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Let's twist again!

 

Leica M6 - 50Summilux - Ilford Delta PRO 3200 - shot at 12800ISO

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I had some busy weeks and almost no time to show up here and also only a few pictures taken lately. I ran my first roll of Ferrania P30 through my M3. Unfortunately I had a lot of trouble getting the film on the reel of my developing tank. In the end I had everything on the film, that one doesn't like to have there: exposed areas due to light hitting some parts of the film within the tank, scratches and lines :( I also learned the hard way, that it is not easy to find the right exposure. I got some interesting, high contrast pictures in the end - if you don't mind, I will show some of them here:

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M3 - Cron 50 DR - Ferrania P30 (dev. in Rodinal 1+100 one hour semi stand

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And another wave panorama:

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M3 - Cron 50 DR - Ferrania P30 (dev. in Rodinal 1+100 one hour semi stand

 
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The beautiful violinist looks and smiles at me, while the accordionist look at her worried
 
Nikon F2AS - AIS 1,2/50mm - Ilford SFX

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The superb violinist...alone

 

 

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vor 18 Stunden schrieb Ernest:

Pole
M-A Thambar-M Fuji Natura

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wonderful colors, a magic arrangement  which guides the eye anti clockwise on an on. I love the deep, saturated hues... apart from the soft green which fits into the palette anyway.. very nice. 

vor 10 Stunden schrieb christoph_d:

In my experience, and even with all the modern quality controls, the focus shift issue may be easily different for the same type of lenses. I (for the moment at least) have no issue whatsoever with focus shift on the Apo-Summicron 90. It is a different story with the pre-asph Summilux however...

The Bokeh with those lenses wide open is often fascinating to look at. In the photo below, for example the flower that is out of focus, in the centre, top of the image, appears sharper than it should be, and also has multiple images. I think that is due to the sun shining directly behind it through some leaves, and creating a few point-sources of light.

A good weekend to you all, C.

MP, 90, Portra160

Thank you Christof for your comment and your nice example of the sometimes unexpected  phenomena we encounter. I think your picture shows a combination of refraction ( the  blur that seems normal ) and diffraction ( the flower that appears sharper than expected) .  The pinhole effect superimposes the bokeh.... And a good weekend for you. 

K. 

vor 1 Stunde schrieb Sparkassenkunde:

And another wave panorama:

M3 - Cron 50 DR - Ferrania P30 (dev. in Rodinal 1+100 one hour semi stand

 
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IHTSBITYS  

( I hate to say but I told you so ... ) 😁Nice pictures anyway, James. It took me 8 rolls to find a way to manage this film. 

vor 1 Stunde schrieb leicamour:
The beautiful violinist looks and smiles at me, while the accordionist look at her worried
 
Nikon F2AS - AIS 1,2/50mm - Ilford SFX

Relax, he´s just waiting for her sign to start--she´s the boss..... 

Edited by Kl@usW.
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Dogwood Snapshot

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MP, Summarit 2,4/50, Yellow, HP5, Rodinal

Edited by Kl@usW.
there seems to be a problem with the upload.... for days now
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27 minutes ago, Kl@usW. said:

wonderful colors, a magic arrangement  which guides the eye anti clockwise on an on. I love the deep, saturated hues... apart from the soft green which fits into the palette anyway.. very nice. 

Thanks, Klaus. I'm working against my "dark" vision, as you might say, with Fuji Natura that Wayne recommended I try. It is a surprising emulsion that is stupidly extinct. Look what it does to late afternoon blue sky, and that building is actually painted that pink with aqua blue window trim. I went for a kind of Ralph Gibson diptych approach with the shadow the telephone pole and the high tension lines connecting the images. Simple primary colors with a Thambar lens that blurs, depending on the F stop and CS filter (on or off). With an M-A, it takes experience and some guesswork to judge the amount of "glow." 

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11 hours ago, christoph_d said:

In my experience, and even with all the modern quality controls, the focus shift issue may be easily different for the same type of lenses. I (for the moment at least) have no issue whatsoever with focus shift on the Apo-Summicron 90. It is a different story with the pre-asph Summilux however...

