I like film...(open thread)

[adelie]

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The silent silky and sultry humidity moistens the nape of your neck.

Leica M5 - 35mm Summicron on Kodachrome 64 colour slide film. Scanned on a Nikon Coolscan 8000ED with Silverfast 8.8 HDRi Archive Suite.
 

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[A miller]

23 hours ago, pico said:

Just a tiny nudge to closer focus is good - and bracket. Keep in mind that our x17cm cameras use longer lenses than 35mm cameras so ours have greater depth-of-focus (rather than depth-of-field).

Thanks very much, Pico, for your help.  And I really appreciate the pic you posted illustrating the special focus indicator.  None of my lenses have this, unfortunately.  Sounds like bracketing is key but for me the focusing may be my biggest challenge.  I need to read more on his subject!

23 hours ago, gbealnz said:

Adam,

Try it at home obviously first. I used Rollei Superpan 200, and yes it's not a real I/R film, but it does have some I/R sensitivity. I liked it as it was available, but also as I could use it as a normal 200 film, then by using an appropriate filter, use it as an I/R film too. There will be other films for sure, and there is a "dedicated" I/R film if the Rollei line, but my understanding is that the Superpan 200 is as good as most have wanted.

I have a proof sheet with exposure times etc, and you'd need a filter, and tripod, but nothing untoward. The focus point is slightly different, I'd wager the SWC and you 503 lenses have an I/R mark. It's normally about the f5.6 point anyway.

Given the filter blocking most of the viewing light I found the SWC to be simpler, but used also the 503 with the 50/4 and the 100/3.5.

Holler if you get stuck.

Gary

 

Thanks very much, Gary.  Really appreciate your insights on this!

15 hours ago, frame-it said:

pity..this one is almost impossible to find!

https://www.lomography.com/magazine/137423-konica-infrared-750-nm-perfect-film-for-infrared-photography-beginners

Yes indeed, that film was a beauty.  Thanks very much for sharing this!

13 hours ago, stray cat said:

 

cape schanck 2019

M6TTL, 50mm Elmar, Ektachrome 100

Fantastic, Phil.  I fully agree with Christoph!

11 hours ago, philipus said:

Inspired by Phil's great shot just above, here's someone who jumped into the North Sea in October last year, I think to surf.


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80 Planar XP2 (EI400) HC110(E) X1

Very beautiful scene, Philip.

7 hours ago, christoph_d said:

HI Adam, 

You made me curious, using IR photography at the dead sea sounds like an interesting plan. I'm by no means a guru, however, I have some limited experience that I can share. 

I believe that with the demise of the Efke IR film no true IR film is available anymore (if someone knows otherwise please let me know). 

Films that I know of are all sensitive only in the near-infrared. Those include in Format 120:

• Ilford SFX 200, sensitivity 740-780, IR filter @715
• Rollei Infrared, no sensitivity data available to me, but I expect similar sensitivity to the Ilford film. I'd recommend an IR filter @715 

In Format 35 there are additionally available:

• Adox IR-HR PRO (only limited availability) Peak sensitivity @ 740, IR filter @ 715
• Washi Z, but no technical data available to me

All above films have best IR-like results with a filter like the B&W 092, Heliopan RG715 or Hoya IR 720. For correct exposure you will have to experiment as, when you use the filters, the exposure depends to a large extend at the IR light available. A rule by thumb would be to start with about 5 stops less exposure. In my experience with a Leica you can just about take pictures free-hand in full sunshine. 

A learning factor was a ruined film (in the circumference of the Rome challenge) whereby I used a true black IR filter with the Rollei film (B&W 093). True to form the film was truly black, with the exception of one or two pictures in which I photographed straight into the sun. The sun was just visible in those frames 😪

As to the focusing. If you use a Leica lens the recommendation I got from their very friendly technical staff was: 

As normal photographic lenses aren't corrected for IR light (with the exception of apochromatic corrected lenses) the focussing needs to be adapted. Infrared indications as for example the red dot with an "R", as former Leica lenses carried, can only be used as indication, as the marking is only valid for a combination of a specific film and filter at the infinity point of the lens. 

