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Hi,

got back my film from developing yesterday, my first roll of Kodak Gold 200. But somehow, I'm not that happy with the results. Scanning of this is more difficult than b/w in my opinion (Plustek 7200, SilverFast)

The film is also really dusty, and scratched (it came scretched from developing)... 

Anyway, one of the pictures:

Leica M4-P
7Artisans 28mm f/1.4
Kodak Gold 200
Developed by Rossmann (CEWE?) Germany

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2 hours ago, AntonioF said:

6x6 version - Rolleiflex Automat 2 Tessar 75/3.5, Fomapan 200

 

With a not expired Fomapan 200 full of black spots. Very weird. Also the backside of the film came out a little rough, I could feel it with the fingers in the bag.

 

Think I prefer the 35mm version Antonio, mainly due to the rectangular format (and I DO like the square usually).

Rough on the back, possibly backing paper had been wet at some stage, maybe out of the freezer, and it has stuck to the film?

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6 hours ago, Kl@usW. said:

Rog; my phantasy didn't reach that far or I wasn't just inspired enough. Schlepping the Hasselblad backpack takes its toll... Pointillism in fact was what caught my eye, but I had no idea how to get  the scintillation onto the emulsion. Next autumn I´ll remember your brilliant idea and play a little bit--- perhaps I´ll  try to imitate Gerhards squeegee by motion, or/and get some pointillism-effect by double or triple exposure. Thank you ! 

Yes, double, even triple (or more) exposing is its own country. I can't remember where I saw it originally in the early 70s, the technique of double exposing a portrait, shooting the first exposure slightly out of focus, then a second exposure in tack-sharp focus. Of course, one of those mid-nineteenth-century head rests to keep the model motionless for the exposures would be called into service or the command, "Now, hold still!" The result was sort of Thambarish, a sharp image with glow--in focus, yet out of focus, simultaneously. All right, it's not exactly the land of Thambar, but it's got interesting coordinates. There's something else that comes up in the kaleidoscope, refracting work by Uta Barth and Tacita Dean. In Barth's book White Blind (Bright Red), there's a series of in-focus/out-of-focus barren trees, a kind of layering that adds that depth of near and far. Dean's work that may give some reference ideas is thework with an ancient tree in Kent: Majesty and Crowhurst, both done in 2006. Majesty is a photograph with white gouache of an eight-hundred-year-old oak. Why is it identified as "white gouache"? I remember gouache as always being white. Anyway, Dean's work here renders a background, whited out like over-exposure, that sets off this gnarly ancient oak. It's as though there's a statement of history here, understated. I posted a couple of shots a while back, using the in-focus/out-of-focus double exposure technique. So, I am very curious seeing what rolls out of your A12 with 24 or more exposures.

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Disaster Theatre
M-A APO 50 ADOX Color Implosion

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9 hours ago, AntonioF said:

6x6 version - Rolleiflex Automat 2 Tessar 75/3.5, Fomapan 200

With a not expired Fomapan 200 full of black spots. Very weird. Also the backside of the film came out a little rough, I could feel it with the fingers in the bag.

 

Fomapan 200 in 135 is superb. In 120 it is disastrous - a shame but now I only use it for test rolls and when I'm out, that's it. A friend, a professional film photographer, has found exactly the same. Foma 100 is a different story.

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11 hours ago, philipus said:

Wonderful, I don' know what I like the most, the two horsing around in the front or the one exiting in the background.

Thanks Philipus, the pony in the background always reminds me of some run down cartoon horse, plodding slowly out of the frame. Best out of that fight it's probably saying!

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9 hours ago, gbealnz said:

Think I prefer the 35mm version Antonio, mainly due to the rectangular format (and I DO like the square usually).

Rough on the back, possibly backing paper had been wet at some stage, maybe out of the freezer, and it has stuck to the film?

 

1 hour ago, Charles Morgan said:

Fomapan 200 in 135 is superb. In 120 it is disastrous - a shame but now I only use it for test rolls and when I'm out, that's it. A friend, a professional film photographer, has found exactly the same. Foma 100 is a different story.

 

This roll was kept refrigerated since last year, so I assume it is a manufacturing problem. I was thinking of getting some Fomapan 400 in 120, now I'm a little scared. 

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Leica M4, FP4, Rodinal.

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Those light burns always look so intriguing and there are even Flickr and Instagram groups dedicated to them. But rarely, it seems to me, are they integrated into the story of the photograph, like here. It's really excellent Rog. Is that the door of a lift going up to, or perhaps down to, the stage? The building is imploding evidently, but very politely and orderly so from camera left, and the fire is drawing nearer consuming everything in it's path. If only we'd make it to safety in the lift. Because we'd be safe there, right? Just like one is when taking a shower when hunted by a knife-wielding madman.

9 hours ago, Ernest said:

Disaster Theatre
M-A APO 50 ADOX Color Implosion

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I really like these muted tones Ken. Beautiful work.

11 hours ago, bags27 said:

Mamiya 7 43mm Delta 400 in T-Max

Very funny shot :) And nicely scanned too, I think. My films also sometimes have scratches and various debris on them from the lab. It sucks but digital ICE usually takes care of it.

12 hours ago, futhemen said:

Hi,

got back my film from developing yesterday, my first roll of Kodak Gold 200. But somehow, I'm not that happy with the results. Scanning of this is more difficult than b/w in my opinion (Plustek 7200, SilverFast)

The film is also really dusty, and scratched (it came scretched from developing)... 

Anyway, one of the pictures:

Leica M4-P
7Artisans 28mm f/1.4
Kodak Gold 200
Developed by Rossmann (CEWE?) Germany

Very good Bo. And reminds me of the superbly exposed Kodachrome 25 shot Phil posted earlier.

1 hour ago, Bo-Sixten said:

Leica M4, FP4, Rodinal.

 

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Brasilia. IIIf, Summicron 5cm 1:2 collapsible, Fomapan 100 @ 64, PMK 1:2:100 10' 24°C.

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On 1/11/2021 at 10:01 AM, stray cat said:

Dusty old slides from dusty old North Africa:

Three Amigas, Tunisia 1980

Canon A1, FDn 35mm f2, Kodachrome 25

Phil, this image is really amazing, I really like the glow of the sun on the upper right corner and the matching/not matching patterns on the dresses and the towels in the background!

 

 

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Now, how did we get here...?      [Silvermax 100]

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Välkommen - Welcome. Dusty oldies, Stockholm 1982. Advertising for a restaurant - poor fellow. Leica M4, Tri-X, D76.

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