Summilux 50mm f/1.4 pre-asph, Kodak Gold 200

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Rhein, Gernsheim, Germany 

Hasselblad 500 C/M, Zeiss Planar 2.8/80, Fujifilm Pro 400H @ 200

 

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Andiamo!

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Reading will blow up Your mind.

Nikon F3

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When shadows are Your only memories.

Nikon F3

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6 hours ago, Aryel said:

Thank you for sharing, this is quite a big difference. Not only more trees are visible but even without this, the grain is beautiful and enhance the image.

My own journey to film was very simple, I was shooting 100% digital when I discovered the film filters. Liked them very much and decided to try the ‘real thing’. 100$ got me a Minolta 570 with a 50mm. 5 years later all the digital gear was long gone and I never looked back. To me, film is closer to the way I want to remember things. We are making a statement each time we press the shutter. As a dad, it helps me get some control over fleeing time. When asked what I like to make photos of the most, my reply is ´everyday life’.

 

 A good decision Aryel   ....  if you lokk for artistic and free photography with no constraint no stress ...  brief simple and soothing 😀

like when you watch this picture below ...

Kodak Portra 400-Leica M7-35 Summilux Asph (Portra dev in Tetenal and scan in TIFF with Nikon Scan Software > Not corrected)

Best

Henry

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