safe haven for tiny formats

[SamReeves]

Kammeron on a long abandoned trestle yesterday afternoon.

Canon D60, EF 50mm ƒ1.8 lens, ASA 400.

http://www.samreevesphoto.com/posts/CRW12_4339.jpg

[jcoldslabs]

I was going to say considering the conditions and the film, you did awesomely.

But, the more I look at it, the more I think its just awesome as it is anyway. A nice balancing job.

Thanks. It did work out pretty well for the most part, and the saturated Velvia colors are great, but some of the shots are just dead in the shadows. It's always a trade-off, isn't it?

Jonathan

[jcoldslabs]

This one looked better to me upside down, although I can't really say why.

Fuji GSW690II, Kodak E100S


http://www.kolstad.us/ebay/GSW690II---Pool-%26-Light-r5.jpg




And here's one from later in the day, right side up of course:

http://www.kolstad.us/ebay/GSW690II---Pool.jpg

Jonathan

[Peter De Smidt]

I really like the first one. On first glance it looks like a horizon with a sky.

[Corran]

Nice...wherever that is, it's a nice locale!

[jcoldslabs]

I really like the first one. On first glance it looks like a horizon with a sky.

That's just what I was thinking when I flipped it. Thanks.



Nice...wherever that is, it's a nice locale!

It is a beautiful place. A friend of my wife's grandmother owned this amazing property on a hill near Santa Barbara. I have more photos of this swimming pool than I care to count. Every time I was there I was stunned by the scenery and the light and just HAD to snap some photos.

Jonathan

[SergeiR]

MamiyaRZIID, Aptus54s, 140mm

http://farm9.staticflickr.com/8457/8034468189_9ec58d95d5_c.jpg (http://www.flickr.com/photos/sergeistudio/8034468189/)
Leaf_011812www (http://www.flickr.com/photos/sergeistudio/8034468189/) by Sergei Rodionov (http://www.flickr.com/people/sergeistudio/), on Flickr

(got to process 4x5 shots of this, but it will be b&w , so oh well ;)).

[SamReeves]

MamiyaRZIID, Aptus54s, 140mm

http://farm9.staticflickr.com/8457/8034468189_9ec58d95d5_c.jpg (http://www.flickr.com/photos/sergeistudio/8034468189/)
Leaf_011812www (http://www.flickr.com/photos/sergeistudio/8034468189/) by Sergei Rodionov (http://www.flickr.com/people/sergeistudio/), on Flickr

(got to process 4x5 shots of this, but it will be b&w , so oh well ;)).

That is really nice. Moody lighting makes it perfect.

[jcoldslabs]

Mamiya 7, 43mm, 35mm panoramic adapter, Provia 100


http://www.kolstad.us/ebay/PANO---Sea-%26-Rock.jpg

Jonathan

[Jay Decker]

Think I stumbled upon one of Frank's photo shoot sites...



http://monkeytumble.com/tmp/frank_photo_site.jpg

Beer Bong
Cell Phone
Kennewick, WA

[Michael Cienfuegos]

Think I stumbled upon one of Frank's photo shoot sites...



http://monkeytumble.com/tmp/frank_photo_site.jpg

Beer Bong
Cell Phone
Kennewick, WA

Be careful with that thing, some college kids are taking their booze in through the back door to get high quicker (yuck!) Heard something about it on the radio the other day. It seems that some kid was taken into the EER with ethanol poisoning, his blood alcohol was 0.4 % :eek:

[jcoldslabs]

Can you tell I'm starting to tackle my scanning backlog? Here are a few more M7 panoramics. I just love the rolling brown foothills in central California. And yep, there's that swimming pool again.

I'm having to tape these to the glass on the scanner and I can't seem to get them as sharp as they should be, probably because of the way the film buckles in the middle. The transparencies look great on the light box, but the scans, even when sharpened, seem a little soft to me.

Mamiya 7, 43mm, 35mm panoramic adapter, Provia 100


http://www.kolstad.us/ebay/PANO-Hills-and-Highway.jpg



http://www.kolstad.us/ebay/PANO---Field-01.jpg



http://www.kolstad.us/ebay/PANO---Trees-02.jpg



http://www.kolstad.us/ebay/PANO---Pool-01.jpg

Jonathan

[C4D]

Mamiya 7, 43mm, 35mm panoramic adapter, Provia 100


http://www.kolstad.us/ebay/PANO---Sea-%26-Rock.jpg

Jonathan

I love this Jonathan! Simplicity at it's best! Can you give me some info on the panoramic adaptor you're using on your 7?

[Corran]

Very nice panoramas! I like the road and the mountains one best myself.

Here's a shot from yesterday. D700, 50mm f/1.2:

http://www.oceanstarproductions.com/photosharing/e-7515s.jpg

[C4D]

Stunning reflection Bryan... I love these southern lake scenes, do they ever develop fog early in the mornings? Those trees and fog would look so surreal.

[C4D]

http://markkarpinski.com/web/35mm/branson_bell1.jpg

Ghost ship at Lake Table Rock Missouri

Leica CL
Summicron 40mm f/2
3 stop hard grad
Kodak T-Max 100

[C4D]

http://markkarpinski.com/web/35mm/springfield_homestead2.jpg

Weathered Ozark Homestead

Leica CL
Summicron 40mm f/2
Kodak T-Max 100

[Corran]

Stunning reflection Bryan... I love these southern lake scenes, do they ever develop fog early in the mornings? Those trees and fog would look so surreal.

Sometimes, but it's pretty rare. I've been out to this lake dozens of times, in the morning, and never seen fog unfortunately, even when it's been forecast!

[Frank Petronio]

Ah yeah alcohol enemas, just like my Delta Upsilon days.

Not really.

Anyway, here are some sober old (1933) Leica shots of a unnaturally skinny woman who actually works as a catalog model:

812298123081231

She's great but I already agree that she is on the verge of not being healthy at this weight. It's fucked that the agencies and industry push this, especially when most of us are too fat.

[Michael Cienfuegos]

http://markkarpinski.com/web/35mm/springfield_homestead2.jpg

Weathered Ozark Homestead

Leica CL
Summicron 40mm f/2
Kodak T-Max 100

Be it ever so crumbled, there's no place like home.

Beautiful :)

[Michael Cienfuegos]

Ah yeah alcohol enemas, just like my Delta Upsilon days.

Not really.

Anyway, here are some sober old (1933) Leica shots of a unnaturally skinny woman who actually works as a catalog model:

812298123081231

She's great but I already agree that she is on the verge of not being healthy at this weight. It's fucked that the agencies and industry push this, especially when most of us are too fat.

Yeah, I like 'em with at least a little meat on their bones. The really skinny ones aren't even pretty. :(

[jcoldslabs]

Very nice panoramas! I like the road and the mountains one best myself.

Here's a shot from yesterday. D700, 50mm f/1.2:

http://www.oceanstarproductions.com/photosharing/e-7515s.jpg

Thumbs-up on this one!

[jcoldslabs]

I love this Jonathan! Simplicity at it's best! Can you give me some info on the panoramic adaptor you're using on your 7?

Thanks. I think of this shot as one of my most 'zen' images.

As for the adapter, it's the one Mamiya sells specifically for the Mamiya 7. I love it. It's a little clunky to rewind and unload the 35mm film cartridge, but other than that it works quite well.

Jonathan

[Jay Decker]

Ah yeah alcohol enemas...

Adds a whole new dimension to the term "holding your liquor"...

[lbenac]

Still working my way trying to learn how to develop on a Jobo with a Beseler motor.

Mamiya 7 65mm Panorama of 4 shots
Jobo 13 minutes Pyrocat HD 1:1:100 TMY-2

http://www.LucBenacPhoto.com/img/s4/v66/p1159922256-4.jpg

Cheers,

Luc

[Michael Cienfuegos]

Adds a whole new dimension to the term "holding your liquor"...

Eeeeeeeew!:(

[David R Munson]

A shot from a fashion shoot I did with friends back in Taiwan, this is one of about 1,500 shots from that day, and it seems I had completely missed it until today.

http://farm9.staticflickr.com/8173/8040984806_35daac01df_c.jpg (http://www.flickr.com/photos/davidrmunson/8040984806/)
Caitlin (http://www.flickr.com/photos/davidrmunson/8040984806/) by David R Munson (http://www.flickr.com/people/davidrmunson/), on Flickr

[Brian C. Miller]

Grand Coulee dam, Washington, August 1999, dawn, Kodak E100S, enhancing filter, Pentax 645, 75mm lens.

81277

Crop, 6400 SPI scan, Epson 750
81278

Crop, 3200 SPI scan, Epson 750
81279

[Jim Jones]

Thanks, Brian, for one of the best comparison yet of 6400 and 3200 SPI on an Epson 750.

[jcoldslabs]

I'm a sucker for dramatic skies. Taken near Eugene, Oregon.

Mamiya 7, 150mm, Portra 160


http://www.kolstad.us/ebay/M7-Power-Lines-r1a.jpg

Jonathan

[goamules]

Here's a nice sky my daughter took last weekend. Humphrey's Peak, around 10,000 feet. Pen-F 25/4.

http://farm9.staticflickr.com/8312/8044866201_bf50c5ef6a_c.jpg

[cjbroadbent]

Dish Cloth. The monochromaroid is making me too lazy to set up LF.
https://lh4.googleusercontent.com/-cc780fC48B8/UGrwHExFOTI/AAAAAAAAL5g/EVp33hbtphQ/s800/MMDishCloth-tm.jpg

[jcoldslabs]

More dramatic skies. This was one of those glass half full/half empty situations. On one hand I was glad to have any camera with me at all; on the other I wish it had been at least medium format.