The Bokeh with those lenses wide open is often fascinating to look at. In the photo below, for example the flower that is out of focus, in the centre, top of the image, appears sharper than it should be, and also has multiple images. I think that is due to the sun shining directly behind it through some leaves, and creating a few point-sources of light.

A good weekend to you all, C.

MP, 90, Portra160

Such a three-dimensional quality with the bokeh, really painting with light (to use the cliche that fits so well here).

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On 5 June 2020 at 4:27 PM, philipus said:

Back to some daytime photography. This is one of the entrances of the royal palace. I'm standing on the same sort of stairs as are shown and just behind me is a similar door which leads into the palace chapel. That is a really lovely location. Unfortunately some rigid-minded individual didn't let me take a picture there because I happened to have a tripod, even though the church was entirely empty except for myself and said Individuum (with emphasis on 'dum').

I shot this in September last year and there were a number of tourists milling about. This is therefore a composite of three images. 


Flickr
40/4 Ektar X1

Your architectural series from Stockholm, Philip, is masterful, careful compositions and exposure, but for me it's the colours that makes me take notice, soft pastels returning the dignified feeling I experienced there.  

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M4-P Visoflex Nokton 75/1.5 Provia 100F in Tetenal..

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Place for one in this time

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Leica MP * Summicron M 2.0/50 * Kodak Color Gold 200

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Rainy Day

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Leica MP * Summicron M 2.0/50 * Kodak Color Gold 200

Edited by S/W
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Thank you very much Charles, I am very grateful for your kind words. I'm happy that you notice the colours, which I also think add an extra dimension to the palace. It is a pretty imposing and impressive building.

Colour is something I agonise over and it happens regularly that I go back and tweak an image even though I at one point thought it was done and dusted. I am lucky to have a colour-calibrated screen and I can only say that I wish I had invested in that a long time ago because it makes a hybrid workflow so much easier.

2 hours ago, Bateleur said:

Your architectural series from Stockholm, Philip, is masterful, careful compositions and exposure, but for me it's the colours that makes me take notice, soft pastels returning the dignified feeling I experienced there.  

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Back into the night, with a wet twist. This is from just outside the entrance in the previous photo. I had had a really productive photo stroll in the old town one evening and decided to shoot outside the palace. I had visualised juxtaposing the statue of Charles XIV John of Sweden against the facade with the cobblestones lit from the many lamps. But it started raining quite heavily so I got this instead, which I actually like.

The statue is interesting because it is of Charles XIV who was born Jean Bernadotte in Pau, France, in 1763. He was a very capable military man in Napoleon's army and rose to flag officer and was even made Marshal of the Empire. Somewhat surprisingly he was also elected by the Swedish parliament to ascend the Swedish throne after the heirless Charles XIII. And thus began the current Bernadotte line of succession in Sweden.

A little anecdote is that due to the rain I decided to take a taxi back to where I stayed so I typed in the address in the taxi app, Slottsbacken 1 (roughly Palace Hill 1) which is pretty the poshest address in Sweden. The taxi driver was visibly surprised when he saw me instead of, as he had hoped, a royal of some sort entering his car :D 

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40/4 Ektar X1 Edited by philipus
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Saint Peter Port - Guernsey/ CI

1997

 

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Leica R6 - Elmarit-R 2,8/60 - Kodak E100G

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vor 4 Stunden schrieb Bateleur:

Wonderful tonality and fine grain!

Thank you Bateleur! I was pleasantly surprised myself how well the HP5 stomached the Rodinal... the tonality possibly benefited from the use of  the yellow filter

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vor 4 Stunden schrieb Ernest:

Ralph Gibson diptych approach with the shadow the telephone pole and the high tension lines connecting the images

The picture breathes a bit of Gibson´s  surrealistic period, but the colors, the Thambar glow  and the approach make it something different in its own right. I really like it. 

 

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