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I like film...(open thread)


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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 Mont Blanc", Haût Savoir region  In France.  And this place is a White valley ( La Vallee Blanche - Chamonix ) the most beautiful region You must visit. I was very brave enough to carry my Medium format two lenses/ meters/ and a Canon EOS and a 50mm, a lot of films No tripod/ It is crazy when I thi

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 camera is always far from a final result, and the final result requires time and thought.   Film also continues to improve. The quality of available film and developers is as good as it has ever been, and it is still as competent as digital sensors of equivalent size.   I also much prefer silver g

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 taken a little before the sun was setting in the ocean, with wind from the west (left). With the uplift of the humid air at the cliffs, fog and clouds drifted over the island. A quite typical situation for the islands; the ocean can be more or less cloud free, but the islands are generally covered in

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This weekend, my first time in my new darkroom with laundry.

 

 

I missed out on the whole darkroom experience as a kid (being good at one sport was a major pitfall.)

I have a lifetime of things to learn but 4950ml more developer and 189 sheets of paper in which to make a start

coogee, I love that enlarger! I have the same, Durst Modular 70. I notice you have the colour head fitted. For B&W printing I can recommend you acquire the Modular 70 Vario head. That assumes you are printing multigrade papers, although I notice the bunch of prints in the pic are fibre based so that may be your preference, to use graded paper.

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Thanks everyone for the nice words and encouragement and go for it KevinL! it's a 'perfected technology', not one in a state of flux, and I couldn't see an improved alternative that met my needs in 2016.

Like Doc Henry might say on this thread, "I've upgraded to film printing"

 

Good spot Erl, yes it's a Durst M70 and I agree it's awesome.

I do use the colour head for the above the lens filtration, with the intention to do some split contrast using the multigrade filters below the lens too.

And I decided to just dive right in with multigrade fibre. I figured it was in for a penny in for a pound and I may as well get stuck into the good stuff. Just little 5x7 to start with. I have a box of 8x10 as well, then we'll see if I like bigger or if small is best, depends on the quality of the output too of course!

 

And thank you, I'll look into the other head, sounds very promising - I've only used a colour head so I need to school myself in what the benefits are as I have no idea right now. 

 

Sorry for the diversion... back to the business at hand

 

Well dressed man inside Zero, HP5

 

My daughter, Ektar 

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Thanks everyone for the nice words and encouragement and go for it KevinL! it's a 'perfected technology', not one in a state of flux, and I couldn't see an improved alternative that met my needs in 2016.

Like Doc Henry might say on this thread, "I've upgraded to film printing"

 

 

My daughter, Ektar 

 

 

 

I like that, "perfected technology".  

  Just need to find a nice affordable (and local) Focomat IC and I'll likely take the plunge.

 

And, finally, you named your daughter Ektar?  Now that's film dedication!  

 (j/k)
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One of the joys of B&W film technology is that it is a "perfected" technology that continues to improve in an orderly way. In my view, film has never been better, and it continues to improve. I think that is also true of paper. And developers. Even printing technique improves, what with techniques like split grade printing. The combination of wonderful materials and a craft that always offers a new challenge - plus the possibility of results that are stunningly beautiful - what can be better.

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NYC dog for Gary...

Horribly underexposed yet salvaged to an extent

M-A, 28mm elmarit pre asph

Portra 400

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Under the the B6. Leica iif and cv15mm(cropped), Tx400.

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I am typically not one to rush images on this thread without a careful HQ scan and edit in the comfort of my own home.

 

But i thought i'd break the rule just once to share some photos from the Dead Sea from this past weekend.

 

I shot them with my M7, 50 lux asph and CINESTILL 50 (no schmootz and rolls that the Wright Brothers sent me personally after the last debacle)

 

The scans are very basic untouched low res lab scans (which i never buy but thought my wife would have fun sharing them with family via Whatsapp) from Panda Labs in Tel Aviv, which is great in every way (e.g., they lent me a giant light table for a few days to study my slides at home).

 

Further, like an overexhausted idiot i opened the camera up before rewinding this particular roll of film, and I did this outside on 45C heat.

 

I will likely be able to improve on the results materials once i get home. But there is something about them that is just right the way they are.

 

Another note, due to the dark mud i opened up anothet half to full stop beyond my normal ETTR approach. The film handled this VERY well and i think it is worth reiterating that this film can handle a fair defree of overexposure very well but (based on past experiences) does NOT like to be underexposed.

 

Subjects are my family. We had a great time. Shot 13 rolls of velvia and provia with my sec, which i will share in the coming months.

 

 

 

 

 

Edited by A miller
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I am typically not one to rush images on this thread without a careful HQ scan and edit in the comfort of my own home.

 

But i thought i'd break the rule just once to share some photos from the Dead Sea from this past weekend.

 

I shot them with my M7, 50 lux asph and CINESTILL 50 (no schmootz and rolls that the Wright Brothers sent me personally after the last debacle)

 

The scans are very basic untouched low res lab scans (which i never buy but thought my wife would have fun sharing them with family via Whatsapp) from Panda Labs in Tel Aviv, which is great in every way (e.g., they lent me a giant light table for a few days to study my slides at home).

