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MP APO-Summicron-M 50 ADOX Color Implosion

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11 hours ago, crf59 said:

On a more humorous note, this was me and my sister on Easter Sunday in 1962. Taken with a LEICA M3, 50mm  Summicron, Kodachrome. If I squint I can see a little James Bond 007 coming out in me..... OK, maybe not. My mother made me wear the suit - my sister was all in but I was humiliated I'm told.

 

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Wonderful photograph.  I hope that console is still in the family.  

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1 minute ago, StephenH said:

Wonderful photograph.  I hope that console is still in the family.  

It is! A Grundig with tape deck and phonograph. My father bought it in Germany back then. I restored it several years ago and it looks as good now as it did in this picture. I did replace the phonograph with a modern Technics SL-1200 (fully integrated, looks like it belongs) and now there is a Yamaha amplifier and upgraded, modern speakers (Klipsch drivers).

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This thread is still the most inspiring image thread on these forums–by a long shot. Thanks, everyone!

Below is a picture I recently shot with the Summicron 35mm ASPH M at f/4.0 on Kodak 5213 (200T), converted to 3200K with a Wratten 85. ENC2 home dev and scan. This shot came out on the thinner side. I attribute that to i) the ENC2 process, which brings out gorgeous colours but loses about a stop compared to C41, and ii) my interpretation of my M6's metering, which left out the dark field. I'm still not familiar with the M6's metering and get better results with phone metering as that is fully integral and not spot-weighted. 

Landscape #44

 

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This is another example taken from the same roll, but this time part of my Windows series. Summicron 35mm ASPH M at f/8.0 on Kodak 5213 (200T), converted to 3200K with a Wratten 85. ENC2 home dev and scan. This time, the exposure was spot on, and the negative was sufficiently fat for a convincing scan. However, I'm sure that there is still some headroom left. I know I didn't miss the temperature (41 C), but perhaps the bleach and the fixer were already a bit exhausted because both had already been treated eight rolls prior. 

 

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Edited by hansvons
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6 hours ago, hansvons said:

Below is a picture I recently shot with the Summicron 35mm ASPH M at f/4.0 on Kodak 5213 (200T), converted to 3200K with a Wratten 85. ENC2 home dev and scan. This shot came out on the thinner side. I attribute that to i) the ENC2 process, which brings out gorgeous colours but loses about a stop compared to C41, and ii) my interpretation of my M6's metering, which left out the dark field. I'm still not familiar with the M6's metering and get better results with phone metering as that is fully integral and not spot-weighted.

I have tried 250D, 200T and 500T with and without an 85a filter (which works best in very bright sunlight).  I don't do my own processing and have had disappointing results using a lab for ECN2 processing (drying marks, stains, scratches etc), so given up for the time being but I did observe several things about using the stock for stills.  The useful speed (when shooting to scan) is usually half the marked speed and the 85a filter takes out another stop so that makes 200T effectively ISO50 (with the filter) and 500T effectively ISO125.  250D is usable at ISO125 and I would guess that 50D is around ISO25.  After a while I stopped using the 85a on the T stock and worked out that Capture One can do a viable job of adjusting the colour cast.  A couple of examples to follow.  A good source of affordable colour stock but really needs to be hand-processed with a high level of care, unlike C41 stock that does very well in the mini-lab machines.

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Summer flowers on the working beach.  

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Leica R6.2, Elmarit-R 90 (Typ2), Kodak Vision3 500T (no filter).

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Summer flowers on the working beach.  

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Leica R6.2, Summicron-R 35, Kodak Vision3 500T (no filter).

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vor 6 Stunden schrieb hansvons:

This thread is still the most inspiring image thread on these forums–by a long shot. Thanks, everyone!

Below is a picture I recently shot with the Summicron 35mm ASPH M at f/4.0 on Kodak 5213 (200T), converted to 3200K with a Wratten 85. ENC2 home dev and scan. This shot came out on the thinner side. I attribute that to i) the ENC2 process, which brings out gorgeous colours but loses about a stop compared to C41, and ii) my interpretation of my M6's metering, which left out the dark field. I'm still not familiar with the M6's metering and get better results with phone metering as that is fully integral and not spot-weighted. 

My both M6 tend to underexpose negative film. I guess about 1/2 to 2/3 f-stops. Even Mirko from Fotoimpex told my the same thing and he had his serviced. So I asume the M6 light meter was made, maybe for Kodakchrome, but not for negative film. 
To compensate it I always set ISO 1/3 step lower and then expose for the shadows. This works fine for me.