Nikon 8008s, Velvia


http://www.kolstad.us/ebay/35mm-Velvia-Avila.jpg

Jonathan

[austin granger]

http://farm9.staticflickr.com/8173/8049570686_611cf7f834_z.jpg

http://farm9.staticflickr.com/8454/8049556474_4f43d29a67_z.jpg

http://www.flickr.com/photos/austingranger/

[jcoldslabs]

Gruesome! (But well photographed as always). Did you pull over for the roadkill photo or did you just see it while walking around?

Jonathan

[jp]

It's the end of the line for the coyote.. Nice image.

My own equivalents. Owls Head ME. Yashica-C with yellow filter, tmy2 film in pyrocat-hd.

http://farm9.staticflickr.com/8456/8045539911_160ef5b474_c.jpg
http://www.flickr.com/photos/13759696@N02/8045539911/sizes/c/in/photostream/

Yashica-C, tmy2 film in pyrocat HD. Rainy races at Lime Rock Park, CT.

http://farm9.staticflickr.com/8456/8048971604_33b8b369c7_c.jpg
http://www.flickr.com/photos/13759696@N02/8048971604/sizes/c/in/photostream/

[austin granger]

Gruesome! (But well photographed as always). Did you pull over for the roadkill photo or did you just see it while walking around?
I pulled over, apologized on behalf of the human race, and preformed last rights in my own peculiar way by making a picture. It was much more gruesome in color.

Those are amazing clouds jp, and you did them justice.

[tuco]

I pulled over, apologized on behalf of the human race, and preformed last rights in my own peculiar way by making a picture. It was much more gruesome in color.



A killer shot though. :o

[C4D]

Some images from Eureka Springs Arkansas with some expired Kodak Ultramax 800. I was surprised by the color palette and look of this film.

Leica CL
Summicron 40mm f/2
Ultramax 800

http://markkarpinski.com/web/35mm/es_crescent_chapel1.jpg

http://markkarpinski.com/web/35mm/es_dark_fence1.jpg

http://markkarpinski.com/web/35mm/es_dark_house.jpg

http://markkarpinski.com/web/35mm/es_stone_house2.jpg

[C4D]

http://markkarpinski.com/web/35mm/es_palace_hotel1.jpg

[jcoldslabs]

The color on those is really fabulous. That's what I love about expired film--the unexpected results. Sometimes, as here, it works in your favor. Other times, not so much.

Jonathan

[C4D]

exactly... I also shot a couple rolls of expired Kodak Gold 200 and I did not get the colors or character that I did from the Ultramax. The good news is I have 7 more rolls of Ultramax from the same lot so I now know what I will get from the remaining rolls.

[austin granger]

Actually, I PERformed last rights, not PREformed them, but I think you know what I meant. Sorry, it was bugging me.

By the way, in case anyone's wondering, I don't go around searching for carcasses to photograph (this is my second coyote in as many months)-they just seem to keep turning up lately.

[austin granger]

That color does really have a good feel to it. My favorite is the first one.

[Corran]

Some images from Eureka Springs Arkansas with some expired Kodak Ultramax 800. I was surprised by the color palette and look of this film.

Leica CL
Summicron 40mm f/2
Ultramax 800
http://markkarpinski.com/web/35mm/es_dark_fence1.jpg

http://markkarpinski.com/web/35mm/es_dark_house.jpg


These look like stills from a really neat, scary movie. Cool!

[Jody_S]

Some images from Eureka Springs Arkansas with some expired Kodak Ultramax 800. I was surprised by the color palette and look of this film.

Leica CL
Summicron 40mm f/2
Ultramax 800

http://markkarpinski.com/web/35mm/es_dark_fence1.jpg





I like it.

[jcoldslabs]

I don't think it matters, at least not to me, but I suppose this sort of thing is easily replicated with a cell phone and some Instagram/Hipstamatic filters these days. And yeah, grouped up like this it makes it look like it was a Photo 101 class project or something, but we can't always be zone system sophisticates, now can we?

Tru-View 120 plastic camera, HP5+


http://www.kolstad.us/ebay/Diana---4-UP-GRAY-BG.jpg

Jonathan

[Roger Thoms]

Here's a nice sky my daughter took last weekend. Humphrey's Peak, around 10,000 feet. Pen-F 25/4.

http://farm9.staticflickr.com/8312/8044866201_bf50c5ef6a_c.jpg

Very nice! I'm planning a trip out that way in two weeks, except the main goal is a new roof on one of our out buildings and plumbing a rain gutter into our cistern. May have to take a drive up in the mountains, hopefully the trees will still have color.

Roger

[austin granger]

I spent last weekend in Oregon's Alvord Desert. I tried to capture the strange light of the second picture with my view camera but it was just before sunset and I wasn't fast enough.

http://farm9.staticflickr.com/8454/8051336752_989bb37f8f_z.jpg

http://farm9.staticflickr.com/8456/8051033177_7856de8a25_z.jpg

http://www.flickr.com/photos/austingranger/

[Jody_S]

A cliche: homeless encampment under a railroad bridge in Montreal (Ferrania Condor 1, HP4):

81449

I'm returning today with a 4x5 box camera (The Adlake Special) loaded with x-ray film.

[Vaughn]

But a great cliche.

Good luck today! Great possibilities with the 4x5! HP5 (or did you use FP4?) is a fairly forgiving film in this sort of light...more so than X-ray in any case. It should be a fun challange.

Vaughn

[Peter De Smidt]

Austin, I really like the first one.

Nice work, Jody.

[C4D]

http://farm9.staticflickr.com/8454/8051336752_989bb37f8f_z.jpg


stunning! I really really like this one!

[przemur]

Some images from Eureka Springs Arkansas with some expired Kodak Ultramax 800. I was surprised by the color palette and look of this film.

Beautiful and mysterious. If I recall correctly, I used this film once in very late 1990's and the colors and grain were very far away from the more recent version. A talent and good execution obviously helps too. :)

And here's something shot on a Tri-X, with a 50mm Distagon. It is a nude, so I'm just putting a link to the image: Scene with a bird (http://momenty.net/work2/scene-with-a-bird.jpg)

[Scott Schroeder]

Fence ;-)

81466

[Scott Schroeder]

My son on the last day of summer.

81467

[Scott Schroeder]

I spent last weekend in Oregon's Alvord Desert. I tried to capture the strange light of the second picture with my view camera but it was just before sunset and I wasn't fast enough.

Austin, the lantern is outstanding.
It's ironic because it makes me want to be there in the dark, by moonlight.

[Jody_S]

Fence ;-)

81466

Hypnotic! It moves when I look.

[Scott Schroeder]

Blinds
81473

[jcoldslabs]

...with apologies to Austin's avatar.

Fuji GSW690II, T-Max 400 (expired 2001)


http://www.kolstad.us/ebay/Fuji-6x9---J%26T-Shadows.jpg

Jonathan

[Corran]

I had the great pleasure to work with this young lady today. She is like a for-real model and pageant girl, having won some large regional ones apparently. Quite the looker too. Anyway, I'm hoping to work with her in the future for some film stuff (this was for her personal use and needed to be done ASAP), so for now, some D700 images, first with a 50/1.2, AIS, second, with an 85/1.8 AI:

http://www.oceanstarproductions.com/photosharing/carmella0.jpg

http://www.oceanstarproductions.com/photosharing/carmella1.jpg

[austin granger]

Austin, I really like the first one.

Nice work, Jody.


stunning! I really really like this one!


Austin, the lantern is outstanding.
It's ironic because it makes me want to be there in the dark, by moonlight.

Thanks guys!


...with apologies to Austin's avatar.
http://www.kolstad.us/ebay/Fuji-6x9---J%26T-Shadows.jpg

Jonathan
Dear Mr. Coldslabs, Austin Granger has instructed us to inform you that you are infringing on his copyright. To avoid legal action, please refrain from ever again photographing your elongated shadow on the ground. Thank you. Sincerely, Austin Granger's team of lawyers.

[austin granger]

Self with Lantern, Alvord Desert, Oregon
http://farm9.staticflickr.com/8042/8054859428_06d681d33a_z.jpg

http://www.flickr.com/photos/austingranger/

[Peter De Smidt]

Corran,

Those are some nice photos of a very pretty young lady. The character of the out-of-focus areas, though, is distracting.

[Corran]

I know some folks won't like it and find it distracting. Myself, I like it. If I had had more time I would have tried some different aperture settings though to see the difference.

[Peter De Smidt]

...Myself, I like it. ...

That's what matters!

[Kerik Kouklis]

Self with Lantern, Alvord Desert, Oregon
http://farm9.staticflickr.com/8042/8054859428_06d681d33a_z.jpg

http://www.flickr.com/photos/austingranger/

This is cool.

[Scott Schroeder]

Yes very cool. Looks like a great place. Reminds me of the race track.

[jcoldslabs]

The character of the out-of-focus areas, though, is distracting.

I wish I could poll some non-photographers about this. It seems to me that the character of OOF areas of photographs is something we, as photographers, spend a lot of time analyzing and debating, so we are hyper-aware of it. I am not immune to the appeal of discussing which lenses have the creamiest "bokeh," but are other people as attuned to this as we are? I wonder if a more average, casual viewer would find the f/1.2 bokeh distracting or simply think, as I did, "Wow, she's cute!"

Jonathan

[Peter De Smidt]

Jonathan, probably the latter.

I use mostly Nikon primes for my non-action shots. The bokeh is often quite harsh. I'd really like one of the DC lenses, but I can't afford one. Since I see it so often in my own work, it stands out when I see it elsewhere.

On the other hand, if you're going to go by what the casual viewer thinks, then none of us would be using LF.

[jcoldslabs]

Dear Mr. Coldslabs, Austin Granger has instructed us to inform you that you are infringing on his copyright. To avoid legal action, please refrain from ever again photographing your elongated shadow on the ground. Thank you. Sincerely, Austin Granger's team of lawyers.

