I like film...(open thread)

[Doc Henry]

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 Both so close, but I'm going to say top one of the film shot.

 

Same here.

 

 

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Keith , Yes as I said the two pictures are pretty but when we watch "details"

it's the first picture I prefer with a reduced picture for posting , I cannot see

grains of film , , more perspective effect in pict 1 with the "nuance" (it's important

IMO) . The less contrast of picture 1 versus pict 2 gives that nuance. The 2 has

a flat effect  where clouds (with more contrast) and vegetation + hills seem in the

same plane !

Thanks again Keith for this useful comparison . So , I am not crazy (not yet)

because I agree with Gnu, Suede and Ric

Best

Henry

Edited February 8, 2017 by Doc Henry

[Guest JMF]

Oscar Niemeyer Niteroi by JM__, on Flickr

 

Color negative converted to B&W

Rolleiwide

[Doc Henry]

Doc, when I realized Kodak announced the end of Ektachrome E100VS, my go to color film, I started looking which digital cameras can get me close to slide film colors. I have a few digital cameras, all pretty good, but not getting me the look that I really want. I finally arrived at the Sigma Merrill cameras with their Foveon sensors. It's not a typical Bayer interpolated sensor, but more true RGB color. Because of this, I am able to make large prints without noise or artifacts, and the color from these files is quite a step up from my Canon DSLR or even the Leica X1 I have (though I do enjoy that camera).

 

With Digital, I enjoy the post - working with RAW files in Lightroom. I equate it to seeing that print come out of the tray in the darkroom. It's exciting to see what you can get from those files. And yes there is the convenience of immediate feedback, histograms, EXIF, yadda, yadda... but also there is something very special about doing it the old way, taking experience and applying it to exposing your film. Then (if you're like me) hoping it comes out. With Digital, there's not much hoping or anticipation, so some of the excitement is lost. Also I do think film gives a certain character to an image...I've been especially aware to that fact with some of the Portra 400 and Ektar 100 shots I see in this thread. I know there are simulations for these films, but nothing beats the real deal.

 

Several things that bother me about digital...

 

1. the cost of the cameras vs how long it is before the next greatest thing comes out. I can't keep up with the charade. I'd rather buy older more interesting film cameras (like my recent Rolleiflex).

 

2. And I say this with a grain of salt, but it seems like with the invention of the digital camera, EVERYBODY and their uncle is now a photographer, and you don't even have to know what you're doing when you could use the auto and programs modes, autofocus and get relatively good stuff. Makes it harder to stand apart from the crowd when it's so big.

 

3. Sometimes shooting digital to me seems too easy. I like a bit of a challenge (like shooting with my 4x5 and spot meter). Sometimes my results are disappointing, and if I had been shooting digital I would have walked away with something useable. But I get way more satisfaction carry around my M6 and (hoping I get a frame or two of something compelling).

 

And when it comes to LF, all bets are off. I know a Landscape photographer that shoots 8x10 Fugi Astia and Velvia and prints 4x5 feet or larger from drum scanned chromes and printed on Fugi crystal archive metallic paper. These are stunning prints (if you like that sort of postcard landscape thing). He has recently started shooting with the Phase One DB, and I can tell a difference in his prints shot on the DB in his gallery from across the room. This photographer labels his prints with what gear he uses and the shutterspeed and F stop settings in a little note below the print. I was with a friend of mine walking through the gallery, and I was calling out (successfully) which of the few prints were shot digitally with the phase ONE. To my eyes these images just did not have the punch and depth of the 8x10 shot images. Many probably could not tell or even care, but I could see it glaringly.

 

Anyway, just some of my thoughts and opinions. Every time I get a craving for one of the new digital M bodies (and boy do I), I come back to this thread and meditate, lol.

 

Gnu thanks for your comment. I forget to speak about Foveon sensor. It's true we have in this case three (3) layers of photo-pixels Red Green Blue like in film versus monolayer generally. That's why picture of Foveon is different , except the edge "cutting" in some pictures due to square pixels and software of robot camera photo ("smoothing" effect giving a "plasticized" and synthetic aspect)

I saw some nice color pictures of Sigma DP2 Merill in this link :

http://www.chassimages.com/forum/index.php/topic,215687.1000.html

 

With your comment , I must add digital camera has too much menus (that's why I call Robot)

too much complicated and we do not think enough about the photo (composition, take his time to compose) , we are deconcentrated by the back screen, to see the immediate result .... a mania

In addition we have the characteristic"Trigger syndrome" , I posted the other day in one post here , a person who with his digital camera (M240) has triggered 150,000 times * (it's crazy) , now decide to abandon digital and go to film !

