I like film...(open thread)

[sblitz]

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A very respectable camera, and portable as these things go. It will have some limitation on the movements available compared to a full-blown view camera, and this won't matter initially, but when you get confident with it and start mucking with Herr Scheimpflug, you might eventually want more. This is designed for its portability rather than its flexibility. I'm feeling my way with this at present. The photo a few pages back of L'Egoïste has some front tilt so that the plane of focus is angled away from the camera, allowing the book titles, the M2 and the title of the magazine all to be in focus, for example. This may not interest you at all, and if you intend simply to enjoy the benefits of a much larger negative, and ignore the possible movements, this would be a camera that could keep you happy all your days.

 

A Graflex Crown Graphic (leaf shutter only, Speed Graphics have a focal plane shutter too) is an older, cheaper way of achieving the same end. I bought one on eBay and a couple to cannibalise for parts. Like the Toyo, it has no movements at all on the rear standard, and limited rise/fall and tilt on the front standard. It has been superseded by a Chamonix 4x5, which isn't meant to be as portable (but works fine in a backpack) but has better movements. The 10x8 stays at home as I'm just not crazy enough to drag it outdoors as yet. You will need to supply a lens, and mount it on the lens board. If you want more than one lens, it's best to buy more lensboards. A special spanner is required to affix the lens. Lenses have their shutters built in, and they come in three common sizes, each needing its own size hole in the lensboard. A good solid tripod, a cable release and a few film holders will be needed. Then you need to think about how you will develop the negatives, and there are some easy ways to set about this.

 

The biggest thing is that you are taking on a different challenge altogether from Leica photography. Generally you will know when you set out what you intend to photograph. You may go at a certain time of day to get the right light. You might take only two shots, or perhaps as many as six. Then you come home, develop them (and figure out what went wrong in my case!). Next day you do it again. You will need a scanner capable of scanning the negs unless you plan to contact print only. Even older or lower end Epsons can cope just fine. It's a whole world of fun, but it is essentially a different occupation from using a Leica. I'm very happy to do both!

 

Chris

what lens do you put into this Toyo?

[gsgary]

Thank you David. I ordered Diafine from Maco in Germany and they happily delivered to me here in NL so I assume they'd ship to you too.

 

It's funny you mention DDX and D76 because as I am about to order new fixer I've been thinking of trying a new developer, too. How do you find these two?

 

br

Philip

DDX is great but don't expect it to last like Rodinal

[gsgary]

Do you consider the Hunting Pinks in the photo to be a fair copy of the actual ? 

I am just wondering how many people would process an image to reflect the 'true' colour or just leave the images untouched.

 

The colours are about spot on these are the scans i got back, i scan all my 120 now i have a scanner that will scan 120 all my 35mm goes through my Plustek, all my colour will be going to a Lab just round the corner from me that gets rave reviews UK Film Lab http://ukfilmlab.com/ they really take care with the scans, there's a few on here from Germany that send there

[Doc Henry]

Henry, your shot of five rocket motors suggests you have been to visit a Saturn V.

 

C.

Chris it's just

US Saturn launcher

Ian , you're also right , yes for rocket but not Ariane , next time I'll go to Guyana at Kourou

Thanks to both of you

Kodachrome is still a good film

Best

Henry

Edited February 10, 2016 by Doc Henry

[Guest]

Sometimes I stop strangers on the street and randomly ask them to pose for a portrait. It let's me pretend - on a fantasy level - that I am a photographer who knows what he is doing. Here is one from a roll that was lost in my brief case for about 9 months that I finally just got developed...

Lower Manhattan, NYC

KODAK TRI-X

 

Christ, Adam, but that's beyond good.

 

Damn.

 

Ric

[Guest]

This is why I could never do street photography. I just could not ask strangers if I could take their photographs, maybe it is my 'Britishness'! I have watched one or two of Eric Kim's videos on youtube who says he can teach you how to get over this fear, but old dogs and new tricks etc.

This was my one attempt at Street Photography and by the time that I had the shot in focus they all started smiling for me. Notice how I gave myself the barrier of the door between the subject and myself and, distance to run19585553625_29a6d0d65a_o.jpg.

 

There are two styles of street photography, in terms of confrontation:

 

Henri Cartier-Bresson typically took shots where the "actors" in his composition rarely knew that a photo had even been taken. Or if they did, he gave a friendly nod in their direction... a 50mm lens is hardly up anyone's nose.

 

Over the years, many street photographers have eroded that "distance", culminating with the likes of Bruce Gilden (the godfather of the second style) who literally shoves a Leica M4/28mm in someone's face with a cabled flash in his left hand.

 

Boom! Flash! "Thank you!" "WTF?" "I said 'thank you' what else you want?" "Erm..." "Yeah, have a nice day."