Dear Mr. Granger,

The legal team behind the photographic juggernaut that is JCOLDSLABS, INC. (i.e. THE ARTIST) is writing to inform you that THE ARTIST, on or around January 13, 1997, took out a patent on naturally occurring sunlight (that being electromagnetic radiation emanating from the star at the heart of our solar system, covering both the visible and non-visible spectra). In light of this fact it is YOU, Mr. Granger, who have used THE ARTIST's patented lighting source without permission.

Your recent nocturnal foray into the Oregon desert and the subsequent photographs taken by lantern light suggest an attempt to avoid these patent complications altogether. Be warned, however, that should it be determined by forensic analysis that any sunlight, even re-purposed as moonlight, was used to illuminate parts of your photographs, I am afraid you are still infringing on THE ARTIST's patent.

We have been notified that you recently took a photograph of yourself at night in your basement, using a flat screen television as the light source. May we suggest this as an ideal (and patent-free) time and place to practice your photography from now on.

Cordially,

W. E. T. Blanket, Esq.

[jcoldslabs]

On the other hand, if you're going to go by what the casual viewer thinks, then none of us would be using LF.

I agree. And no, we should not evaluate what we do based on what anyone else thinks, especially the public at large. I was just thinking out loud about the things we train ourselves to notice in photographs that others probably don't ever see.

I went to a Brett Weston exhibit with my wife and her grandmother years ago. They were already in the gift shop by the time I was still viewing the second photo. When I finally caught up with them and asked how they had finished viewing the prints so quickly, they told me, "They were boring and all looked the same." I never thought to ask myself if the photos themselves were boring or overly similar--in fact, they were--because I was in awe of the technical aspects of the big prints. Where I saw detail and refinement and subtle tonality, they saw a bunch of boring photos of palm leaves.

Jonathan

[rdenney]

I wish I could poll some non-photographers about this. It seems to me that the character of OOF areas of photographs is something we, as photographers, spend a lot of time analyzing and debating, so we are hyper-aware of it. I am not immune to the appeal of discussing which lenses have the creamiest "bokeh," but are other people as attuned to this as we are? I wonder if a more average, casual viewer would find the f/1.2 bokeh distracting or simply think, as I did, "Wow, she's cute!"

Jonathan

People notice. They may not know what they notice, or why, but they notice. My wife can select pictures out of a stack that were made with a Sonnar, and she loves them because they have a calming effect that accentuates the the subject in the focus plane displays.

Painters use different brushes, too, but I doubt the average viewer knows the difference between sable and bristle.

Rick "thinking good bokeh is conspicuous by its absence" Denney

[Leigh]

...with apologies to Austin's avatar.
Fuji GSW690II, T-Max 400 (expired 2001)
Watch out, Jonathan. Austin will put out a contract on you, and he knows some mean people. :eek:

Nice shot. I'll bet she looks better from the front. Too bad I can't say the same about you. :D

- Leigh

[jcoldslabs]

Too bad I can't say the same about you. :D

Ain't THAT the truth!

Jonathan

[jp]

Jonathan, probably the latter.

I use mostly Nikon primes for my non-action shots. The bokeh is often quite harsh. I'd really like one of the DC lenses, but I can't afford one. Since I see it so often in my own work, it stands out when I see it elsewhere.

On the other hand, if you're going to go by what the casual viewer thinks, then none of us would be using LF.

The 105dc is nice... There are other smooth options though. Sigma does a nice 50mm. I have a Helios 58mm with a m39-m42-F adaptors, but it doesn't focus to infinity, but it's super smooth with a 13blade aperture. There's samyang/vivitar/rokinon 85mm lenses (which I haven't tried), the old Nikkor 105/2.5 is quite well regarded (I used to have one).

[austin granger]

Jonathan, Thanks for a good laugh. From here on out, I promise nothing but flat-screen TV illumination. Could be a bit of a challenge though-can I use a generator and make it portable? Actually, that gives me an idea. What if I were to bring my TV out to the desert (on a moonless night, of course)? I could set up a whole living room out there in the middle of the playa! Yeah, it's probably already been done...

[austin granger]

Tenzing Norgay, Alvord Desert, Oregon
http://farm9.staticflickr.com/8319/8054850602_191eec5513_z.jpg

Sunset, Alvord Desert, Oregon
http://farm9.staticflickr.com/8177/8058402706_68d1e331ee_z.jpg

http://www.flickr.com/photos/austingranger/

[jcoldslabs]

Jonathan, Thanks for a good laugh.

A bit over the top, but I couldn't resist. More seriously, how did you meter the shot of the lantern (the one by itself on the ground)? Did you bracket or nail it on the first try? Nice work in any case.

Jonathan

[jcoldslabs]

No sunlight was used in the making of this picture!

Mamiya 7, 80mm, Delta 400 (cropped square).


http://www.kolstad.us/ebay/M7---Lamp-and-Wall.jpg

Jonathan

[SamReeves]

I had the great pleasure to work with this young lady today. She is like a for-real model and pageant girl, having won some large regional ones apparently. Quite the looker too. Anyway, I'm hoping to work with her in the future for some film stuff (this was for her personal use and needed to be done ASAP), so for now, some D700 images, first with a 50/1.2, AIS, second, with an 85/1.8 AI:

http://www.oceanstarproductions.com/photosharing/carmella0.jpg

http://www.oceanstarproductions.com/photosharing/carmella1.jpg

Really fantastic. She totally looks ecstatic which makes it fun to view this.

Kammeron, she likes big wood.

Canon D60, Canon EF 17-40mm ƒ4L, ASA 400.

http://www.samreevesphoto.com/posts/CRW12_4243.jpg

[austin granger]

A bit over the top, but I couldn't resist. More seriously, how did you meter the shot of the lantern (the one by itself on the ground)? Did you bracket or nail it on the first try? Nice work in any case.

Jonathan

I made two exposures of the lantern (2 seconds and 4 seconds at either f5.6 or f8 I think) and ended up going with the one that was a little underexposed as I liked the feel of the blackness better. In working on it in the computer, I treated the lantern itself separately than the rest of the picture as I didn't want the light source totally blown out. So basically there're two different contrast levels going on there. Other than that, it was very straightforward. It was a picture I never considered making until it kind of hit me in the face. I set down the lantern (to make another picture actually) and it was like; "Oh! Look at THAT!" A lot of my favorite pictures are ones that happen that way. I love that after all these years of making photos, we can still be surprised.

[Roger Cole]

I had the great pleasure to work with this young lady today. She is like a for-real model and pageant girl, having won some large regional ones apparently. Quite the looker too. Anyway, I'm hoping to work with her in the future for some film stuff (this was for her personal use and needed to be done ASAP), so for now, some D700 images, first with a 50/1.2, AIS, second, with an 85/1.8 AI:

http://www.oceanstarproductions.com/photosharing/carmella0.jpg

http://www.oceanstarproductions.com/photosharing/carmella1.jpg


Corran,

Those are some nice photos of a very pretty young lady. The character of the out-of-focus areas, though, is distracting.


I know some folks won't like it and find it distracting. Myself, I like it. If I had had more time I would have tried some different aperture settings though to see the difference.


I wish I could poll some non-photographers about this. It seems to me that the character of OOF areas of photographs is something we, as photographers, spend a lot of time analyzing and debating, so we are hyper-aware of it. I am not immune to the appeal of discussing which lenses have the creamiest "bokeh," but are other people as attuned to this as we are? I wonder if a more average, casual viewer would find the f/1.2 bokeh distracting or simply think, as I did, "Wow, she's cute!"

Jonathan


Jonathan, probably the latter.

I use mostly Nikon primes for my non-action shots. The bokeh is often quite harsh. I'd really like one of the DC lenses, but I can't afford one. Since I see it so often in my own work, it stands out when I see it elsewhere.

On the other hand, if you're going to go by what the casual viewer thinks, then none of us would be using LF.

I actually like the bokeh here, though this particular lens wouldn't be ideal for many other shots in terms of its out of focus rendering. But in this one, particularly the first one where it's more apparent, it makes the specular highlights look almost crystalline. In the second photo the specular highlights in the background are fewer and smaller and I think neither help nor hurt. They're not that obvious and the smoother toned areas are more smoothly blurred.

That first one sort of sparkles though, and in this case with the blond model and smile, I like the effect. YMMV of course.

[jcoldslabs]

I made two exposures of the lantern (2 seconds and 4 seconds at either f5.6 or f8 I think) and ended up going with the one that was a little underexposed as I liked the feel of the blackness better. In working on it in the computer, I treated the lantern itself separately than the rest of the picture as I didn't want the light source totally blown out. So basically there're two different contrast levels going on there. Other than that, it was very straightforward. It was a picture I never considered making until it kind of hit me in the face. I set down the lantern (to make another picture actually) and it was like; "Oh! Look at THAT!" A lot of my favorite pictures are ones that happen that way. I love that after all these years of making photos, we can still be surprised.

Thanks for the detailed info. I was impressed that the mantle (or filament? or bulb?) of the lantern was still discernible with a hint of detail in the flood of light.

Jonathan

[Corran]

Thanks for all the comments guys. It's always interesting to hear others' thoughts. I think Jonathan is right, we as photographers do sometimes look at things differently.

[mdm]

http://2.bp.blogspot.com/-xzgo1YFkBEk/UHDu8xjoxTI/AAAAAAAABdw/jRmS7V0LeQA/s1600/P1000218.jpg
Panasonic LX5

[mdm]

http://2.bp.blogspot.com/-R8Xn0ie7cD0/UHDv79UMMcI/AAAAAAAABd8/TF_l2tHEVl8/s1600/P1000262.jpg
Panasonic LX5
Take that Mr Friedlander.

[tuco]

No sunlight was used in the making of this picture!

Mamiya 7, 80mm, Delta 400 (cropped square).

Jonathan

The resulting curve looks like a parabola.

