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11 minutes ago, erl said:

Genie In A Bottle

M6 & 50mm Cron shooting Delta 100

Beware! Rubbing this bottle produces splinters. 😋

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Well, you could always wear gloves...

She's a brave model climbing inside that tree-stump! But worth it for a great photo.

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On 12/22/2022 at 5:31 PM, Doc Henry said:

Here is the proof Aryel  of what I said about the fog , the clouds , the smoke ...  that film and digital do not see the same thing , for people who are used to it and who have a critical mind , the difference jumps to the eyes.

-same lens 35mm (one Summilux 35 Asph on Leica MP -Ilford HP5 400 Isos and one Summicron 35 Asph on Leica M9 set at 320 Isos)

-same place at  -  5 degrees C

Ilford HP5 dev home lab and scan in TIFF with Nikon Scan Software no correction > crop 100% include

Best

Henry

PS : this was posted here and earned me the qualifier of digging up the "can worms" because I defend the film that deserves it  ( not the digital )

Photo 1 and 2  > what photo is it digital ? what photo is film ?

Crop 100%  left of the picture ... notice the silver grain of film like micro-droplets of fog water 

Notice that behind the trees you can't see anything in digital on the Crop .....   on the film we see other trees behind
 
The digital camera software "smooths" the square pixels , hence the smooth aspect in the digital for fog , clouds ,  smoke
Best

Henry

 

 

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Film is always the best!!! It is real! not a load of electric signals,

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Morning forest

 

 

 

M6, Summilux 50mm f/1.4 pre-asph, Kodak Vision3 500T, ECN2

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Nikon F2 Photomic, Nikkor-S Auto 50mm 1:1.4, Ilford Delta 100 @ 80, PMK 10' 24°C 1:2:100.

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On 12/27/2022 at 1:03 AM, Doc Henry said:

Thank you Wayne for your comment  😀 .... it reminds me also Kodak Vision movie film color 

 

.... special Rog serie  😀

Kodak TX 400 (dev in Kodak D76)-Leica MP-Summilux 50 Asph -scan in TIFF with Nikon factory Scan Software - Not corrected (linear curve)

Eiffel Tower Paris  😀

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Certainly a captivating kaleidoscopic composition that shifts like a visual puzzle, pulling on a sense of controlled depth. The top is indeterminate, while the bottom is anchored, giving an uncanny sense of acceleration. The diagonals are constantly at war with the tyranny of rectangles. It's a study in steel that breathes. Applause, applause. Timeless Eiffel!

Edited by Ernest
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Mustard Pane 
MA APO-Summicron-M 50 ADOX Color Implosion

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Sculpting the landscape.

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Leica R6.2, Summilux-R 50 (I), Kodak Colorplus 200.  First outing with this film stock (given difficulty of finding anything else).  First impression:  tends to oversaturate greens and yellows and likes exposure to be spot-on (similar to ProImage 100).

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Precipitation within sight.

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Leica R6.2, Summilux-R 50 (I), Kodak Colorplus 200.

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In light rain.

August 2022. Tri-X in XTOL, Leica IIIF, Summitar, 1/30 f/2.8

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Kyoto, November 2022. This is a restaurant located just next to the museum of photography. The food was truly amazing. Unfortunately, my food photo skills need some work so you only get to see the kitchen!

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m3, 35 summilux v2, rollei retro 400 (fx39ii 1+9), scanned negative 
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Kilter Trace D 
MP APO-Summicron-M 50 ADOX Mission

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Rising
MP APO-Summicron-M 50 ADOX Mission

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On to new puddles.

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Univex Mercury II, Tricor 35/2.7, Orwo UN74 at 800

I controlled the grain by 1:90 HC110, 19 minutes. Just a guess. Worked pretty well for this application.

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