 

I very much feel that Eric Kim is more towards the second school of thought. Not saying it's bad, more that if you're not naturally confrontational in nature the it might not be the best source of advice as where to start.

 

Me, I'm more of the first school of thought. And Zürich women give baleful looks to anyone with a camera.

 

As for focus: a rangefinder can sometimes be a fiddle, so I usually set the camera to f/8 and the focus to hyperfocus, and then there's one less thing to worry about. And the film within a stop or two of the correct exposure takes the other worry away. That leaves stage fright about taking snaps of strangers...

 

Ric

[Doc Henry]

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The colors are beautiful , it's a shame not to make the color and we should shoot both, color as black and white
The Kodak CCD sensor of M8 exactly reproduced the colors of the Ektar in this picture. This is an excellent Leica digital camera. Bravo !
Sometimes I want to compare just to see, sorry this is my critical spirit who returns

Just to share with you    and just to compare the color

Your opinion ?

 

Color of roses , tulips, wood  etc...

M7 35 Summilux Asph

Kodak Ektar the favorite film of Adam  

 

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M8 Summilux 35 Asph

 

 

No correction Tiff>Jpeg and DNG>Jpeg

Nikon Coolscan 5000 for Kodak Ektar with RGB calibrated

 

Regards

Henry

Edited February 10, 2016 by Doc Henry

[chrism]

I spent a little time in the driveway today. First shot illustrates what you can do with camera movements—see how the left side of the headlight is in focus, and so is the right side of the window on the house?

 

Front_Swing by chrism229, on Flickr

 

To get that the camera looked like this:

 

Chamonix_Movements by chrism229, on Flickr

 

One with just some upward shift, but no swing or tilt:

 

Tree_House by chrism229, on Flickr

Chamonix 045N-2, Rodenstock Apo-Sironar N 210mm/f5.6, FP4+ @200, Diafine, X1 scans. Sorry for the iPhone pic in the middle!

 

Chris

[Keith (M)]

Sunday market, Moissac.  M7, C-Sonnar, AgfaVista 200.

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[Doc Henry]

Henry, you can use a Flextight for MF and LF up to 4x5 (not larger) but you don't need to go that far. A cheap Epson flatbed will do the job very nicely. I have six 4x5 negatives drying at present, all taken in your honour. I'll scan them when they are dry and see if any are worth posting up here.

 

C.

Thank you Chris for your advice.

Best

Henry

Edited February 10, 2016 by Doc Henry

[Doc Henry]

I spent a little time in the driveway today. First shot illustrates what you can do with camera movements—see how the left side of the headlight is in focus, and so is the right side of the window on the house?

 

Front_Swing by chrism229, on Flickr

 

To get that the camera looked like this:

 

Chamonix_Movements by chrism229, on Flickr

 

One with just some upward shift, but no swing or tilt:

 

Tree_House by chrism229, on Flickr

Chamonix 045N-2, Rodenstock Apo-Sironar N 210mm/f5.6, FP4+ @200, Diafine, X1 scans. Sorry for the iPhone pic in the middle!

 

Chris

It's nice to see that camera, which I think will have more and more followers

Very nice last picture Chris.

X1 a fabulous scanner

Best

Henry

[Doc Henry]

I like this panoramic format. These photos are very nice indeed, well done Jean-Marc. 

I agree with Philip

Really Superb series of landscapes JM

The last one with your daughter on the beach is also stunning

Best

Henry

[Doc Henry]

There are two styles of street photography, in terms of confrontation:

 

Henri Cartier-Bresson typically took shots where the "actors" in his composition rarely knew that a photo had even been taken. Or if they did, he gave a friendly nod in their direction... a 50mm lens is hardly up anyone's nose.

 

Over the years, many street photographers have eroded that "distance", culminating with the likes of Bruce Gilden (the godfather of the second style) who literally shoves a Leica M4/28mm in someone's face with a cabled flash in his left hand.

 

Boom! Flash! "Thank you!" "WTF?" "I said 'thank you' what else you want?" "Erm..." "Yeah, have a nice day."

 

I very much feel that Eric Kim is more towards the second school of thought. Not saying it's bad, more that if you're not naturally confrontational in nature the it might not be the best source of advice as where to start.

 

Me, I'm more of the first school of thought. And Zürich women give baleful looks to anyone with a camera.

 

As for focus: a rangefinder can sometimes be a fiddle, so I usually set the camera to f/8 and the focus to hyperfocus, and then there's one less thing to worry about. And the film within a stop or two of the correct exposure takes the other worry away. That leaves stage fright about taking snaps of strangers...

 

Ric

For Ric and David

http://erickimphotography.com/blog/2012/04/22/why-digital-is-dead-for-me-in-street-photography/

Best

Henry

[gsgary]

It's nice to see that camera, which I think will have more and more followers

Very nice last picture Chris.