 

Further, like an overexhausted idiot i opened the camera up before rewinding this particular roll of film, and I did this outside on 45C heat.

 

I will likely be able to improve on the results materials once i get home. But there is something about them that is just right the way they are.

 

Another note, due to the dark mud i opened up anothet half to full stop beyond my normal ETTR approach. The film handled this VERY well and i think it is worth reiterating that this film can handle a fair defree of overexposure very well but (based on past experiences) does NOT like to be underexposed.

 

Subjects are my family. We had a great time. Shot 13 rolls of velvia and provia with my sec, which i will share in the coming months.

 

image.jpeg

 

 

image.jpeg

 

 

image.jpeg

 

Lovely set Adam, I especially like the bokeh-ed parasols echoing the young man and his hairstyle :-)

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I am typically not one to rush images on this thread without a careful HQ scan and edit in the comfort of my own home.

 

But i thought i'd break the rule just once to share some photos from the Dead Sea from this past weekend.

 

I shot them with my M7, 50 lux asph and CINESTILL 50 (no schmootz and rolls that the Wright Brothers sent me personally after the last debacle)

 

The scans are very basic untouched low res lab scans (which i never buy but thought my wife would have fun sharing them with family via Whatsapp) from Panda Labs in Tel Aviv, which is great in every way (e.g., they lent me a giant light table for a few days to study my slides at home).

 

Further, like an overexhausted idiot i opened the camera up before rewinding this particular roll of film, and I did this outside on 45C heat.

 

I will likely be able to improve on the results materials once i get home. But there is something about them that is just right the way they are.

 

Another note, due to the dark mud i opened up anothet half to full stop beyond my normal ETTR approach. The film handled this VERY well and i think it is worth reiterating that this film can handle a fair defree of overexposure very well but (based on past experiences) does NOT like to be underexposed.

 

Subjects are my family. We had a great time. Shot 13 rolls of velvia and provia with my sec, which i will share in the coming months.

 

image.jpeg

 

 

image.jpeg

 

 

image.jpeg

 

 

The happy mood comes through in the images -- they're all excellent.  Top two are particularly jovial and fun.  

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A nice set, I also like the last one. Cinestill seems quite fine-grained.

 

Out of curiosity, what is your normal ETTR approach (EI)? I shoot my ISO 400 rolls at EI100 and the ISO 200 rolls at EI100 or EI50, depending on the light, and always develop at box speed.

 

br

Philip

 

 

Another note, due to the dark mud i opened up anothet half to full stop beyond my normal ETTR approach. The film handled this VERY well and i think it is worth reiterating that this film can handle a fair defree of overexposure very well but (based on past experiences) does NOT like to be underexposed.


image.jpeg
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Lovely set Adam, I especially like the bokeh-ed parasols echoing the young man and his hairstyle :-)

 

Thanks, Jean-Marc.  That hair style is in fashion no with young boys.  I have to bite my tongue every time I see him.  

The happy mood comes through in the images -- they're all excellent.  Top two are particularly jovial and fun.  

Thanks, Kevin.  We were just after breakfast, which helps explain the jovial mood

 

Now we know where he goes on summer holiday. Dubrovnik.

 

Flickr

TTL 90 Elmarit-M Velvia 100

good one, Philip!

 

A nice set, I also like the last one. Cinestill seems quite fine-grained.

 

Out of curiosity, what is your normal ETTR approach (EI)? I shoot my ISO 400 rolls at EI100 and the ISO 200 rolls at EI100 or EI50, depending on the light, and always develop at box speed.

 

br

Philip

 

Hi Philip -

 

My normal ETTR approach with C41 and family or junky photos is to take a reading of incident light that is more or less illuminating the subject that I want to shoot, and then open up another stop or stop and a half.  So on a perfectly sunny day with portra 400 if the meter says f16 (or close to it) at 1/500 I would probably shoot at f8.5 or 11 and 1/500.  There typically areas in the scene that don't have as much light coverage and so the extra bit of exposure will keep the strong detail in these areas and preserve the detail in the highlights.

 

In the cinestill scenes above, I think I was shooting a good 2 stops over what the meter reading said.

 

With landscapes and such where I want to be really careful, I will use my spot meter to take an average of the lightest and darkest areas that I want detail, and then I usually will increase the exposure by a half or even a full stop depending on the level of contrast.

 

With E6, it depends on what film I am shooting,.  I have just shot several dozen rolls of provia 100F and velvia 50.  I normally found that I could narrow down the correct exposure with my spot meter by:

-with Provia 100F, metering for the brightest part that I want detail (usually zone 7.3 or so); then I would take another shot with the exposure reduced by a half stop.  I have found that most of the time the slide that has been stopped down an extra half stop is the more correct exposure.

 

-with Velvia 50, metering for the highlights, as above, taking the shot and then taking another shot with a half stop increase in exposure.  I usually find that the slide with the extra half stop is the more correctly exposed shot.    This is consistent with what you hear on the internet about velvia 50 really being an ISO 40 film and how many people will rate it at 40 iso. 

 

Best, Adam

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