[tuco]

Out testing compression on a roll of Acros. You don't need to meter out in the sun with this exposure index. Just use the Sunny 11 rule in any direction you aim the camera.




http://farm9.staticflickr.com/8454/8061908935_6a68e01f3c_o.jpg (http://www.flickr.com/photos/yo_tuco/8061908935/)

100ACR @ EI 6, Y2 Yellow Filter, PMK, Sunny 11 Rule

[austin granger]

I'm not sure exactly what that means, but you always get good results Tuco. I love the motion of the figure in the door.

Early Morning, Burns, Oregon
http://farm9.staticflickr.com/8033/8054352871_ac22c0ff08_z.jpg

Desert Theatre, Burns, Oregon
http://farm9.staticflickr.com/8452/8054356397_715e4a6983_z.jpg

http://www.flickr.com/photos/austingranger/

[tuco]

I'm not sure exactly what that means, but you always get good results Tuco. I love the motion of the figure in the door.

Early Morning, Burns, Oregon


Thanks. I have an old friend who lives in Burns. I gotta get out there and see him. It looks like a one-horse town.

The rule for this highlight compression is to meter and place the low values, add 3 stops then cut your development time. Out in the Sun the shadows are pretty much the same value no matter what direction you are looking. So you ignore where the highlights fall. The old adage of expose for the shadow; develop for the highlights. So far I haven't lost any highlights except for the very center of the Sun.

I still have a stash of 320TXP kicking around. While I like it in sheet film, I've never taken to it in roll film. In an attempt to find a use here is the same compression test I did last week of 320TXP at EI 50. I used the Sunny 16 rule on this shot but the shots with the Sunny 11 Rule were better. I also should rate it at EI 25 but the results with 320TXP so far are not very good compared to 400TMY and 100ACR. The neighbor's dog was out so I used him as a test subject. Granted the contrast is not good with sun flare but still other shots were just not as good as those other films.




http://farm9.staticflickr.com/8037/8021925904_7fb84fdcc2_o.jpg (http://www.flickr.com/photos/yo_tuco/8021925904/)

Testing 320TXP @ EI 50.

[Corran]

Neat! I think your compression methodology is what I'm trying to do (without much success so far) with Rodinal. Gotta keep trying.

I should give Pyrocat another try though. It burned me several times with blank sheets of film for unknown reasons so I stopped using it.

[Kav]

I'm currently on the west coast. And man 'o-man how I have missed this part of the US. Everyday we are treated to an outstanding sunset and sunrise:

http://kavanaughmp.smugmug.com/photos/i-VdKw6RH/0/XL/i-VdKw6RH-XL.jpg

While I'm here and trying to learn with off camera lighting in my spare time I've made it know that if you stop by I am going to take your photo:

http://kavanaughmp.smugmug.com/photos/i-zRtPgW6/0/XL/i-zRtPgW6-XL.jpg

http://kavanaughmp.smugmug.com/photos/i-kwjKc3Z/0/XL/i-kwjKc3Z-XL.jpg

http://kavanaughmp.smugmug.com/photos/i-RdqgFnM/0/XL/i-RdqgFnM-XL.jpg

All photos taken with a D7000 and a 85mm f2

[Myxine]

Here's one from my summer trip to Yosemite. Xpan with TriX. I have hopes that once properly scanned and/or printed it could look good

http://farm9.staticflickr.com/8174/8048804865_81abea69f4_b.jpg (http://www.flickr.com/photos/nolarnaud/8048804865/)
The Drapery Falls (http://www.flickr.com/photos/nolarnaud/8048804865/) by L'Eidolon (http://www.flickr.com/people/nolarnaud/), on Flickr

This one's from the salt flat, on a rest area close to Salt Lake City

http://farm9.staticflickr.com/8318/8065414408_517e4fbbf7_b.jpg (http://www.flickr.com/photos/nolarnaud/8065414408/)
Salt Flats (http://www.flickr.com/photos/nolarnaud/8065414408/) by L'Eidolon (http://www.flickr.com/people/nolarnaud/), on Flickr

I really love the Xpan. It quickly became my go-to camera during this trip

[tuco]

I once did a static jump from this plane. On the other side is a round bar sticking out from the door. They had you stand on that, reach and grab the strut, hang from it, hand shuffle along its length till you reached a marker near the wing, took your picture and finally gave the signal to let go.

I couldn't believe it. First-time jumper and they practically had you wing walking. You had to take about 3 or more hours of training before the jump. It was only from about 3000ft (900m) height but all the training went out the window soon as I let go. I froze. If I had to pull the cord myself, I would have hit the ground before I finally came to my senses on what was going on.





Another from that test roll. Sunny 11 Rule here too

http://farm9.staticflickr.com/8321/8068223007_88eff690df_o.jpg (http://www.flickr.com/photos/yo_tuco/8068223007/)

100ACR @ EI 6, Y2 Yellow Filter

[goamules]

One shiney plane deserves another. F-86 from this weekend's Dallas airshow. 1930s Fed 100/6.3.

81688

[jcoldslabs]

I froze. If I had to pull the cord myself, I would have hit the ground before I finally came to my senses on what was going on.

Thanks for the honesty! I have never parachuted and likely never will since I'm way too scared, but your experience would certainly apply to me if I tried it.

I'm liking the Sunny 11 thing. I'll have to try it and see what happens. How much are you pulling the development? When I shoot Efke 100 my shadows are always blocked. Makes me think the Efke needs Sunny 8 or something, at least with HC-110. (I rate it at EI 32 anyway, so I guess is IS getting shot at Sunny 8!)

Jonathan

[Frank Petronio]

I was scared too, I understand why they use a static line!

Of course now those tandem jumps are kind of creepy... Big bear guy attached to your butt as you fall....

[tuco]

...
How much are you pulling the development? When I shoot Efke 100 my shadows are always blocked.
...

Jonathan

The recipe I've been following is to cut your normal development time by 1/2 for PMK. But I can't say if that recipe applies to all or some other developers. Give it a try and let us know. I have some HC-110 also but I have one other film to test before trying it on a different developer.

[Peter De Smidt]

Neat! I think your compression methodology is what I'm trying to do (without much success so far) with Rodinal. Gotta keep trying.

I should give Pyrocat another try though. It burned me several times with blank sheets of film for unknown reasons so I stopped using it.

You could give divided Pyrocat a try. It does an amazing job with high SBR scenes.

[tuco]

Thanks for the honesty! I have never parachuted and likely never will since I'm way too scared, but your experience would certainly apply to me if I tried it.

I'm liking the Sunny 11 thing.

Jonathan

I believe it's inferred that Sunny 16 rule should be opened up a stop from that rule for the higher latitudes during non-summer months and times when the sun is lower in the sky.

[Roger Cole]

Interesting rule, I may have to try that.

I need to take a film camera with me flying some day. I've shot some digisnaps while piloting, but never film.

[paulr]

I just put images online from my first wee camera project in years. All from the last two months, since the camera showed up.
The rest is here (http://paulraphaelson.com/portfolios/sub-culture).


http://paulraphaelson.com/image/sub-culture_home_image.jpg
]

[jcoldslabs]

Really nice work, Paul. Which "wee camera" was it?

Jonathan

[paulr]

Thank you, Jonathan.
It's a wee d800 with a 50mm lens. Quite a bit smaller than what many tourists carry around ...

[jcoldslabs]

Paul,

Looking through the body of work as a whole was a rewarding experience. Some of the images stand on their own, to be sure, but seen as a series it works very well. This is one of the first group of images I've seen in a while that makes me wish I had a digital camera. (I know, I know--I should get out more!)

I used to shoot on the subway when I lived in Boston years ago. I had a waist level finder for my Nikon F3 which I loved. No one ever thought you were shooting photos when looking down into the camera on your lap, although precise focusing was tricky.

Jonathan

[jp]

I just put images online from my first wee camera project in years. All from the last two months, since the camera showed up.
The rest is here (http://paulraphaelson.com/portfolios/sub-culture).


Very nice. A nice object lesson in using every bit of the frame for the composition elements and for keeping your eyes open to the difference between what you see and what's actually in front of you.

Though it might spoil the presentation, I can't help but think there must be some good vertical compositions or square compositions out there too.

[Peter De Smidt]

Nice work, Paul!

[rdenney]

Paul, this seems less labored than the urban gardens series, and less socially pointed than the southwest landscapes that show man's initerruption of natural beauty.

I wonder if anyone who is an unwitting subject of your photos became aware of that lens pointing at them through the subway window panes and expressed annoyance. When I'm riding on mass transit, I turn within myself, but I think if some guy was photographing me closely enough to see what I was reading, I might get a little peeved. Others might be more willing to express that than I am, however. I'm not sure I can run fast enough. And the fact of that thought running through my mind would probably be as apparent as a neon sign.

I like the use of reflections to create visual confusion that demands further study.

Rick "who might consider some little Panasonic digicam for this wort of work" Denney

[jp]

Rick, a DSLR with a 50mm is very generic and normal in a touristy city. Especially after you take the gold d800 strap off and replace it with something less.

[rdenney]

Rick, a DSLR with a 50mm is very generic and normal in a touristy city. Especially after you take the gold d800 strap off and replace it with something less.

I'll take your word for it, but I travel by subway in a very touristy city quite frequently (Washington DC), and I rarely see a DSLR with a 50mm lens on it, at least in certain parts of town.

Rick "who has often held an SLR camera in the subway, and found that it attracted attention" Denney

[paulr]

Thanks for the feedback, everyone. Rick, I think I do annoy some people. Mostly just by being the guy with the camera who's all animated while everyone else is trying to take a few minutes to hide from the world. In most cases no one has any idea what I'm photographing, since the lens is pointed at a window where nothing discernible is happening. In some of the ones where I'm pointing directly at people in the next car I've gotten dirty looks, and one or two people have gotten up and moved out of sight. I try to be discreet so as not to make people uncomfortable. It's got to be creepy to see a camera pointed at you through a window. And in some cases I'll be pointed at the same scene or person for several minutes as they change poses, expressions, orientations, etc..

