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I like film...(open thread)

Doc Henry

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Leica M5 + 50mm Summilux f1.4 ASPH + Kodak Ektar 100

Low Budget Replacement

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Michael Hiles
Michael Hiles

Bonjour Henri,   I still prefer black and white film (I use almost no colour). The advantages of digital don’t mean much to me. Seeing instant results is not so useful, since what comes out of a cam

Cyril Jayant
Cyril Jayant

This photo is from a series from some of my crazy, extreme photo adventures I  had photographing Mountains "Alpinists " and rock climbers. This is Alpes mountain range which is called   "Le Massive du

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On a week-long stay at the Faroe Islands, I took the ferry from Torshavn (the 'capital') to the southernmost island, Suduroy, and looked up potential shooting locations on the island. This image was t

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Leica M5 + 50mm Summilux f1.4 ASPH + Kodak Ektar 100

Morning Light

 

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Leica M5 + 50mm Summilux f1.4 ASPH + Kodak Ektar 100

 

Cute outside, Hardcore inside

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Stealth3kpl

Stealth3kpl

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3 hours ago, Tmx said:

Chris,

The best and simplest method in my opinion for film is using a spot meter set to a double speed of your film and measure for the shadows. In case of 100 ASA film just set the spot meter to 400. That’s it. No additional conversion needed and the shadows are in zone III.

Best regards. Jakob

Forgive my ignorance . When would you employ this strategy? Bright days rather than in cloudy conditions?

pete

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Stealth3kpl

Stealth3kpl

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11 minutes ago, Tmx said:

@Pete. It doesn’t matter. If you want to put the shadows in zone III this is the right way. At the  film box speed the outcome of the spot meter is zone V

I'm trying to get my head around it. I can see it working in bright light with shadow areas. I'm just trying to imagine it in a shady area, say where the actual range of light is only one stop - do you see what I mean? I'm not disagreeing, just trying to understand

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Wayne

Wayne

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Canon EF, FD 35/2 (Chrome nose,) Foma 200

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Wayne

Wayne

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Canon EF, FD 35/2 Chrome Nose, Foma 200

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chrism

chrism

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1 hour ago, Stealth3kpl said:

I'm trying to get my head around it. I can see it working in bright light with shadow areas. I'm just trying to imagine it in a shady area, say where the actual range of light is only one stop - do you see what I mean? I'm not disagreeing, just trying to understand

By changing the ISO on the meter it's simply automating the adjustment needed for letting the spotmeter give the exposure for shadows as if they were 18% grey - obviously they need darkening from that. In real life, there often aren't whites and blacks in a scene, and sometimes the darkest thing isn't as dark as 'the darkest shade with visible detail' so that's why I like to give myself the freedom to adjust 3 stops if the shadow is really dark, and two stops if it's the best I've got but not properly dark.

If the human eye wasn't so very well adapted to cope with changing light conditions we would be much better at estimating exposures; as it is, it does such a good job of maintaining what our brain perceives as much the same vision over an incredible range. That's why non-metered approaches use secondary indicators of ambient light (degree of cloud cover etc for Sunny Sixteen).

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Doc Henry

Doc Henry

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1 hour ago, Wayne said:

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Canon EF, FD 35/2 (Chrome nose,) Foma 200

Superb Wayne , nice and dramatic atmosphere  like you are there

Nice black and grey tone

Film gives the best atmosphere for fog because existence of the grain

Best

Henry

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Doc Henry

Doc Henry

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some red for Adam and Steve

Portra 160 dev in Tetenal

Leica M-A-90 Macro Elmar  scan in TIFF 16 bits > size 120 Mo   converted in Jpeg less nice than when watching inTiff

Tomatoes ....   campari species a good perfume of organic to;matoes

Best ....   from the "can's worms"

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Wayne

Wayne

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37 minutes ago, Doc Henry said:

Superb Wayne , nice and dramatic atmosphere  like you are there

Nice black and grey tone

Film gives the best atmosphere for fog because existence of the grain

Best

Henry

Thank you so much, Henry. As there was fog, I, of course, thought of you and this thread the whole morning. It was cold, my pants were soaked from the knees down, but the wonderful contrast of the weeds- rich gold in color- cut through the fog. It was irresistible. What a great way to spend a morning.

Best,

 

Wayne

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Doc Henry

Doc Henry

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Just now, Wayne said:

Thank you so much, Henry. As there was fog, I, of course, thought of you and this thread the whole morning. It was cold, my pants were soaked from the knees down, but the wonderful contrast of the weeds- rich gold in color- cut through the fog. It was irresistible. What a great way to spend a morning.

Best,

 

Wayne

I will post some fogs for you soon

Thank you Wayne

PS  I just try your Holga roll and may be I also hope to have  fog

Best Henry

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Doc Henry

Doc Henry

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Rural  fog with Ilford HP5 400 Isos for Wayne

Leica MP-50 Summilux Asph  - Ilford dev in Ilfosol S

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Best

H

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Ouroboros

Ouroboros

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Peak District.  Autumn 2018.

Fuji GSW690iii

Ektar

 

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Bobitybob

Bobitybob

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Hip Shot ...

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Canon EOS 1n, Fomapan 200, Rodinal 1:100

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Ostuni

FM2, Nikkor 50/1.8 AIS, Cinestill 800T

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20181125-DSC01792 by antoniofedele, on Flickr

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christoph_d

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Paris 2018, Medici love.

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M5, 50, Foma400

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