I like film...(open thread)

[Doc Henry]

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Henry, that pic looks like it has 'sprocket hole' flair, mainly in the sky area, but extending right across the frame.

 

You're right John . The first time I remark .

I took with another camera and also several pictures on the same camera

I'll look for that

Thank you

Best

Henry

Edited August 3, 2017 by Doc Henry

[philipus]

Another Peace Palace silhouette. I honestly don't remember if the sky was this red but it might well have been since this was at the tail end of a quite nice sunset. In any event, I like how it came out.

 

Flickr

1N 200/2.8L Velvia 100

[Doc Henry]

Another Peace Palace silhouette. I honestly don't remember if the sky was this red but it might well have been since this was at the tail end of a quite nice sunset. In any event, I like how it came out.

 

Flickr

1N 200/2.8L Velvia 100

 

I like this color Philip

Not easy to photograph

Thank you for your comment about my mother

and for posting

Best

Henry

[edwardkaraa]

Adam, I'm afraid I don't know much about the zone system so it is difficult for me to comment. For instance, I don't know which zone is considered as the baseline for the speed (wikipedia suggests it's zone 1) but in any event since you use an external meter and a complex system it is difficult to say exactly whether and how much you're over- resp. under-exposing. I guess if you metered in-camera at the same time at box speed you would have a reference point. For the heck of it you could set the meter one or two stops over some time and see what happens. 

 

I've shot metered film cameras since the 1980s and have only very rarely had troubles, though when they occur it is usually because I haven't paid attention to the scen.

 

Dumb meters, by which I mean those which do not make any adjustments themselves to exposure based on the values encountered in the metering area, require the photographer to pay attention to what is in the frame, such as excessively bright or dark areas which may "fool" the meter. These are the most common meters and are found in the film Leica Ms and also in my Hasselblad.

 

More intelligent meters, such as the meters in Canon's EOS cameras and Nikon's colour matrix system, are supposedly able to make "intelligent" adjustments to exposure based on the light (and, as I understand it, in the case of Nikons matrix system also based on the colours in the metering area). I only have experience (but a lot of experience) with the EOS system and I can say that it is quite impressive, but naturally not infallible.

 

Regardless of whichever meter the camera has the photographer needs to be prepared to adjust the readings based on experience. Or just be prepared to accept whatever comes out of the camera and deal with it in post. That certainly works very well in most cases for colour negative film in light of its amazing latitude. And I find it works well enough for my photography, given how forgiving most films are and my own scanning and post-processing skills.

 

br

Philip

 

Hi Philip,

 

When I still had my Minolta spotmeter, I used a simplified variation of the Zone V system, where I took a reading off an important part of the scene and put it in the corresponding zone. A few examples below:

 

Zone I: Shadow with little detail: -2 stops.

Zone II: Shadow with plenty of detail: -1 stop.

Zone III: Middle grey with 18% reflectancy: 0 stop.

Zone IV: Caucasian skin: +1 stop

Zone V: White color with some detail: +2 stops.

 

This way I could exploit the film ISO without unnecessary overexposure entailing lower shutter speeds or wider apertures.

 

Now that I don't use a spotmeter, I still keep this system in my mind while metering.

Edited August 3, 2017 by edwardkaraa

[edwardkaraa]

I like this color Philip

Not easy to photograph

Thank you for your comment about my mother

and for posting

Best

Henry

Sorry to hear about that, Henry. Please accept my condolences.

[stray cat]

Doc, please accept my sincere condolences for the passing of your mother.

[philipus]

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Thanks Edward, that is interesting to know. 

br

Philip

Hi Philip,

 

When I still had my Minolta spotmeter, I used a simplified variation of the Zone V system, where I took a reading off an important part of the scene and put it in the corresponding zone. A few examples below:

 

Zone I: Shadow with little detail: -2 stops.

Zone II: Shadow with plenty of detail: -1 stop.

Zone III: Middle grey with 18% reflectancy: 0 stop.

Zone IV: Caucasian skin: +1 stop

Zone V: White color with some detail: +2 stops.

 

This way I could exploit the film ISO without unnecessary overexposure entailing lower shutter speeds or wider apertures.

 

Now that I don't use a spotmeter, I still keep this system in my mind while metering.

[stray cat]

sunset at the reservoir in central park. summicron r 90mm leica 6.2 portra 400 (I think, could've been 160) . . . . . 

 

 

The more I look at this, Steve, the more I like it. What wonderful colour - so atmospheric! This, I think, enhances the sense of joy that pervades the whole image.

[stray cat]

"god" light....

 

 

mccrae, 2017

m2, 35mm summåron (1955), ilførd hp5+

Edited August 3, 2017 by stray cat

[Doc Henry]

Sorry to hear about that, Henry. Please accept my condolences.

