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I like film...(open thread)

Doc Henry

By Doc Henry
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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

helged
helged

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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KevinL

KevinL

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Buza, Dubrovnik | Flickr

Buza is a bar in Dubrovnik which is perched on a few cliffs outside the city walls towards the water. Today it's unpleasantly full of tourists but 15 years ago when I went the first time it was very different, a bit more like the mood of this photo. Velvia 100 with the 50 Summilux.

 

 

 

 

 

Colors are really pure in this.  At this size, at least, I'd think this was digital if I didn't know better.  (I'm sure Henry would be shocked or horrified at that, but I'm not saying it's good or bad ... just observing.)  

 

I'm normally a 100% b/w man, but getting the urge to shoot some color and given the cost of lab processing these days, I definitely would want to try developing my own.  I should probably start a new thread, but given that plenty of the denizens here develop their own color negs, I'll just ask here: is there any difference in the kits out there?  Any common mistakes with any of them?  Thoughts?

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chrism

chrism

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Great-looking apples Chris. Is HC-110 your preferred developed for XP2? I have a story that's not too dissimilar from what you write about old girlfriends. Those were the days.

 

I have pretty much settled on using HC-110 for just about everything. XP2 comes out even smoother in Rodinal 1+100 for an hour, but I wanted to do the XP2 and the TMax 100 at once in the same tank, so HC-110 it was. I still keep Diafine around for large format where large volumes of developer are needed and having it reusable (if not inexhaustible!) is a great help.

 

C.

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philipus

philipus

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Thank you Kevin. In my experience, slide film does have some qualities that digital has, especially that highlights easily white out. But even almost completely white highlights can be recovered a little bit, which is different from digital. And transparencies look very clean, like digital, because of the lack of grain (in most cases - under-exposed and pushed images are the main exceptions).

 

But even though the images are so clean there's a filmic look. I think it's due to a combination of the generally vivid colours, the particular colour reproduction of each brand/type of film and slide film's contrast curve, which is different from digital's. Slide film, to me, feels rich and luscious.

 

Unfortunately I can't help with your question about developing kits but I'm sure other members can.

 

Br Philip

 

 

Colors are really pure in this. At this size, at least, I'd think this was digital if I didn't know better. (I'm sure Henry would be shocked or horrified at that, but I'm not saying it's good or bad ... just observing.)

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Fotoklaus

Fotoklaus

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Praktica Super TL, Meyer-Goerlitz Oreston 1.8/50, APX 100

 

Welcome, dear visitor! As registered member you'd see an image here…

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gsgary

gsgary

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Pentax K2, 50/1.7, TMax 100, HC-110. X1 scans:

29250470455_ff4360a6a8_c.jpg

Calla Lily Leaves by chrism229, on Flickr

 

29171706761_e229d1c8c3_c.jpg

The boat that wouldn't float by chrism229, on Flickr

 

28627287544_77cd4ac47d_c.jpg

Rowan by chrism229, on Flickr

 

Chris

Looks like a very good lenses, do you have the 85mm f1. 4 that beats most modern Canon and Nikon 85mm

 

Sent from my SM-G903F using Tapatalk

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atournas

atournas

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Praktica Super TL, Meyer-Goerlitz Oreston 1.8/50, APX 100

 

attachicon.gifSuperTL_April15_31.jpg

 

 

Your image, taken with Meyer-Goerlitz Preston on Praktica, makes me wonder why one needs expensive equipment to shoot interesting photographs.

 

Shot taken with a Zenit-E and a Soligor C/D 28mm f2.8 on Kodak Gold 400 ASA

 

Paul

 

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gbealnz

gbealnz

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Your image, taken with Meyer-Goerlitz Preston on Praktica, makes me wonder why one needs expensive equipment to shoot interesting photographs.

 

Shot taken with a Zenit-E and a Soligor C/D 28mm f2.8 on Kodak Gold 400 ASA

 

Paul

 

You're absolutely right Paul, and this shot shows it perfectly. You need to sell off or give away that gear in your signature, and just use the Zenit :rolleyes: .

 

Coincidentally, I started out with a (new) Zenit-E, and shortly after bought the Soligor 28 (might have been a 35, not sure) as well as the Soligor 135.

 

Heady days those 60's/70's.

Gary

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gbealnz

gbealnz

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Surf School.

R8

28-70 R

Kodak 200.

Plusteck 8100.

Gary

 

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atournas

atournas

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Layers of Nature; T-Max 400 ASA.

 

Paul

 

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atournas

atournas

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You're absolutely right Paul, and this shot shows it perfectly. You need to sell off or give away that gear in your signature, and just use the Zenit :rolleyes: .

 

Coincidentally, I started out with a (new) Zenit-E, and shortly after bought the Soligor 28 (might have been a 35, not sure) as well as the Soligor 135.

 

Heady days those 60's/70's.

Gary

 

 

Hi Gary,

 

I had bought the Soligor from a small shop at Camden Town, London, for £10! That was in early 90's. A long trip since then and here I am now, blaming my ultra-expensive cameras for all evils in photography!

 

But I can't get rid of them (ha ha!)

 

Paul

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