As an estimation one can assume that an extension of 1/200 to 1/400 of the used focal length is needed, though a test would have to be conducted to identify the best value. The process would be to identify the optimal infinity adjustment for the lens. If one assumes that that would be 1/300th of the focal length, the lens would not be adjusted to infinity, but to a distance that responds to 300 focal lengths of the used lens. With a 50mm lens it would be 15m (300 x 50mm) with a 90mm lens 27m, with a 135mm lens 40m etc. After exposure and development of the film it should be possible to identify the optimal distance using the best sharpness of the negative. 

In practice I used a 2,8/28A and 2/35A lens , the rule of thumb of 1/300, and at least an aperture that would ensure that the depth of field would cover any inaccuracies. 

It is good practice to start using IR films with light from the side, as the wood effect is weakened by front- or back-illumination. Photographing people gives an interesting marble effect of the skin, that may not always be flattering. In the attached picture I was exploring how IR photography would expose tattoos, and I used one of these pictures as my entry for the Australia-challenge in Melbourne. 

 

M4-P, 35, Rollei IR400, Rodinal

This is really helpful info, Christoph.  It has inspired me to dig more into this, for sure.  And then your photos below nearly psyched me out of the idea b/c your mastery is something that I likely will  not attain.  They are simply stunning.  

7 hours ago, christoph_d said:

A deep-in-the-woods picture from Tasmania, a little IR, only where touched by the sunlight.

 

M4-P, 28, Rollei IR400, Rodinal

 

6 hours ago, christoph_d said:

Another picture illustrating the wood effect in side-light.

 

M4-P, 50(?), EfkeIR820

 

6 hours ago, Pyrogallol said:

No scanned prints to show at the moment, but I am using Rollei 400 infrared film with Leica Rd, Rh and IR filters, along with B&W 092 and other 25A filters. In my experience they all need about 5 stops exposure more than a hand held exposure meter gives for normal light. I think that even though to the eye the filters have much different densities they have a similar need for about 5 stops on the film, maybe they cut out different degrees of the blue end of light. At the moment I have a roll in a Reid 3 (first roll in a new camera) and am using the e39 IR filter on a 50mm f2.8 screw Elmar.

Thanks very much for your info.  It is really helpful!

2 hours ago, pico said:

Thanks for your generous help, Gary. Below is a snapshot. Hope it helps!

 

Aha, that's what you mean - Long live old lenses!

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[A miller]

Meet Shoshana, who behaved so well thanks to my little Bedouin friend, Ahmad 😃

Ektar 6x17

180mm Schneider APO Symmar (wide open at f5.6)

Technorama 617siii

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Edited May 20, 2019 by A miller

[stray cat]

6 hours ago, christoph_d said:

I think the brilliance of a well exposed slide is unsurpassed. One can only guess at the feeling of the sparkling sea in your slide. Did she jump in? 

 

5 hours ago, Suede said:

Brilliant, in a word!

 

2 minutes ago, A miller said:

Fantastic, Phil.  I fully agree with Christoph!
 

Thank you sincerely Ian, Philip, Christoph, Pritam and Adam, and all who gave this picture an encouragement. Not sure whether the girls jumped in, but I hope not, as it is a good place for seals - and, more to the (great white) point(er), for the sharks that come in to feed on them:

. Plus, as I'm sure Pritam will recollect, the wind was all over the place that day.

[stray cat]

4 minutes ago, A miller said:

Meet Shoshana, who behaved so well thanks to my little Bedouin friend, Ahmad 😃

Ektar 6x17

180mm Schneider APO Symmar (wide open at f5.6)

Technorama 617siii

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That's so beautiful, Adam! Dromedaries and camels have such characterful faces, don't they?

[stray cat]

7 hours ago, christoph_d said:

HI Adam, 

You made me curious, using IR photography at the dead sea sounds like an interesting plan. I'm by no means a guru, however, I have some limited experience that I can share. 

I believe that with the demise of the Efke IR film no true IR film is available anymore (if someone knows otherwise please let me know). 

