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Guest Benqui

Portra 400, MP, Summarit 35

Lake Tahoe

 

Yes it is a romantic and kitschy sunset, but I have to admit that I liked it. Hard shell, soft core

 

best regards

Marc

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Portra 400, MP, Summarit 35

Lake Tahoe

 

Yes it is a romantic and kitschy sunset, but I have to admit that I liked it. Hard shell, soft core

 

best regards

Marc

 

very nice, Marc.  Great detail in the clouds and the people in the distance in the water really add a lot of interest.

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Hi Ric,

 

The lack of anti-halation layer is not exclusive to Cinestill 800. There are a number of other films

that show the same effect, for example the B&W films "Lucky 100" from China or Polypan-F.

I don't think the Halo effect in itself is artistic, rather it can be used for artistic purposes (another

tool in the toolbox of the creative photographer).

Btw, I think with a bit more exposure your results would show significantly less grain. 

 

Rgds

 

C. 

 

I agree.

This film likes to be overexposed at night and with low light.  So I wouldn't hesitate to add 1 or even 2 full stops to these scenes based on what your meter calls for.  

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So I found a new composition that I have been staking out and wanting to shoot during the sunrise (with my 6x9).

I went out last Friday morning and didn't get the extreme drama that I was hoping for, although I did get a lovely clear sky.

I was ready to try Velvia 50 but then very quickly concluded that it was not the right film for this time day as the exposure was way too long (the first was 30 seconds) WITHOUT taking into account reciprocity failure.  The velvia 50 would have required a little over a minute exposure, which isn't so bad but then you have to deal with the extreme magenta color cast, and I have not invested the money and time to acquire the right magenta filter for this long exposure time.  

And, hey, why bother with this crap when you have EKTAR??!! 

The first shot was still a little over a minute with reciprocity failure but I didn't need to use any filters, not even a warming filter.  You'll see that I embraced the gorgeous blues.

The other two shots were taken just a little after the first, as the sun began to rise and the red began to rest on the horizon.

I like this scene b/c it captures the three main bridges on the lower east side of Manhattan (the Williamsburg bridge in the center and the Manhattan and Brooklyn bridges off the distant left) as well as the skyline of downtown.

Do you like any and which would be your keeper?

I will work on getting this same shot with a dramatic (sky-fired) cloud covering...

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I agree.

This film likes to be overexposed at night and with low light.  So I wouldn't hesitate to add 1 or even 2 full stops to these scenes based on what your meter calls for.  

 

+1 here, this now rated 800 stills film comes from the Kodak 500 ISO cine stock 5219  most often rated at 320 ISO for better results at night or with low light.

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So I found a new composition that I have been staking out and wanting to shoot during the sunrise (with my 6x9).

I went out last Friday morning and didn't get the extreme drama that I was hoping for, although I did get a lovely clear sky.

I was ready to try Velvia 50 but then very quickly concluded that it was not the right film for this time day as the exposure was way too long (the first was 30 seconds) WITHOUT taking into account reciprocity failure.  The velvia 50 would have required a little over a minute exposure, which isn't so bad but then you have to deal with the extreme magenta color cast, and I have not invested the money and time to acquire the right magenta filter for this long exposure time.  

And, hey, why bother with this crap when you have EKTAR??!! 

The first shot was still a little over a minute with reciprocity failure but I didn't need to use any filters, not even a warming filter.  You'll see that I embraced the gorgeous blues.

The other two shots were taken just a little after the first, as the sun began to rise and the red began to rest on the horizon.

I like this scene b/c it captures the three main bridges on the lower east side of Manhattan (the Williamsburg bridge in the center and the Manhattan and Brooklyn bridges off the distant left) as well as the skyline of downtown.

Do you like any and which would be your keeper?

I will work on getting this same shot with a dramatic (sky-fired) cloud covering...

 

Difficult choice. The last one emphasises the bridge leading to the skyscrapers with the bridges in the background fading much more into the background. With the other shots there's more light on the background bridges, balancing the picture more. 

Personally 1 has my preference, as the long exposure time smoothens the water and emphasises the tranquility of the time of day, also the light on the city seems to wake it up. In both other pictures the water is more choppy, and particularly in 3 that distracts me. But then, enlarged it may be a very different impression than the one I get from my iPad. 

 

All the best wishes for the festive days,

 

C.

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Lake George

NSW (near ACT border), Australia

 

M7, Ektar 100, 4.0/90 Macro-Elmar

 

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Taransay. An image I made on my Wild Light Outer Hebrides workshop October 2015.

 

Hasselblad 503cw

Zeiss 80mm f2.8 planar cfi

Fuji Velvia 50 iso

Lee 6 stop nd

Lee .6 nd soft grad

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So I found a new composition that I have been staking out and wanting to shoot during the sunrise (with my 6x9).

I went out last Friday morning and didn't get the extreme drama that I was hoping for, although I did get a lovely clear sky.

I was ready to try Velvia 50 but then very quickly concluded that it was not the right film for this time day as the exposure was way too long (the first was 30 seconds) WITHOUT taking into account reciprocity failure.  The velvia 50 would have required a little over a minute exposure, which isn't so bad but then you have to deal with the extreme magenta color cast, and I have not invested the money and time to acquire the right magenta filter for this long exposure time.  

And, hey, why bother with this crap when you have EKTAR??!! 

The first shot was still a little over a minute with reciprocity failure but I didn't need to use any filters, not even a warming filter.  You'll see that I embraced the gorgeous blues.

The other two shots were taken just a little after the first, as the sun began to rise and the red began to rest on the horizon.

I like this scene b/c it captures the three main bridges on the lower east side of Manhattan (the Williamsburg bridge in the center and the Manhattan and Brooklyn bridges off the distant left) as well as the skyline of downtown.

Do you like any and which would be your keeper?

I will work on getting this same shot with a dramatic (sky-fired) cloud covering...

attachicon.gifwb redo.jpg

 

 

 

attachicon.gifwb redo2.jpg

 

 

 

attachicon.gifbridges.jpg

 

 

Very difficult to choose , prefering the 3rd one. 

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Richer tones & higher contrast in the first - (and blocked shadows in the avenue of trees?).  Do I see dust spots too?   ;)

Ileo, I agree with Keith more definition in the first , look the background

The second seems overexposed in the middle

Best

Henry

Edited by Doc Henry
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I finished two weeks as board member exams
This is the total blackout to avoid subsequent claims
I'm back now !
What beautiful photos in its 17 pages.
I am trying to watch one by one ...  since 15 March

Rg

Henry

Edited by Doc Henry
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