It's a strange project from this point of view. On one hand the subway is public space, so you're free to photograph whatever. On the other hand, this series seems to be about the little moments and spaces of privacy people create while surrounded by others. So by necessity this work involves violating that privacy. I justify it with the attitude that I'm honoring this privacy with a respectful stance. I can't even count how many pictures had to be rejected because of fingers up noses.

Jonathan, yes, digital cameras do some wonderful things. I got this one for urban landscape work, but it was so good in low light that it seduced me into playing underground. Many of these pictures are at iso 3200 or above, and I'm planning to print 20x30. I don't know if this would have been possible with film at all. I'm also about a week away from the camera having paid for itself, considering what film and processing would cost for this work.

[austin granger]

I just put images online from my first wee camera project in years. All from the last two months, since the camera showed up.
The rest is here (http://paulraphaelson.com/portfolios/sub-culture).


http://paulraphaelson.com/image/sub-culture_home_image.jpg
]

This is just fantastic work. Dreamlike, almost hallucinatory, and yet perfectly straight and unaffected. In boxes and cages and their own interior spaces, everyone's all together, and everyone's all alone-the humanity! Here subway trains become mazes, aquariums, or a cathedral's stained glass windows, or well, subway trains! Wow. Everyone should go to Paul's site and carefully look at this project. It's exciting stuff.

[Peter De Smidt]

Well said, Austin.

[Jody_S]

2 carefully-made homeless beds, under bridges in Montreal (Griffintown). Camera: Kalimar A / Welmy.

8173281733

[Roger Cole]

Paul, this seems less labored than the urban gardens series, and less socially pointed than the southwest landscapes that show man's initerruption of natural beauty.

I wonder if anyone who is an unwitting subject of your photos became aware of that lens pointing at them through the subway window panes and expressed annoyance. When I'm riding on mass transit, I turn within myself, but I think if some guy was photographing me closely enough to see what I was reading, I might get a little peeved. Others might be more willing to express that than I am, however. I'm not sure I can run fast enough. And the fact of that thought running through my mind would probably be as apparent as a neon sign.

I like the use of reflections to create visual confusion that demands further study.

Rick "who might consider some little Panasonic digicam for this wort of work" Denney

Personally, if someone photographs me showing what I'm reading in public I don't give a rat's ass. Nor do I see why most other people would, unless you were reading something pretty controversial.

I clicked through every one on the site and I saw, I think five people reading and in not one could I tell what they were reading anyway, except that one was a newspaper and one was a Kindle.

I can't imagine why any of the people in any of those photos would care one bit.

I agree with Austin's appraisal of it. Very good work.

[Roger Cole]

In fairness though I should point out that I grew up rural, never rode mass transit in my life until age 40 when I moved to the Atlanta suburbs for the second time when I routinely drove to the nearest station and took the train into town, was never really comfortable doing it, and now live suburban and never do it except on the rare occasions I fly commercially for work when I park at a northern transit station and take the train to the airport on the south side and back. My wife, however, lived in Brooklyn, Philadelphia, and a few months in France and is much more familiar and comfortable with mass transit. I showed her the photos and she loved them and just said "oh, COOL!" repeatedly. I agree with her.

[paulr]

Thank you so much, Austin.

Roger, in fairness, at full resolution you can read a lot of these people's books and kindles. One woman is reading a novel by Michael Ondaatje that looks so good I ordered it. Another is reading a fantastic page of trashy romance that looks a bit like Konan the Barbarian meets Twilight.

I doubt many people would object to being photographed based on the final product ... it's the experience of being photographed by a stranger, for god-knows-what purpose, that feels intrusive. It's a one-way transaction, with all the power on one side. There really is a sense of something being taken. Bruce Davidson negotiated this issue by negotiating. He asked permission, and sent people prints. He also had to do this; his strobes made it impossible to work unintrusively. My project would of course be completely different if I interacted directly. People can't retreat into their private worlds and pose at the same time.

[Corran]

Love the idea Paul, especially the photo you posted on this thread, it's excellent!

Today my mentor and I went to an abandoned mill to start a documentary photo project in remembrance of this historical building that was built in 1899. It is being torn down soon because no one was willing to invest in renovating it and making it into something worthwhile and preserving it. Anyway, here's a digital proof shot that I did before shooting a 4x5 sheet. Shot a total of 9 sheets today, lots of work to do tonight in the darkroom, and we will be going back many times in the next few weeks.

D700, 16mm f/3.5 AIS fisheye, f/8, 20s, two SB-800's manually blasted at full power all over the place:
http://www.oceanstarproductions.com/photosharing/mill1.jpg

[jcoldslabs]

Bryan--can't wait to see the LF images. I wish I had access to a place like that.

Here's a shot of my uncle watching TV. (Sometimes the only way I can get through family gatherings is to witness it all through a viewfinder.)

Mamiya 7, 80mm, Portra 160 NC


http://www.kolstad.us/ebay/M7---FOK-III.jpg

Jonathan

[rdenney]

I can't imagine why any of the people in any of those photos would care one bit.

I hope it was clear that I like the work very much--I think it's among Paul's best and I like all his stuff. It's the first I've seen that really reflects his reverence for the work of Friedlander in a way that I could detect. Nor was I complaining or suggesting that Paul had no right to make the photos. I was really asking whether he'd been challenged, and endured more challenge that I myself would have been willing to risk.

I think your rural upbringing is indeed relevant. People who grow up in cities (as I did) build a notion of a private space around them. Often, that space is nil, such as on a crowded subway car. But it is always there, and when someone invades it (which is more an invasion of consciousness than physical proximity), it makes people uncomfortable. Story: When I went to college at Texas A&M, I found myself under constant attack by friendly students who'd grown up in rural areas--A&M, as partly an agricultural school, had lots of rural students. They just didn't understand the concept of personal space. It took some getting used to on my part.

I've ridden mass transit systems in most major U.S. cities and in several giant cities around the world, and felt relatively secure because the other riders shared that sense of private space. Anyone who showed specific interest in me, but not in a way that made their intentions clear (as in, by addressing themselves to me so we could converse) would have made me acutely uncomfortable. I just wondered how Paul handled it.

Rick "not intending any offense; quite the opposite" Denney

[rdenney]

(Sometimes the only way I can get through family gatherings is to witness it all through a viewfinder.)

Oh, yes. But I'm not prepared to endure the consequences of making those photos public.

Rick "sensitive to spousal approbation" Denney

[Jody_S]

There is no expectation of privacy while riding the subway or a city bus. People might get upset if you photograph them, but you're not breaking any laws and you are perfectly entitled to continue photographing them even when they object. Yes, it's rude. But you still have the right to do it. I realize that rent-a-cops in the USA and many other places will not recognize your rights and you might well end up in jail.

[tuco]

Tired of these airplane pictures yet? Anyway, this one I was pretty much accused of putting in the sun flare in post. Some 645D owner said he had to use multiple exposures to get a sun flare that tight and he had the mighty 645D with its 14 stops of DR. This is a single exposure.




http://farm9.staticflickr.com/8315/8069822432_ea117d06eb_o.jpg (http://www.flickr.com/photos/yo_tuco/8069822432/)

400TMY @ EI 25, Y2 Yellow, Sunny 11 Rule

[Peter De Smidt]

That's funny, Tuco.
I'm enjoying your airplane shots.

[tuco]

I just put images online from my first wee camera project in years. All from the last two months, since the camera showed up.
The rest is here (http://paulraphaelson.com/portfolios/sub-culture).



I finally got around to checking out your sub-culture shots. Inspirational. What a great theme too.



That's funny, Tuco.
I'm enjoying your airplane shots.

Thanks.

[Jay Decker]

http://www.rangefinderforum.com/photopost/data/500/Scan-121008-0022.jpg

Needs a little paint...

Exakta 66 Mod2
Schneider Xenotar MF 80mm f/2 8
1984 Plus-X in HC-110 @ 1:49
Bickleton, WA



http://www.rangefinderforum.com/photopost/data/500/Scan-121008-0014.jpg

Zebra House

Exakta 66 Mod2
Schneider Xenotar MF 80mm f/2 8
1984 Plus-X in HC-110 @ 1:49
Bickleton, WA

[jcoldslabs]

The rule for this highlight compression is to meter and place the low values, add 3 stops then cut your development time.






http://farm9.staticflickr.com/8315/8069822432_ea117d06eb_o.jpg (http://www.flickr.com/photos/yo_tuco/8069822432/)

400TMY @ EI 25, Y2 Yellow, Sunny 11 Rule



Tuco,

I appreciate you sharing your methodology, but I'm still trying to get my mind around it. For both TMY and Acros you used an EI that was 4 stops slower than box speed (box + 4 stops). If I'm reading this right, and I'm probably not, you A) add four stops (+4) to the box speed; B) meter the shadows and then stop down two stops (-2) to place them on zone III; C) open up three more (+3) stops; and D) process by cutting the development time in half. Where does the "Sunny 11" fit in to all this? I apologize for being dense, but this is like one of those math puzzles I could never work out in school.

I realize box speed means nothing without testing (in my case when I shoot Efke 100 I rate it at EI 32), but if we use that as a starting point, with TMY and Acros you are effectively placing the shadows on the zone you want and then adding SEVEN stops of exposure over box? I once overexposed T-Max 400 by eight stops on accident (rated it at EI 1.5) and salvaged the negative somewhat with severely reduced development, but I never would have thought of this as ideal. Your results seem to refute this.

Apologies in advance if I'm just misunderstanding. Have pity on a slow, confused mind!

Jonathan

[Corran]

Could be wrong but I read that as: Meter at 400, add 3 stops, Sunny 11 rule adds another stop over conventional Sunny 16, which boils down to EI 25. Maybe? I should try this with Tri-X, simply center-weighted metered in my Nikkormat at an EI of 25.