Films that I know of are all sensitive only in the near-infrared. Those include in Format 120:

• Ilford SFX 200, sensitivity 740-780, IR filter @715
• Rollei Infrared, no sensitivity data available to me, but I expect similar sensitivity to the Ilford film. I'd recommend an IR filter @715 

In Format 35 there are additionally available:

• Adox IR-HR PRO (only limited availability) Peak sensitivity @ 740, IR filter @ 715
• Washi Z, but no technical data available to me

All above films have best IR-like results with a filter like the B&W 092, Heliopan RG715 or Hoya IR 720. For correct exposure you will have to experiment as, when you use the filters, the exposure depends to a large extend at the IR light available. A rule by thumb would be to start with about 5 stops less exposure. In my experience with a Leica you can just about take pictures free-hand in full sunshine. 

A learning factor was a ruined film (in the circumference of the Rome challenge) whereby I used a true black IR filter with the Rollei film (B&W 093). True to form the film was truly black, with the exception of one or two pictures in which I photographed straight into the sun. The sun was just visible in those frames 😪

As to the focusing. If you use a Leica lens the recommendation I got from their very friendly technical staff was: 

As normal photographic lenses aren't corrected for IR light (with the exception of apochromatic corrected lenses) the focussing needs to be adapted. Infrared indications as for example the red dot with an "R", as former Leica lenses carried, can only be used as indication, as the marking is only valid for a combination of a specific film and filter at the infinity point of the lens. 

As an estimation one can assume that an extension of 1/200 to 1/400 of the used focal length is needed, though a test would have to be conducted to identify the best value. The process would be to identify the optimal infinity adjustment for the lens. If one assumes that that would be 1/300th of the focal length, the lens would not be adjusted to infinity, but to a distance that responds to 300 focal lengths of the used lens. With a 50mm lens it would be 15m (300 x 50mm) with a 90mm lens 27m, with a 135mm lens 40m etc. After exposure and development of the film it should be possible to identify the optimal distance using the best sharpness of the negative. 

In practice I used a 2,8/28A and 2/35A lens , the rule of thumb of 1/300, and at least an aperture that would ensure that the depth of field would cover any inaccuracies. 

It is good practice to start using IR films with light from the side, as the wood effect is weakened by front- or back-illumination. Photographing people gives an interesting marble effect of the skin, that may not always be flattering. In the attached picture I was exploring how IR photography would expose tattoos, and I used one of these pictures as my entry for the Australia-challenge in Melbourne. 

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M4-P, 35, Rollei IR400, Rodinal

I've been really interested to read all the input about IR photography, following Adam's call for advice on the matter. Firstly, it never ceases to amaze and delight how much knowledge there is here and how willing people are to share it. Secondly, it has made for extremely interesting reading and some inspirational photographs like Christoph's (above) and how the films react in different applications. I tried IR a few times years ago, but certainly with nothing like the knowledge that has been freely given here and with "meh" results. Can't wait to see how this interesting tangent progresses!

[stray cat]

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15 hours ago, philipus said:

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55/2.8 Micro XP2 (EI400) HC110(E) X1

I've been meaning to say, Philip - this is wonderful. Minimalism crossed with dramatic lighting rules!

[A miller]

14 minutes ago, stray cat said:

That's so beautiful, Adam! Dromedaries and camels have such characterful faces, don't they?

Thanks a lot, Phil.  Totally agree.  They are very photogenic, especially when they dress up

[Ernest]

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M-A APO 50  E100

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[mikemgb]

Going down the Google rabbit hole. I bought three cameras tonight, a 1913 Kodak Vest Pocket, a 1940 Pearlette and a Mulix. The Pearlette and Mulix are both new to me, I'd never heard of them. The Mulix is the fascinating one, it has the name and address of the original owner written in the case.

According to Twitter: The camera used to belong to Mr. Saburo (三郎) Ishibashi (石橋) in Hiroshima Prefecture(廣島縣). According to the website the town 吉舎町 doesn't exist now. the town & other 5 towns merged in 2004.

I love finds like this!