X1 a fabulous scanner

Best

Henry

Here's some that show what can be done, paper negatives but notice the different shape of the face

 

  

 

   

[A miller]

Henry - Chris is better positioned to opine, but what I see is a potentially very meaningful investment on a number of levels.  So you should think it through and price it all out from end to end.  For a 4x5 entry point, you might want to start with a Crown Graphic like what Chris has.  They are very inexpensive and can be bought with lenses and will give you a way to do the end to end exposing, processing and printing very cost efficiently.  Just a thought...

 

Thanks Adam and Chris for your advices.

For now I do not plan to move to MF, but maybe I will pass 6x6 and after the MF as with this camera

I saw that the prices are quite competitive.  It will also require that I purchase a scanner MF like a Flextight.

Best

Henry

 

Henry - to be clear, the camera that you linked to is a 4x5 camera, which is considered "large format" and not "medium format."  Medium format goes as high as 6cmX9cm.  The next size up is 4"x5", whites considerably bigger.  That is good for resolution, but it comes at a cost of extra money and effort.

If I were you and wanted to dip into a larger format, I might try a Hasselblad, as the Zeiss lenses are of a quality and prestige that is on the same level as Leica, and will give you that special "glow" (please don't take the use of that term too seriously) and brilliance that you are accustomed to with your Leica lenses.  I next would consider one of the 6x9 Fuji cameras that people here have been talking about over the past few days.  It is a very simple system and will let you create 6x9 negatives, which is 50% larger than the negs from the Hasselblad.  I know people love the lenses on the Fuji but at least in my view the Zeiss lenses that were made for the Hasselblad cameras (which are German made unlike the modern Zeiss lenses which are Asian made) are more on the quality of a Leica lens.  

 

So my bottom line is that you should look for a excellent condition Hasselblad 500 c/m and get an 80mm lens, which is the equivalent of a 44mm lens in 35mm focal length terms.  This will get your feet wet, give you negatives that are plenty big, and if you get it in very good condition it will retain very good resale value.

 

Just my two cents...

[A miller]

Imposing peak of Europe,  Mont Blanc (4800m) seen from Brevant

 

 

Kodak Ekt

MP-50 LA

 

Image2mtbrevkodbispcalfht+++1000bisct.jpg

 

Best

Henry

 

wow, that's a bomb!  The blue is brilliant and the WB is very well balanced.  

[A miller]

Great set Adam,

 

I tried to locate some of the shots on your flickr but could not find the first 10 photos? Which album are they in ?!

 

Cheers JM

Hi Jean-Marc - I am very particular with what I put on my flickr page.  There are hundreds of photos that I have shared on this forum that haven't made their way onto the photostream.  I have to have a certain level of confidence in the photo from the perspective of broad public appeal.  As for the street portraits, I think they are only convincing and interesting when viewed as an overall series, and I haven't until recently considered them all.   The B&W one from today is, I think, sufficiently convincing on its own.  But for the others, I would need to consider how I can group them together including in a separate album.,  I just haven't had time to fiddle with this as I have been focused on cranking out interesting cityscapes (and also working on a building a unique series focusing on shadows and glare, upside down and right side up; we'll see if that goes anywhere...)  I really appreciate your very kind remarks.  

 

OK Adam, enough is enough with your office view and your photographs can you please take a photograph of your office door and prove it does have a nameplate stating you are the Photographic Editor for Vogue or similar ! 

Ha, ha, very funny.  I am so blessed to have a non-photographic day job and shooting people and things is merely an outlet, like for so many of us.   I just happen to have a certain degree of "chutzpah" that allows me to cross the "comfort zone" line with strangers.  

 

Christ, Adam, but that's beyond good.

 

Damn.

 

Ric

 

Ric - Thanks, Ric.  Better lucky than good, mate

[A miller]

Provia 160 on Fuji TX1 & 30mm Fujinon

 

Praia da Conceção by _JM_, on Flickr

 

BW conversion :

 

Praia do Cachorro, Fernando de Noronha by _JM_, on Flickr

 

Portra 800 (same lens camera combo):

 

Untitled by _JM_, on Flickr

 

 

Praía do Sancho by _JM_, on Flickr

 

wow, all are lovely and I especially love the first and last.  And the aspect ratio format is really special; I would keep the series going.  Thanks for sharing!

[A miller]

Ektar 100, M7 and 28 Summicron

 

Libre ! by JM__, on Flickr

 

I agree with everyone on this.  Simple yet very appealing.  And the colors are very EKTAR< which of course I love.  I would considering printing this quite large...

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[Guest JMF]

wow, all are lovely and I especially love the first and last.  And the aspect ratio format is really special; I would keep the series going.  Thanks for sharing!

 

Thanks Adam ! Your feedback as well as everyone's  here is highly appreciated and I'll share more soon ! Cheers , Jean-Marc.

Edited February 11, 2016 by jmanivelle