[Jay Decker]

http://www.rangefinderforum.com/photopost/data/500/Scan-121008-0001.jpg

Paint Erosion

Exakta 66 Mod2
Schneider Xenotar MF 80mm f/2 8
1984 Plus-X in HC-110 @ 1:49
Bickleton, WA

[tuco]

Tuco,

I appreciate you sharing your methodology, but I'm still trying to get my mind around it. For both TMY and Acros you used an EI that was 4 stops slower than box speed (box + 4 stops).


The yellow filter is a stop.



B) meter the shadows and then stop down two stops (-2) to place them on zone III; C) open up three more (+3) stops; and D) process by cutting the development time in half.


You can simplify the process by reducing the ISO on the meter ( say 400 film = ISO 50 = ISO 25 with a yellow filter) and then meter as normal to place your low values. And now the Sunny 11/16 rule can be applied easily too.



Where does the "Sunny 11" fit in to all this?


General shadows in the sun are around zone 3 and 4 when using the Sunny 16 Rule. I open a stop from that rule for being at N48° and October in late afternoon and call it the Sunny 11. My Rolleicord IV came with a placard of exposures that work out to be the Sunny 11 Rule built into it. Also given are corrections for season of the year.



I realize box speed means nothing without testing (in my case when I shoot Efke 100 I rate it at EI 32)


That's a slow rating. But I don't think I caught what developer you're using. I'd suspect camera/meter error largely contributing to that unless your current normal development time is compensating for that by being short to begin with. Have you done a speed test by measuring the density of the negative?




...but if we use that as a starting point, with TMY and Acros you are effectively placing the shadows on the zone you want and then adding SEVEN stops of exposure over box?


No, it's 3 stops extra exposure from your normal use of the film. I use box speed as a starting point because the films I have speed tested all came within about a 1/3 stop of box speed. So I just round off for this exposure recipe. Close enough. I should also note that I add 30 seconds to the recipe's development time.

[jcoldslabs]

Tuco,

Thanks for the clarification. As for the Efke PL 100, I don't have a densitometer, but with HC-110 I kept having to drop the EI until I got what looked to me to be actual zone III shadows when metered and placed there. Could be the way I develop, too, in a Jobo tank by hand using dil. H.

It's all semantics, but I only reduce my EI for the purposes of determining my meter setting; after that I take filter factors, etc. into account by adding or subtracting stops, not changing my EI. Same thing in the end, of course, but in reading your description I was getting EI adjustments and adding and subtracting stops confused.

Am I correct in assuming that this method is primarily a way to keep the shadows open and full of detail without losing the highlights? If so I like the look of it. I have been having trouble with blocked shadows for a while even with what I believe to be high shadow placement (zone IV) and compensating development, but it may just be that my spot meter and I are not on the same page.

Jonathan

[Roger Cole]

I hope it was clear that I like the work very much--I think it's among Paul's best and I like all his stuff. It's the first I've seen that really reflects his reverence for the work of Friedlander in a way that I could detect. Nor was I complaining or suggesting that Paul had no right to make the photos. I was really asking whether he'd been challenged, and endured more challenge that I myself would have been willing to risk.

I think your rural upbringing is indeed relevant. People who grow up in cities (as I did) build a notion of a private space around them. Often, that space is nil, such as on a crowded subway car. But it is always there, and when someone invades it (which is more an invasion of consciousness than physical proximity), it makes people uncomfortable. Story: When I went to college at Texas A&M, I found myself under constant attack by friendly students who'd grown up in rural areas--A&M, as partly an agricultural school, had lots of rural students. They just didn't understand the concept of personal space. It took some getting used to on my part.

I've ridden mass transit systems in most major U.S. cities and in several giant cities around the world, and felt relatively secure because the other riders shared that sense of private space. Anyone who showed specific interest in me, but not in a way that made their intentions clear (as in, by addressing themselves to me so we could converse) would have made me acutely uncomfortable. I just wondered how Paul handled it.

Rick "not intending any offense; quite the opposite" Denney

Oh I wasn't offended, just sort of puzzled. Can't speak for Paul of course.

I certainly do have a sense of personal space, but it's physical. If someone I don't know gets within less than about three feet of me I'm decidedly uncomfortable. But they can photograph me from eight feet away all they want, if they're not being particularly intrusive or obnoxious about it (in other words, someone blazing away with a motor drive or digital equivalent might get on my nerves, but a shot or two wouldn't. Flash in the wrong circumstances might, but just reading on the train, nah.) But on the other hand lots of city folks don't mind being pressed on all sides by strangers.

[rdenney]

Roger, Paul's lack of a black eye suggests most people think as you do. But it only takes one self-identified victim willing to press his claim to ruin the photographer's day. I was just wondering if Paul had a way of handling it, and admiring his willingness to attempt it.

Rick "who is going to have to be more careful about typing a password into his iPhone" Denney

[paulr]

So far the closest thing to a threat has been dirty looks ... and I don't even see most of those until I'm editing!

[austin granger]

Abandoned Strip Mall with Jaguars and Wildebeests, Portland
http://farm9.staticflickr.com/8456/8074230403_db7441c8db_z.jpg

http://www.flickr.com/photos/austingranger/

[cjbroadbent]

Monochrom with a 35mm Summilux, DNG developed with RPP.
https://lh3.googleusercontent.com/-KeyiWHBURsI/UHW1J-6WklI/AAAAAAAAMEc/lh_mImMPp4k/s800/LysaRppOne2.jpg

[austin granger]

Shuttered Key Shop, Portland
http://farm8.staticflickr.com/7267/8075094831_18bf0fd5da_z.jpg

http://www.flickr.com/photos/austingranger/

[jcoldslabs]

Power substation, Portland.

I prefer the full frame image instead of the crop, but since I was shooting through a chain link fence the bottom third of the image is dominated by blurry fencing. This is where a rangefinder lets you down. TTL viewing would have helped me center the lens between the links.

Mamiya 7, 65mm, Portra 160


http://www.kolstad.us/ebay/M7---Power-Station.jpg

Jonathan

[tuco]

Power substation, Portland.

This is where a rangefinder lets you down. TTL viewing would have helped me center the lens between the links.

Jonathan

Nonsense, a real rangefinder shooter would have climbed over the fence! ;)

On a more serious note, all the different medium format film cameras seem to have a strength at the expense of something else.

[jcoldslabs]

Nonsense, a real rangefinder shooter would have climbed over the fence!

Not these days! I've been hassled twice in Portland for taking photos from public property. Cops seem a bit overzealous about photographers, which is nuts, especially with LF. I have had an idea for a long exposure at dusk out near the airport to capture the streams of light from the landing aircraft. I bet I get hassled for it. We'll see. I'll report back either way.



On a more serious note, all the different medium format film cameras seem to have a strength at the expense of something else.

That's true. I rented a Hasselblad once and found it to be clunky and LOUD. (Come to think of it, there don't seem to be many Hasselblad shooters among us, if this thread is any indication.) Next stop after the clunky rental was the Mamiya 7. No regrets. Not to slag Hasselblad shooters, though. They must be good cameras if they went to the moon and all, but they just aren't for me.

Jonathan

[tuco]

...
Come to think of it, there don't seem to be many Hasselblad shooters among us, if this thread is any indication.

Jonathan

Those airplane pictures I just posted were done on a Hassy 500C/M with a CF T* 50mm FLE lens.

[tuco]

...
Not to slag Hasselblad shooters, though. They must be good cameras if they went to the moon and all, but they just aren't for me.

Jonathan

No batteries and hot-swapping backs! Shooting at EI 6, for example, means a tripod most of the time. If the next shot needed to be 400 film for the shutter speed or I wanted it to be color film, no problem. Put on a new back. That's the appeal of the 500C/M for me.

[mono]

No batteries and hot-swapping backs! Shooting at EI 6, for example, means a tripod most of the time. If the next shot needed to be 400 film for the shutter speed, no problem. Put on a new back. That's the appeal of the 500C/M for me.

YES! I have 8 backs meanwhile. Hassi forever! I have no problems with the format.

[Leigh]

... there don't seem to be many Hasselblad shooters among us, if this thread is any indication.
I shoot Hasselblad, both film and digital, but I don't post them here.

- Leigh

[austin granger]

In the spirit of us hanging out here in the tiny formats garage talking shop, I'd like to share that last month I bought a Fuji GF670. I have to say, of all the medium format cameras I've owned (Pentax 67, Mamiya 7, Mamiya C330, various Yashica Mats), it's my favorite. Which is a good thing since it's my last camera. No really, this is it-the very last one. Anyway, while the GF is certainly not for everyone, and has a few quirks (using filters is a ridiculous process), for the right person (such as me) it's just about perfect. I'm not sure what Fuji was thinking, coming out with a fixed-lens, folding, medium format rangefinder in this day and age, but God bless 'em!

[tuco]

...
I bought a Fuji GF670. ... it's my last camera. No really, this is it-the very last one.

What's that old saying? Oh yeah, now I remember. Make your words soft and sweet because you never know when you have to eat them. ;) The last one, eh. :)

[Roger Cole]

The Fuji GF670 does look like a great camera and the price new... well for a film camera today with a quality Fuji lens isn't TOO bad, but I'm spoiled by the prices on used gear these days. ;)

To be fair, there are other, less expensive medium format cameras than the Hasselblad that have film backs. I have three for my Mamiya 645 Pro and about to buy another as they're so cheap. But I certainly need batteries, two of them of different kinds with the winder though it can be removed easily if the battery dies in the field and you don't have a replacement. Plus I get a smaller negative. If my Yashicmat had interchangeable backs and lenses, while somehow being the same size and weight and not the weight of a Mamiya TLR...well there's no such thing as a perfect camera but as Jonathon said they all have their pluses and minuses.

I love large format but this thread has still become my favorite on this forum.

[jcoldslabs]

I stand corrected on the Hasselblad front.

I agree, swapping backs is an advantage, although I rarely find myself in need of doing so. At the peak of my M7 shooting I had three bodies so I could have color, B&W and a panoramic set-up all at the same time, but these days I've pared down to one body and two lenses, and, sadly, it doesn't see much use these days.

