damn ....

[Rona!d]

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... must have lost a wheel

 

(MP/Portra 160NC)

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[Guest hagen]

...and the picture as well...

[Rona!d]

Click "reload", Wolfgang.

[stuny]

Ronald -

 

It is not very often when a photo can make me laugh out loud. After reading your title I viewed the photo and has a LOL moment. On top of that it is a very good photo, enhanced by the angle. Well done. I'm sending this to a friend who races and collects cars.

[fotografr]

Either lost a wheel or was thrown from his "horse."

[martin]

superb,

a reason for loading a porta in the mp

[Rona!d]

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These Portras are old stuff (long ago expired rolls - 2003 or so) but they even work one year after having exposed them. Glad you like the shot.

[andybarton]

Very amusing, Ron.

 

This Portra has scanned much more subtly, and IMHO, much more realistically than the commercial scans that Allan and William get from the same film. Allan certainly gets a lot more "punch" and contrast from his scans, which is no doubt to his taste. Maybe it's just the light over here, which isn't usually as strong as the mid west or SE of the US?

 

I assume that you scanned these yourself?

[ddp]

Andy - how would you characterize some of my Portra stuff? Most of what I post on here are commercial scans as well – and while I occasionally scan on a Nikon Supercoolscan 8000, I find what my lab does is quite nice.

 

Having shot with William a few times, I can state that what I’ve seen from his lab are fairly accurate renditions of the conditions we shot in. Allan’s work seems a bit more saturated than what I am used to seeing from Portra, while Ron’s above shot seems somewhat less characteristic than my personal experiences.

 

I will also add that there is indeed something to the Leica lens mystique on film….yes, I had to drag this up. The fingerprint of certain lenses is more apparent on film than what I’ve seen on the M8 – and the lenses bring out more than what we might actually see by eye. I’m aware of this when shooting, and I’m continually impressed by what this glass is capable of – especially on a film like Portra. Kodak can still nail it….

[andybarton]

Dan

 

When I get home, I will download some of your stuff (the interiors of the train carriage come to mind, or may the external shots in that yard(?), William's shots there, and his ones at this MorganFest and Ron's here (and in the adjacent thread), and have a look in Photoshop at them, side-by-side. This is the only way to do it properly, of course.

 

It could well be the light, as I said this morning.

 

Could be the person doing the scanning, or doing the processing. Could be the age of the film, or how you all process in Photoshop once you have had the scans done. Could even be the age and make of the chemistry in which the films are processed. There are so many variables.

 

Will be a very interesting half hour, though.

[andybarton]

Dan

 

I made a mistake - Allan doesn't use Portra, he uses varieties of Kodak C41 film, so apologies for that.

 

I have done a quick comparison of Portra shots, using examples from Ron, William x 2 and Dan.

 

I definitely think that it's down to the harshness of the light.

 

IMHO, YMMV etc etc, blah, blah, Ron's looks the most natural of these four examples and shows that "glow" that we all pay big money for. William's shot of the Morgan is much more contrasty, and it looks like both of you were fighting some vicious light in the railway yard, especially the one taken outside. Your shot of the inside of the carriage is very subtle and beautifully rendered.

 

So, what have I learned from this?

 

• 
  Not much, but
  Don't shoot in the US when the sun shines.
  

 

[ATTACH]49204[/ATTACH]

[stunsworth]

Given they were both taken in overcast conditions. it's interesting just how different the histograms appear in the first two thumbnails.

[andybarton]

I suspect that they were taken on the same day, within yards and minutes of each other.

[ddp]

So, what have I learned from this?

 

 

Not much, but

Don't shoot in the US when the sun shines.

 

 

 

Lol! Well, the railyard shots were done on a cloudless November day - midday to late afternoon to be exact. William & I have had the harsh light conversation on more than one occasion, and how much nicer the light is on the other side of the pond. Of course we do get some nice conditions over here, but I'd prefer to shoot at dusk or evenings when possible.

 

Thank you for the comment on the carriage shot.

 

I'm curious as to Ron's workflow on this image - and as mentioned how he scanned it.

[Rona!d]

Old Nikon Coolscan IV, Nikon software - but you cannot compare these shots although William and i did them on the same day and location. But William should have a similar shot of the same car with the same light like in my other Morgan thread (1st picture). Maybe he can post it again?

 

I always enjoyed Willams AGFA-machine lab-scans - his lab-guy is doing a great job. Hope, William could post a link of the Range Rover-shots he did with his 28 cron. Unbeatable!

[andybarton]

Old Nikon Coolscan IV, Nikon software - but you cannot compare these shots although William and i did them on the same day and location.

 

Why? You used the same film, at the same time, in the same place. Surely this is the perfect example of how you can compare two different approaches to a similar end.

[stunsworth]

I suspect that they were taken on the same day, within yards and minutes of each other.

 

Really? In that case if I was William I'd look for a different lab. Based on that thumbnail - and its histogram - the home scanned shot of Ron's looks much better - there's a lot pushed to the right in William's photograph. I'm sure both sets of negatives 'look' similar, it looks like a scanning issue to me.

[andybarton]

Well, they wouldn't be taken on different days, unless William and Ron went to a MorganFest two days running. Oh, hang on...!

 

If these weren't taken between the same breakfast and lunch, I will eat my flat cap from Lock & Co.

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[andybarton]

Old Nikon Coolscan IV, Nikon software - but you cannot compare these shots although William and i did them on the same day and location. But William should have a similar shot of the same car with the same light like in my other Morgan thread (1st picture). Maybe he can post it again?

 

 

Are these the threads you recall, Ron? William was shooting Kodak for these, and the difference is clear.

 

http://www.l-camera-forum.com/leica-forum/sports-leisure-time/2951-matchless-trike.html

 

http://www.l-camera-forum.com/leica-forum/sports-leisure-time/2863-proper-trikes-allan.html

[ddp]

I'm not sure it's the lab on William's end. At least one of his scans from that event caught my eye enough to PM him about his lab, and film. I actually started shooting Portra 160NC on a regular basis after talking to him in place of my Fujichrome variations. It was the detail and textures in the sky that I saw. My lab uses different commercial scanners - but I have been quite happy with what they've done.

 

When I do any corrections in Photoshop, I usually use curves or levels. Only in levels do I try and balance the histograms - I pretty much work by eye as far as holding the details in the whites & shadows. But that's my workflow....YMMV.

 

This is the shot that made me ask:

 

http://www.l-camera-forum.com/leica-forum/sports-leisure-time/3689-aeromaxed.html

 

I agree there is a difference between what Ron shot and what William shot. I believe William was using his 35/2 - Ron's shot looks to be with the 75/2. That may have something to do with what we are looking at here.....