 

Doc, please accept my sincere condolences for the passing of your mother.

 

Thank you Edward and Phil , I greatly appreciate

Yes ...another beloved person gone

 

Great this thread

Best

Henry

[Doc Henry]

"god" light....

 

 

mccrae, 2017

m2, 35mm summåron (1955), ilførd hp5+

 

Wonderful black and white picture. Superb contre-jour

I like the rays of the sun

More please ....

Ha , the grain of Ilford HP5 look at the sky. HP5 a sure value for grain !

Thank you Phil

Best

Henry

Edited August 3, 2017 by Doc Henry

[edwardkaraa]

I have a question for b/w experts

 

Do you scan in RGB or single channel? Is there any advantage for scanning in RGB except triple file size?

[stray cat]

I have a question for b/w experts

 

Do you scan in RGB or single channel? Is there any advantage for scanning in RGB except triple file size?

 

 

Edward - before the experts chip in... I personally adhere to the KISS principle when scanning, especially black and white. So I scan in black and white (16-bit Grey TIFFs).

[Doc Henry]

I have a question for b/w experts

 

Do you scan in RGB or single channel? Is there any advantage for scanning in RGB except triple file size?

 

Edward , with the Nikon Coolscan 5000, for b&w , Nikon advises "grey level" 16 bits ie not RGB

Henry

Edited August 3, 2017 by Doc Henry

[Keith (M)]

Sunlit beech trees.  R5, 60mm Macro Elmarit-R, Acros100, Rodinal.

 

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[stray cat]

 

From my project "Living Like This"

 

Yesterday in Bradford West Yorkshire UK.

 

Leica 111F with 50mm Elmar.  Film is Fomapan 200 in D76 stock

 

 

 

This is a wonderful project, Paul. Bradford through your lens is an intriguing place - indeed, as Sir Winston would have it (although he was speaking of Russia), it appears to be a riddle wrapped in a mystery inside an enigma. One feels immediate empathy for the man sitting there looking outside forlornly (although it must be said that £2.50 for a pint of Carlsberg is pretty good).

[Dan Ryan]

Wow - lots of nice pictures, - the thread is getting better all the time :-)

I also read about scanning negatives and/or darkroom printing. I do both, especially as I have some stock of vitage paper. And , no, honestly : it is not exactly the same when a negative is scanned or darkroom develloped. On the other hand, my wife scans my negatives ( aswell as her negatives) as this spares chemicals and time and we can focus on the best shots. For rendering on a Computer screen, I believe that the scans make no real difference, as one also would have to scan the lab print ( as I often do) or as one has to take a digital photo/picture of the develloped paper print ...

To me , most of this makes no difference, - it is fun and I act as my instinct of the moment tells me to do.

About exposure times - I almost always stick to the indicated ASA/Din, and most of the time lightly over-expose.

But for today, something different. My chap Artie still had a couple of Agfacolour Portrait 120 rolls ( 160 Asa ) . This film does not exist anymore, it is a pity.

Here's a first example. No retouching at all, except the little dust /thin hair in my wife's scanner). I am not a fan of colour photography, but I must admit this kind of photo is worth colour.

Rolleiflex C, Planar 3.5, Agfacolour 120 Roll Film "160 Portrait", expired 2006

 

Web.Fleurs AgfaColor 1 Rolleiflex 17 .jpg

Wow,  what a shot, what colours!

[Doc Henry]

 

From my project "Living Like This"

 

Yesterday in Bradford West Yorkshire UK.

 

Leica 111F with 50mm Elmar.  Film is Fomapan 200 in D76 stock

 

 

 

From "Living Like This"

Last week at Ambler Street, Bradford West Yorkshire UK.

Leica R8  with 35mm Elmarit.  Film is Kodak Tri-X in D76 stock.

 

 

Your tittle and your pictures are really in phase and black and white is

adapted for this kind of subject Paul

Really nice black and grey tone in these two pictures, well framing and

taken at the right moment à la manière de Henri Cartier Bresson

A great work .. must be printed and put in a book

Thank you

Best

Henry

Edited August 3, 2017 by Doc Henry

[Doc Henry]

Wow,  what a shot, what colours!

 

I agree with Dan , simple and nice picture Jean-Marie , the red of the flower is beautiful

and the frame at the corner of the window is very nice

Merci

Henry

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Hallo,

Look here: Interesting Leica gear

[Doc Henry]

 

From  "Living Like This"

Street vendor Carlisle Rd,Bradford West Yorkshire UK.

Leica R8 with 35mm Elmarit.  Film is Kodak TRI-X in D76 stock

 

 

This one is also great Paul ... and in Kodak TX a good choice for b&w

If you have more ....

Henry

Edited August 3, 2017 by Doc Henry