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Scanned through some more 35mm slides last night. I'm thinking I had a thing about clouds and the ocean in the old days. I also realize that I would be very happy to come across these scenes again, only armed with MF or LF this time! (Or maybe--gulp--a good DSLR?)

Nikon F3HP, Kodachrome


http://www.kolstad.us/ebay/35mm---Light-on-Water1.jpg


http://www.kolstad.us/ebay/35mm---Galway-Bay.jpg


http://www.kolstad.us/ebay/35mm---Sailboat.jpg


http://www.kolstad.us/ebay/35mm---Storm.jpg

Jonathan

[paulr]

I'm not sure what Fuji was thinking, coming out with a fixed-lens, folding, medium format rangefinder in this day and age, but God bless 'em!

I've never had a Fuji, but they seem to be the most imaginative and adventurous big company making cameras. I like just reading reviews of their stuff. Just about everything they make would be fun to borrow and play with.

[David Schaller]

In the spirit of us hanging out here in the tiny formats garage talking shop, I'd like to share that last month I bought a Fuji GF670. I have to say, of all the medium format cameras I've owned (Pentax 67, Mamiya 7, Mamiya C330, various Yashica Mats), it's my favorite. Which is a good thing since it's my last camera. No really, this is it-the very last one. Anyway, while the GF is certainly not for everyone, and has a few quirks (using filters is a ridiculous process), for the right person (such as me) it's just about perfect. I'm not sure what Fuji was thinking, coming out with a fixed-lens, folding, medium format rangefinder in this day and age, but God bless 'em!

I was going to ask you about your medium format gear Austin. Are most of your recent posts here with the GF?
Thanks,
Dave

[austin granger]

I was going to ask you about your medium format gear Austin. Are most of your recent posts here with the GF?
Thanks,
Dave

Dave, Yes, the recent stuff is from the GF, though honestly, I think you'd be hard pressed to distinguish any difference between those pictures and ones made with my Yashica Mat. I'm of the opinion that just about any decent medium format camera is capable of being plenty good, or at least, capable of technically surpassing my own shoddy techniques. Anyway though, yeah, with my poor Yashica Mat starting to show signs of imminent death, I decided to splurge and buy myself a new (!) camera. So, one less Triumph Bonneville later, I received the GF. I've had my eye on it for a long time now. I realize that for the money I could have bought a load of great used gear, but I didn't want a load of used gear; I just wanted a simple, small, quality medium format camera, and I think the Fuji is definitely that.

Off the top of my head, the pros:

It's size. I know 'small' is a relative term here, but I think it's safe to say that most of those reading this would find the GF positively tiny. With it folded up, you could slip it into your pocket, if you had a pretty big pocket. It's fairly light too, so light that when I received the box, I almost thought they'd forgotten to put it in! That said, it somehow manages to feel quite solid and well put together.

The viewfinder! I have to put an exclamation point on that, because the GF has a truly glorious viewfinder. Giant, clear and bright, it's a joy to look through. I'm actually excited for dark winter to come on so I can fully utilize the awesomeness that is this viewfinder.

The simplicity. You couldn't get much simpler without going to an 35mm auto-focus point and shoot. In fact, it kind of reminds me of my Olympus Stylus Epic (remember those-the clam-shell ones?) in that it's so straightforward and well laid out, it practically disappears. I can't think of a higher compliment.

The shutter. People often talk about the quietness of the Mamiya 7's shutter. I've owned a Mamiya 7, and let me tell you, while I don't want to disparage that fine camera, the GF's shutter makes the Mamiya's sound like a Pentax 67's. It's really that smooth, that quiet.

What else? Well, the ability to switch between 6x6 and 6x7 is pretty cool, though I'm kind of into squares at the moment.

As far as negatives go, the first thing that comes to mind is the filter system, which is a little funky. Basically, there are two options: you can screw filters onto the lens and then screw a lens shade onto that, BUT, if you do, then you can't close the camera without removing them. Alternately, you can get smaller filters which screw into the special little Fuji lens shade, which is then clipped onto the front of the lens. Using the lens shade itself is straightforward, though again, you have to take it off and on to close the camera. Where things get weird is when you want to use a small filter with the lens hood. If you want to go this route, you must first unscrew this tiny metal ring in the lens shade, and then screw the filter onto that, then screw the filter/ring back into the shade, and then clip the lens shade on in front of the lens. Sound convoluted? Well, it is, and doing all that (good luck if you have big hands) without getting fingerprints on the filters is tough. Luckily for me, I don't use filters a whole lot so it's not too big of a deal.

Time will tell if this next thing is a negative, but I do wonder about how the mechanism for opening and closing the camera will hold up after thousands of repetitions. As I mentioned, the GF does seem very well made, but the possibility of this bit failing does weigh on my mind a little.

Oh, there's no self-timer, which I don't use very much, but it would have been nice. I have one of those external wind-up ones that I tested on the GF and it works fine.

I find the ergonomics to be wonderful, but I could also see some people being put off by them. They do take a little getting used to. The right hand holds the camera a bit like a sandwich (fingers and thumb straight and parallel)-very differently that something with a right hand grip, and certainly differently than the cradling of a TLR like a Yashica Mat. The focusing is done with the left thumb, by way of a little hump on the focus ring. As I said, all this takes some getting used to, but after maybe ten rolls now, it feels right to me.

That's all I can think of for now. I apologize if this seems a bit scattershot, but I didn't set off to write a camera review. :) If anyone has any specific questions, I'd be more than happy to answer them.

-Austin

[austin granger]

I forgot to mention that it has bellows! How cool is that? :)

[tuco]

I forgot to mention that it has bellows! How cool is that? :)

I've seen a guy post many of shot from a Voigtländer Bessa III. Same thing basically but possibly a different lens I think. You won't be disappointed. It looks like the ultimate in easy to carry around MF camera to me.

[lbenac]

Last week-end we hiked up to the glacier on Brandywine mountain near Whistler.

Mamiya 7 TMY-2 Tmax Developer


Where we are going
http://www.LucBenacPhoto.com/img/s4/v10/p1187897132-4.jpg


Where we are coming from
http://www.LucBenacPhoto.com/img/s1/v55/p1187897704-4.jpg


First pause on the way
http://www.LucBenacPhoto.com/img/s1/v57/p1187896506-4.jpg


Cheers,

Luc

[chassis]

Nice, luc. The Canadian Rockies are #1 on my list of places to visit.

[David Schaller]

Thanks Austin, I really appreciate the detailed review of the GF! I also appreciate the fact that your outstanding vision and execution are completely independent of the gear you use. Thank you very much for your contributions to this forum.
Dave

PS Sorry about the Triumph. The GF would seem perfect to have along on the bike!

[Jody_S]

Dave, Yes, the recent stuff is from the GF, though honestly, I think you'd be hard pressed to distinguish any difference between those pictures and ones made with my Yashica Mat. I'm of the opinion that just about any decent medium format camera is capable of being plenty good, or at least, capable of technically surpassing my own shoddy techniques. Anyway though, yeah, with my poor Yashica Mat starting to show signs of imminent death, I decided to splurge and buy myself a new (!) camera. So, one less Triumph Bonneville later, I received the GF. I've had my eye on it for a long time now. I realize that for the money I could have bought a load of great used gear, but I didn't want a load of used gear; I just wanted a simple, small, quality medium format camera, and I think the Fuji is definitely that.

Off the top of my head, the pros:

It's size. I know 'small' is a relative term here, but I think it's safe to say that most of those reading this would find the GF positively tiny. With it folded up, you could slip it into your pocket, if you had a pretty big pocket. It's fairly light too, so light that when I received the box, I almost thought they'd forgotten to put it in! That said, it somehow manages to feel quite solid and well put together.

The viewfinder! I have to put an exclamation point on that, because the GF has a truly glorious viewfinder. Giant, clear and bright, it's a joy to look through. I'm actually excited for dark winter to come on so I can fully utilize the awesomeness that is this viewfinder.

The simplicity. You couldn't get much simpler without going to an 35mm auto-focus point and shoot. In fact, it kind of reminds me of my Olympus Stylus Epic (remember those-the clam-shell ones?) in that it's so straightforward and well laid out, it practically disappears. I can't think of a higher compliment.

The shutter. People often talk about the quietness of the Mamiya 7's shutter. I've owned a Mamiya 7, and let me tell you, while I don't want to disparage that fine camera, the GF's shutter makes the Mamiya's sound like a Pentax 67's. It's really that smooth, that quiet.

What else? Well, the ability to switch between 6x6 and 6x7 is pretty cool, though I'm kind of into squares at the moment.

As far as negatives go, the first thing that comes to mind is the filter system, which is a little funky. Basically, there are two options: you can screw filters onto the lens and then screw a lens shade onto that, BUT, if you do, then you can't close the camera without removing them. Alternately, you can get smaller filters which screw into the special little Fuji lens shade, which is then clipped onto the front of the lens. Using the lens shade itself is straightforward, though again, you have to take it off and on to close the camera. Where things get weird is when you want to use a small filter with the lens hood. If you want to go this route, you must first unscrew this tiny metal ring in the lens shade, and then screw the filter onto that, then screw the filter/ring back into the shade, and then clip the lens shade on in front of the lens. Sound convoluted? Well, it is, and doing all that (good luck if you have big hands) without getting fingerprints on the filters is tough. Luckily for me, I don't use filters a whole lot so it's not too big of a deal.

Time will tell if this next thing is a negative, but I do wonder about how the mechanism for opening and closing the camera will hold up after thousands of repetitions. As I mentioned, the GF does seem very well made, but the possibility of this bit failing does weigh on my mind a little.

Oh, there's no self-timer, which I don't use very much, but it would have been nice. I have one of those external wind-up ones that I tested on the GF and it works fine.

