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Ah I think I know this place :)

 

I agree the colour is a bit off on the digital image, but the film image seems too green. 

 

br

Philip

 

 

Another example difference in color

 

Case 3 :

 

M8 160 Isos and M7 Kodak Portra 160 taken same time , same place , same lens

in Ghent 2017

Pictures uncorrected DNG and TIFF > JPEG for post as usual

 

Road sign with the difference in color of the stone wall , the white wall , the yellow line etc...

All is different 

 

 

M8 160 Isos > a little magenta cast

 

attachicon.gifL1017494gandpanneaum8lf++++1000.jpg

 

M7 KP 160

 

attachicon.gifImage5ganddkp16lf++++1000bis.jpg

 

I know that it is useless for those who are determined to use digital but I show it with

evidence that the monolayer sensor is not good for the moment.
Remember this difference when you use digital.

 

a part of this difference provides of the insufficient light * that touches the pixels with

the Bayer filter on the monolayer sensor as mentioned above.

 

Best

Henry

 

* Red and Blue 25% of light Green 50% and saturation by the camera software

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Excellent, Chris. A worthy subject and a worthy photographer. A nice way to see out 2017.

 

How are you liking the Chamonix?

 

It's so simple there isn't an awful lot to like or dislike. It's well made and it works. The results all come down to the lenses, and I only have three that will cover the image circle for 10x8, and all are portrait length. I can carry it in a large backpack for short distances, and the tripod for it is also big and heavy. I'm finding that I'm settling on paper negatives with artificial light for portraits (and the Galaxy Hyperspeed is a boon for this - no one can sit still while ISO 3 Ilford MG paper exposes, which often takes several flashes and some time at ambient light) and sometimes HP5+ which I can rate at 640 for development in Diafine.

Mostly I prefer the paper negatives; I can expose a pair, disappear into the dark and tray develop them under a safelight and emerge knowing how to adjust the exposure (a kind of slow-motion chimping).  I'll use 4-6 sheets of paper until I'm happy about exposure.

The Chamonix 4x5 is a much easier proposition to carry into the field, but it still takes a backpack and a medium weight tripod. For it I use HP5+ and FP4+, since cutting 10x8 sheets of paper under a safelight into 4x5 rectangles that fit the film holders perfectly is quite a challenge. The lens I have for it is a wide-normal so it is better for outdoor work too.

Large format is practically a different hobby/obsession to MF/35mm ("miniature cameras"), and I'm treading carefully around its edges - it would be easy to fall in and become one of those cranky bearded guys that can think of nothing else. That might mean, for example, that when Henry suggested I print the picture of Thomas, I would want to get a 10x8 enlarger (ever seen one? They travel by truck and need reinforced flooring!) A contact print through the back of the paper is the only way I'll ever manage to make a darkroom print of that one!

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M2 Adox  Berlin / Pankow

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Edited by becker
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Michael , one box of Ilford Mutigrade paper in format 12,7x17,8 cms (100 sheets) costs 34 Euros

so one photo is around 3.4 cents.

The second advantage is silver paper impressed by the light of enlarger , not deposit ink on

paper like in digital printer and in addition you need your computer and inkjetprinter , the great

difference... and the pleasure to work in darkroom , not in front of his computer

You can also choose one part of your negative and crop a little like for portrait ....

Best

Henry

 

Henry,
 
I am with you completely. The costs here are similar to your costs in France on a cm2 or inch2 basis. And learning to print well is something to highly value. 
 
It seems to me that any art should be supported by skilled craftsmanship. Music, painting, sculpture, all are incomplete without the development of the craft behind the final results.
 
In B&W photography, that basic craft continues to be the silver print.
 
I think it is not useful to confuse photography’s craft and its art – when a fine print is on the wall, Summicron vs. Summilux or HP5 vs. Tri-X doesn’t matter. If a picture has to rely on the story of the lens used or the developer, there is no hope, IMO.
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