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A big guy who was in for a photo. Rolleiflex 2.8f, delta 100, lab processed.

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This older lady did a selfie, and as I loved her hat, I asked for a portrait as well. As above.

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2 hours ago, John Robinson said:

I have tried 250D, 200T and 500T with and without an 85a filter (which works best in very bright sunlight).  I don't do my own processing and have had disappointing results using a lab for ECN2 processing (drying marks, stains, scratches etc), so given up for the time being but I did observe several things about using the stock for stills.  The useful speed (when shooting to scan) is usually half the marked speed and the 85a filter takes out another stop so that makes 200T effectively ISO50 (with the filter) and 500T effectively ISO125.  250D is usable at ISO125 and I would guess that 50D is around ISO25.  After a while I stopped using the 85a on the T stock and worked out that Capture One can do a viable job of adjusting the colour cast.  A couple of examples to follow.  A good source of affordable colour stock but really needs to be hand-processed with a high level of care, unlike C41 stock that does very well in the mini-lab machines.

Thanks for your insights; I agree with you on all of it.

I shot these stocks on film projects (TV commercials), got them professionally developed and had a slightly different experience. While, as usual, having the EI a stop lower made tons of sense in most cases to compensate for changing light situations in a shot, the principal box speed was well reached. I can't replicate that to 100% in my home dev process when using ENC2 developer. With C41, that's different. The neg has a steeper gamma and, thus, appears fatter, feeling like a mild push. Maybe my bleach isn't as effective as the proper Kodak ENC2 bleach, or the Cinestill ENC2 developer isn't perfect either, or the proposed time of 3:30min is 15 seconds too short. Who knows. 

Regarding the 85 filtrations: I used to shoot many projects on 200T without the 85 and had the blue tint compensated in the telecine. That way, skin tones became more porcelain when the subject showed a bright complexion. However, in my C1 conversions, I tend to fight unnecessarily with the blue tint. But I admit I now shoot primarily landscapes, not closeups of bright-skinned models. 250D is a great daylight-balanced alternative. However, I find the T200 variant to be a tad more delicate. 

 

3 hours ago, fotomas said:

My both M6 tend to underexpose negative film. I guess about 1/2 to 2/3 f-stops. Even Mirko from Fotoimpex told my the same thing and he had his serviced. So I asume the M6 light meter was made, maybe for Kodakchrome, but not for negative film. 
To compensate it I always set ISO 1/3 step lower and then expose for the shadows. This works fine for me.

Thanks, @fotomas. Interesting insight. When I checked last time, my M6's light meter showed similar results as my proper Sekonik ambient light meter, which never let me down. However, it is conceivable that the M6 light meter may lose sensitivity over the years. And maybe that's the issue with mine, too. Maybe I'm wrong, though, and it's indeed a factory decision to give the light meter an edge with reversal film stocks rather than negative.

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Rolleiflex 3.5F @ f/3.5, Portra 400, Lab Scan.

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Rolleiflex 3.5F @ f/3.5, Portra 400, Lab Scan.

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4 hours ago, John Robinson said:

I have tried 250D, 200T and 500T with and without an 85a filter (which works best in very bright sunlight).  I don't do my own processing and have had disappointing results using a lab for ECN2 processing (drying marks, stains, scratches etc), so given up for the time being but I did observe several things about using the stock for stills.  The useful speed (when shooting to scan) is usually half the marked speed and the 85a filter takes out another stop so that makes 200T effectively ISO50 (with the filter) and 500T effectively ISO125.  250D is usable at ISO125 and I would guess that 50D is around ISO25.  After a while I stopped using the 85a on the T stock and worked out that Capture One can do a viable job of adjusting the colour cast.  A couple of examples to follow.  A good source of affordable colour stock but really needs to be hand-processed with a high level of care, unlike C41 stock that does very well in the mini-lab machines.

May be this helps a little, here a table from Sinar to choose the right filter for compensation Filters

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You can roughly measure the color temperature of the incident light with an app for your cell phone.
The colortemperatur for the filmmaterial you find printet on the packaging or for example at Kodak Motion Picture.
BTW films for tungsten are made for an aim of 3200K.
As an example you have a portrait/fashion shooting under a tree and the leaves give you a greenish light.
Just measure the colortemperatur and find the matching filter with the table and now you are on a good way.
Kodak uses Wratten Numbers for their Compensations.
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