I find the ergonomics to be wonderful, but I could also see some people being put off by them. They do take a little getting used to. The right hand holds the camera a bit like a sandwich (fingers and thumb straight and parallel)-very differently that something with a right hand grip, and certainly differently than the cradling of a TLR like a Yashica Mat. The focusing is done with the left thumb, by way of a little hump on the focus ring. As I said, all this takes some getting used to, but after maybe ten rolls now, it feels right to me.

That's all I can think of for now. I apologize if this seems a bit scattershot, but I didn't set off to write a camera review. :) If anyone has any specific questions, I'd be more than happy to answer them.

-Austin

I've had 2 Fuji folders, I can vouch for just about everything Austin says. I've also had a C330, 3 Rolleis, 3 Yashicas, 2 Ricohs, assorted Weltas and KWs and the like, and still have complete Mamiya RB and Praktisix systems. The Fuji is the only one I can carry in a pocket all day, and perhaps only the Mamiyas could reliably produce sharper photos (but try carrying an RB in your pocket). The Praktisix with a Biometar can produce sharp hotos, just not reliably. Never had a Hasselblad, so I can't compare with those.

[jcoldslabs]

A little "decisive moment" of my own (if I may be so bold).

Nikon 8008s, Kodachrome


http://www.kolstad.us/ebay/35mm-Puddles-and-Bike.jpg

Jonathan

[rdenney]

The Praktisix with a Biometar can produce sharp hotos, just not reliably.

With a really cheap adapter, you can put your Pentacon Six-mount lenses on either a Mamiya 645 or a Pentax 645. The latter provides focus confirmation, too (in the N and NII models). You lose the auto aperture, which should be no real hardship for a large-format photographer. I have made many portraits using a Pentax 645 and a Carl Zeiss Jena 180mm f/2.8 MC-Sonnar. That is a very effective combination. The 200/4 Pentax 67 lens (which is a Sonnar/Ernostar design) is quite decent and maybe sharper at f/4, but the CZJ produces a lovely look.

There are three lenses in the P6 mount that really make dealing with the funky mount worth the effort: The Arsat 30mm fisheye, the Arsat 55mm shift lens, and the CZJ Sonnar (really, four lenses--the 300/4 Sonnar is as good as the 180). The Biometars are good, and are nearly identical in plan to the five-element modified double-gauss Planar and even to the Xenotar (though the later versions of the latter are the best of the three, in my view). But lenses just as good in more convenient mounts make it not so valuable unless one is really committed to the mount. The late Schneider Xenotar 80/2.8 for the Exakta 66 (same mount) is as good as any medium-format normal lens ever made.

My Exakta 66 does not do well with smooth film--the frame-tracking wheel slips on the film and overlaps result. Modifications are available from Baier, but they don't solve the problem, only provide a workaround for the symptoms. Mine sits in a place of honor on the shelf. My Kiev 60 can only be described as craptastic, but both the '94 and the '00 examples I have have been solidly reliable. And the later one has a remarkably accurate shutter--the earlier one is half a stop to a stop too slow. Their prisms are much better than the Pentacon prisms in that they are brighter and invade the edges of the view not at all. I have an adapter that allows me to mount a Kiev 60 prism on the Exakta 66 and Pentacon Six, also made by Baier. That provides (uncoupled) TTL metering in addition to the better view.

But I get tired of the square at times and then a 6x6 camera becomes a 645 camera. So, I mostly use the Pentax 6x7 when I shoot rollfilm.

I passed on an Ebay auction for a CZJ 180/2.8 Sonnar that had been modified for the Pentax 6x7 mount. That one sold in vigorous bidding for well over $500.

None of these are any competition in light weight and unobtrusiveness for either the Mamiya 7 or the Fuji rangefinders and folder, or even for my lovely old Rolleiflex. I have photographed a lot of weddings with Mamiya TLRs, too. But if given the opportunity, I prefer SLRs.

Rick "who sometimes enjoys overcoming the mechanical odds, but these days just wants stuff to work" Denney

[Jody_S]

I actually enjoy keeping crappy bodies like my P6 in working order, so I've been using that when I feel like carrying a brick of a camera. I use the waist-level finder, not the prism; for 6x6 I see no real advantage to eye-level over waist-level. But frankly, it's spent 99% of it's life sitting on a shelf looking sad. I currently have Biometar 120 & 2 Sonnar 180s, obviously that's one too many Sonnars and one too few Arsat fish-eyes. I should sell my Mamiya RB kit and one Sonnar, and buy the fish-eye. My 50mm Mamiya is a better lens perhaps, but the Arsat would be more fun.

[lbenac]

I got around trying Tri-X at 1600 in 510-Pyro 1:100 Jobo 18 min Mamiya 7 150mm
While it might not work for all scenes (what does) I liked some of the results.


Traces of unfinished adults in the park

http://www.LucBenacPhoto.com/img/s4/v68/p1194148664-4.jpg



http://www.LucBenacPhoto.com/img/s1/v57/p1194147604-4.jpg



Cheers,

Luc

[Jay Decker]

http://www.rangefinderforum.com/photopost/data/500/Ropin_Steer.jpg

Ropin' Steer

Leica M4
Sonnar 50/1.5
TMAX 400 in XTOL 1:1
Seeley Lake, MT

[jp]

Out playing with the old Helios 44 m39 on my d600. Yes, nothing is focused; it's about colors and shapes. It doesn't focus past 4' so those constraints encourage creativity.

http://farm9.staticflickr.com/8051/8088833070_580c2f923b_b.jpg
http://www.flickr.com/photos/13759696@N02/8088833070/sizes/l/in/photostream/

[jcoldslabs]

Grey skies have returned to Portland.

Wales Reflex (120 fixed focus TLR), Delta 400


http://www.kolstad.us/ebay/Wales-Reflex---Sidewalk.jpg

Jonathan

[C4D]

http://markkarpinski.com/web/35mm/turkey_tracks1.jpg

Turkey Creek Tracks

Nikon EL
Zeiss 28mm Distagon lens
Kodak Ultramax 400 (expired)
3 stop hard grad filter

[Peter Lewin]

Either my daughter has shrunk, or she has a really large rescue dog!

Rollei 6006, HP5+, PMK
8212382124

[lbenac]

I could probably use a 6x17....

Panorama Mamiya 7 TMY-2 Pyrocat HD


Looking at Brandywine Mountain glacier
http://www.LucBenacPhoto.com/img/s4/v64/p1196962760-5.jpg



Looking from Brandywine Mountain glacier
http://www.LucBenacPhoto.com/img/s1/v57/p1196961836-5.jpg

As usual it does not show on the upload but the prints are crystal sharp even with the negs scanned with the V700.



Cheers,

Luc

[Kav]

A few from today in the great American desert:

http://kavanaughmp.smugmug.com/photos/i-SvjNqVg/0/XL/i-SvjNqVg-XL.jpg

http://kavanaughmp.smugmug.com/photos/i-Q9Fd5rM/0/XL/i-Q9Fd5rM-XL.jpg

http://kavanaughmp.smugmug.com/photos/i-6J6wcRJ/0/XL/i-6J6wcRJ-XL.jpg

I have a few rolls of film from today I need to develop as well.

[austin granger]

Cow with Trees, Oregon
http://farm9.staticflickr.com/8330/8094964216_149f02cd1f_z.jpg

http://www.flickr.com/photos/austingranger/

[mdm]

Must have taken some patience and a little luck to get her just so. Looks like there is nothing to eat in there, still she looks content.

[austin granger]

Must have taken some patience and a little luck to get her just so. Looks like there is nothing to eat in there, still she looks content. I'm a cow whisperer.

[mdm]

I whisper to 450 of them every morning, you stop being a whisperer at that scale and start to rely on silent intuition.

[Myxine]

I'd already be very happy with the trees without the cow...

[C4D]

I totally agree with Myxine... I would kill to photograph a set of trees like that!

[Jody_S]

Cow with Trees, Oregon
http://farm9.staticflickr.com/8330/8094964216_149f02cd1f_z.jpg

http://www.flickr.com/photos/austingranger/

I've seen that look before...

[Jody_S]

Railroad bridge tunnel, Griffintown, Montreal

82172

Kodak 35 (non-rf, 1938) with Kodak Anastigmat 50/5.6

[Frank Petronio]

Medium Format is great until you have to scan it on a flatbed ;-/ Then it blows.

8217482175

Nevada Falls in Yosemite. I untied my bootlaces to make a longer line out of them... then, safely anchored to a 3,000 year old Bristlecone, I dangled out over the edge to get these shots one-handed with the Rolleiflex. The only hard part was using the Rollei with only one hand but my manhood is so large I was able to steady it with a bracing move.

[jcoldslabs]

In 2004 my wife and I took a trip back east to see her sister. I was in a film-shooting lull for some reason, and although I brought a Mamiya 7 set-up with me, I also borrowed my brother's little one megapixel Canon point and shoot for convenience. The photo below is of my nephew hiding from me and I love it, but boy do I wish it was taken on film. Better to have the shot at all than not, I suppose, but the image quality is much worse than even a mid-level cell phone available today.


http://www.kolstad.us/ebay/Ferry-06.jpg

Jonathan

[jonreid]

From my beloved Mamiya 6

82180

[lbenac]

Lunch break at the foot of the glacier.

Mamiya 7 150mm TMY-2 Pyrocat

http://www.LucBenacPhoto.com/img/s2/v58/p1202982716-5.jpg

Cheers,

Luc

[Corran]

First I'd like to say there has been a ton of great photos in this thread lately! By far this is my favorite image thread on LFF (ironically). So many different styles and such.

Anyway, here's a photo I took yesterday. I was just snapshooting away testing out some fresh Fuji Superia 200 film. I shot some of this stuff way back when I first started shooting film and remembered it was quite nice. Well I definitely had it right, it's got character and a nice look to it. It's cheap too, so I can fool around without breaking the bank on slide film or Portra. Anyway, here's one shot from the roll. Going for the one-color image; I love the cyan. