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I was digging through some old stuff today.

 

Ricoh XR X-3PF, 50mm, unfortunately I don't remember the film and the negative is lost, I just have a scan.

 

It took me many trips into London and many rolls of film to get this image.

 

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Another from my London days, Canary Wharf. It was right after capturing this I was informed by a nice gentleman in uniform that you're not allowed to use tripods on the platforms on the DLR.

 

Ricoh XR X-3PF, 50mm, Kodachrome 64, polarising filter.

 

 

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And finally, a pair, Canary Wharf, London.

 

Ricoh XR X-3PF, 50mm, Kodachrome 64, polarising filter.

 

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A huge thanks to everyone for their input!  

The crack multi-quote police won't let me quote all who left a comment.   So hopefully I am remembering everyone when I thank Gary, Chris, Marc, Henry, J, Christoph, Marc, Gregor, James, Philip, Eoin and Charles for taking the time to give me your opinion.  I really sincerely appreciate it.  

 

The photos with the calm water were from the earlier part of the morning when the required exposure was very long (up to over a minute).  Once the exposure gets above a few seconds with this kind of low light, I am pretty much convinced that Henry's concept of "faithful colors" pretty much is thrown out of the window, unless one uses the exactly right color correction filter, which I don't generally use.   The Ektar clearly retains a lovely color palette better with the long exposure (even very long).  And shadow detail.   BUT, the Provia 100F doesn't do a bad job of not going hog wild with magenta and blue casts (like Velvia 50 is prone to do) with the long exposures, and did a better job with robust contrast.  I think I could get a better result on the contrast with the Ektars with more PP.  But as a baseline the Provia was more plug and play ready from the perspective of the highlights and blacks.  Having said all of this, I think these were the two best films on the market for this shot, unless I had exactly the right magenta filter to correct the heavy magenta cast from the Velvia 50, in which case I'd throw that into the mix as well.

All in all, it was a fun time shooting.  Note to self - In August, the Dead Sea feels the least like a hot bowl of soup before 6am :)

Thanks again!

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Here's another set of ice - I mean salt - formations from the Dead Sea :)


SWC, Provia 100F


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Henry, 

 

Did you visit the museum? Apart from a wide range of exhibitions, they have a rather nice brasserie on the ground floor.

Here a detail view of part of the exterior (I have no idea how the tire tracks got up there...).

 

attachicon.gif160724_2_MP_0004.jpg

MP, 2.5/90, FP4, ns

 

Rgds

 

C.

 

Christoph, I don't know this museum at Lyon.

It seems a very nice building by the architecture and the modern style.

If I'll go to Marseille the next time I'll make a stop to visit this museum.

Thanks for posting

Regards

Henry

Edited by Doc Henry
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MP. 35 or 50, FP4, ns

 

Rgds

 

Christoph

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Leica MP Classic summicron 35 asph superia200

Chucky scene

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Edited by janorun974
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Contax T3, APX 100, Rodinal 1:25

 

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Contax T3, APX 100, Rodinal 1:25

 

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Leica MP Classic summicron 35 asph superia200

Chucky scene

 

Jean I find a light blue cast on my Eizo screen

I hope you allow me to post this picture corrected below :)

Your opinion ?

 

I have sent you a MP but I have no reply.

You have a Imacon and you want to sell in french forum isn't ?

You abandon analog ?

Best

Henry

 

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Sifting through a bunch of newly processed rolls. Not sure that tri-X is the best choice of film for such contrasty light but you have to use what's already in the camera. :D

 

A local river.

tumblr_odvfcrVnBK1r1w4b4o1_1280.jpg

It's nice Ian

I have this kind of picture in TX .. may be better here for contrast

Which film ?

Best

Henry

Edited by Doc Henry
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