 

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[Guest]

Well for those of you guys that know me I'm not the most patient guy in the world and defiantly not someone who in meticulous. I got myself a new 50mm CFI lens a few days ago as I wanted to start shooting 6 x 6 again. This morning was my first chance of getting out to shoot a roll of Kodak Etkar and continue with my home C41 developing skills............Ive developed 4x5 C41 at both 30 degrees and 38 degrees and got really good results, but those were 4 x 5 not 6x6 (meaning I only needed 350mm of chemicals verses 590 for 120 film). Well I went out and shot one roll of film, I was shooting the monks while there were doing there morning rounds while it was still relatively dark (Not a good Idea with 100 ASA film) Anyway I was already there and my meter read zero (actually it read nothing as I didn't have a battery in the bloody thing. So I grabbed my iPhone and got a reading of 2 minutes at f4. I decided to shoot the first few frames at f4 and 1/15 and as the morning light started to appear I kept bumping up the shutter speed still pushing the film by ~ two stops.

When I got home, I realised that I only had about 500ml of chemicals mixed so me being a roughneck, I added an extra 100ml of water to the chemicals when no one was looking and started warming up the chemicals.

Now 100 ASA color film requires 3 1/2 minutes developing time in 38 degrees so I recalculated the developing time to 5 minutes at 38 degrees blowing for the pushing process plus the diluted chemicals..............I have just finished developing that roll of film and its now hanging out too dry.............unbeliveably I have some good looking negatives, now weather they are good enough to make a picture is another story. Im getting ready to head to the golf course so hopefully when I get home tonight I will have a few pictures to share with the group.

Pictures to follow

 

Neil 

[Guest]

Cameron Highlands Tea Plantation Etkar 100 503 CW with 180mm super combat 

Neil

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[stray cat]

2 minutes ago, NW67 said:

Cameron Highlands Tea Plantation Etkar 100 503 CW with 180mm super combat 

Neil

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Most defiantly no problems there, Neil - this is superb!

[stray cat]

1 hour ago, Ernest said:

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Oh my my - let's talk about C O L O R ! Playing red and orange against each other with a little neutral black to keep things slightly sane. And what fabulous depth you've led us to believe exists on this picture plane with some oh-so-subtle shading. This is really upping the ante, Rog, and striking out in new directions yet again. I think I see a growing confidence in these assemblages, even insofar as the early ones were already mature and distinguished. This would look irresistible enlarged to - well, let's say ENORMOUS - and hung on a wall.

[Ernest]

2 hours ago, stray cat said:

Oh my my - let's talk about C O L O R ! Playing red and orange against each other with a little neutral black to keep things slightly sane. And what fabulous depth you've led us to believe exists on this picture plane with some oh-so-subtle shading. This is really upping the ante, Rog, and striking out in new directions yet again. I think I see a growing confidence in these assemblages, even insofar as the early ones were already mature and distinguished. This would look irresistible enlarged to - well, let's say ENORMOUS - and hung on a wall.

Thanks, Phil. It's always a bit of the aha! when we start looking at color, the way shadows and surface reflections add such luminosity. This construct of four shots, taken mostly within four feet, "emerged" when I started looking at the way light was reflecting in the shadows, creating an almost translucent effect, completely sidestepping Albers's opaque transparency studies. It certainly has something to do with the black with its bold contrast, as you mention, otherwise it would be missing the depth.

Here's another exercise using a line and monochrom with subtle color shifts. The quadrangle, the line, and one color. Again, my thanks to the LACMA elevator girders.

Monochrom Red Line
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[gbealnz]

10 hours ago, pico said:

Thanks for your generous help, Gary. Below is a snapshot. Hope it helps!

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You're correct Pico, nothing there that I can see.

Let me take a shot or two in the morning, and show you what I mean.

Gary

[chris_z]

Contax 645 & FP4+

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[Wayne]

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Bolsey C (35mm TLR,) Foma 100

[Suede]

JARS

My wife and I had visited two of three sites – simply known as Plain of Jars I, II and III – in north-east Laos in 2017. I have just learnt that similar jars have been found in Assam in India and Sulawesi in Indonesia. These monolithic jars continue to raise questions and drive studies to unlock their archaeologic mystery. More of them have been recently found in the mountains of Laos by an Australian archaeology PhD student from the ANU. 

As an aside, you are advised to tread carefully and stay on established tracks and paths because of the unexploded ordnance littered all over in Laos.

Kodak Color + 200. 

 

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Hallo,

Look here: Interesting Leica gear

[oldwino]

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Doggy in the Window. 

Leica IIIc / CV 28/3.5 / Kodak UltraMax 400