Rg Henry

 

* Number of limit triggers of a digital camera is around 200,000 , after it is finished

Edited February 8, 2017 by Doc Henry

[Doc Henry]

Rogue film... it means I don't know what film it is but well past its use-by date...  and very grainy. I'm not sure about the colours but the scene itself was striking. The picture was there for the taking. Too easy.

 

Alt sunset.jpg

Suede magnifique , the brightness of the sun give a plus to the picture 

Thanks

Edited February 8, 2017 by Doc Henry

[Doc Henry]

 

Men at work (USA, CA, St. Barbara, Pier)

 

Leica M7 * Leica Summarit 2.5/75 * Adox Silvermax 100 * Adox Silvermax 1+29 * Nikon Coolscan V ED

 

 

Stefan well seen and captured . I like the looks of the two persons at left

Best

Henry

[Doc Henry]

Oscar Niemeyer Niteroi by JM__, on Flickr

 

Color negative converted to B&W

Rolleiwide

 

JM it's at Bresilia ? nice effect and nice geometry perspective

Thanks

Henry

[Suede]

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Students' art work at the Government College of Art, Chandigarh, India.

 

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[Suede]

Girls.

 

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[gnuyork]

Great! ^

[gbealnz]

Thank you Gary, I would certainly like to see that panorama. I've wanted to shoot the sun using filters since I saw this shot. 

 

Philip

Philip,

here it is, and I repeat, not film, not even Leica, but shown purely to show that stitching can work, sometimes.

The memory is not what it used to be, but I'd say the Ha (Hydrogen Alpha) shot is at least 4 panels, maybe 6. I tended to shoot quarters, plus a pair across the middle.

The white light shot possibly the same.

Getting them aligned in Photoshop was tedious, but once you got a system going it wasn't too bad.

Coincidentally, I noted the Ha shot isn't completely flat, one segment seems darker than the other. This is usually noticed more when you view from afar, or make the image smaller.

Gary

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[DirkR440]

one of the first pictures that I've made with my Rollei 35 and the CineStill50 film:

 

Zürich by Dirk Raffel, auf Flickr

[stevesurf]

Just wonderful images in this thread; here's another from Beijing and Dalian on Portra, M7/Summilux 50, zone focused and wide open.  This picture makes me hungry

 

Edited February 8, 2017 by stevesurf

[philipus]

Absolutely terrific Gary. Thank you for posting them. It's just amazing that that's a star (sounds odd to say perhaps).

br

 

 

Philip,

here it is, and I repeat, not film, not even Leica, but shown purely to show that stitching can work, sometimes.

The memory is not what it used to be, but I'd say the Ha (Hydrogen Alpha) shot is at least 4 panels, maybe 6. I tended to shoot quarters, plus a pair across the middle.

The white light shot possibly the same.

Getting them aligned in Photoshop was tedious, but once you got a system going it wasn't too bad.

Coincidentally, I noted the Ha shot isn't completely flat, one segment seems darker than the other. This is usually noticed more when you view from afar, or make the image smaller.

Gary

[jonnyboy]

Few shots from last weekend Chinese New Year in London. Shot with my M6 + Voigtlander 35mm and expired  Kocacolor 200

 

 

[gbealnz]

Very atmospheric Jonnyboy, they look great.

Gary

[Guest JMF]

A B&W conversion from a color negative shot on a Rolleiwide last week in Niteroi , Brazil.

 

Oscar Niemeyer Niteroi by JM__, on Flickr

 

Best, JM.

[Guest )-(]

Café, with 21mm Super-Angulon/HP5+

[Guest )-(]

[EoinC]

My daughter playing on the beach in December

 

Flickr

Provia 400X 80 Planar

Excellent, Philip - I love this shot.

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Hallo,

Look here: Interesting Leica gear

[EoinC]

Thanks for the compliments and comments.

 

It is pretty "wild." I do not know that I would make it a daily use film, but I ordered a few more rolls. I intend to keep it loaded in at least one camera. Having the benefit of being a witness to the original scenes, and the aftermath of use between the VC Color Skopar and the LTM 28 Summaron, I think there is some property to the film that allows it reflect, to a greater degree than normal, the optical differences in the lenses. With the Summaron, the film seems to render a more- to quote Henry- "impressionistic" result; with the Skopar, the strength of grain is increased in such a way that it appears, for all practical purposes, that you overlaid a normal photograph with a layer of grain.

 

OBTW, and this may be of special interest to Henry, of the scarce, specific claims ADOX makes about the film, they do stipulate that it is especially effective in enhancing reds.

 

Best,

 

Wayne

 

Thanks again.

Hi, Wayne.

 

Looking at these shots, I can see that it would be very good for some situations (and it may take some experimentation to find what those are regards colour, contrast and luminence). I like what it does, particularly with the skies.

 

Keep up the good work!