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Usually I do the "film box end flap in the hot-shoe" thing, but either the flaps have got bigger, or the shoes smaller, as the last roll this was difficult. Perhaps I need to cut the flap a bit?

 

Good way to remember, especially if you are trying all manner of films.

 

 

I always stow films in my bag without the paper packaging and put a strip of white masking tape on the canister (or plastic cover for 120 film). I pre-mark these strips with codes I've invented for the film types I use, such as FSR400 for Fuji Superia 400, VIA100 for Belgian 100 or PTA160 for Portra 160.

 

When I shoot a roll I put the tape on the bottom plate (or film magazine) and note the camera, motifs/events/dates, push or pull info and, sometimes, the lenses used. Works for me.

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As a sidenote I must also point out how much I like 'Poundland' film (AgfaVista 200) – in fact, I prefer it, in the main, to the saintly Portra. :o

I agree, a great film. And pushes well one stop, sometimes even two. Edited by philipus
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Downtown NYC

M-A, 28mm elmarit pre-asph, portra 400

 

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And one because some colour is improtant in life ;-)

16379847763_c6d4051f1e_z.jpg

M6 Velvia 2015-03-31-0013 by Chris Wolffensperger, on Flickr

 

Leica M6 - Summicron 90/2 - Fuji Velvia 50

Chris first you are welcome in this thread open to all lovers of film ! :)

 

Your last picture is simply stunning for color and composition

Thanks for sharing with us

Best

Henry

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That reminds me that I ought to shoot some Velvia again (still have some of the 100 variety in the freezer). 

 

One from a few years ago.

 

4100770355_b41062fdfc_o.jpg

Ian , stunning picture. It's wonderful for the nuance of colors !

Nice contre-jour and composition - framing !

Thanks for sharing

Best

Henry

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Color of KP 400

 

Aravis mountain range at sunset

(8 pm)

 

MP - 35 LA

 

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Best

Henry

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Thank you Marc :)

 

Impressive landscape at 2300 m

 

left Bossons glacier descending to the bottom of the valley 40 years ago, now moves back and remains at 2000 meters in summer (climate warming) . I am a witness  :o
right Chamonix valley side France
.

In background , Aravis Mountain Range 3200 m (pictures I posted above)

 

KodTX400

MP 35 LA

 

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Henry

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... :)

We was at the end of May (2015) and in the beginning of summer , the weather is cloudy, foggy , snowy

and very cold (-5°C). it snowed a few days before I arrived.

 

Atmosphere of winter well reproduced  by film specially snow, clouds and fog

 

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Leica MP

Kod TX400

35 LA

 

Best

Henry

Edited by Doc Henry
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... continuation

 

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MP - 35 LA - KodTX

 

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Henry

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That said, I'm also finding myself increasingly dissatisfied with my venerable Monochrom for my more 'serious' :rolleyes:  stuff (for reasons I can't fully fathom but I think it's the clarity and resolution – just too much of it – and, for all the so-called "malleability" of the files, the tonality just often isn't right) and find even 35mm ISO 400 film is doing the trick.

 

 

 

 

 

I've looked at the MM and it's successor from every possible angle I could to try and convince myself I wanted one.   I came to the conclusion some time ago that I don't want a Monochrom at all, mainly because my MP is so important to my personal work  that it would be impossible for me to justify the purchase of an MM which, frankly, wouldn't get much use by comparison.  Digital cameras are soulless things and and every single one of them exists on a photographic Death Row, even Leica digital cameras and I wouldn't trust a digital M as far as I could throw one anyway.  Conversely, the current film MP & MA Leicas (and every other working film Leica) deserve to be used in the hands of enthusiasts and artists.  Each image I make with my MP is another step on my journey, whether the image was made as a simple record of my travels, my family or my never-ending quest to experiment with different film and processing techniques and ideas, each one is a benchmark.   I just can't imagine being without my MP

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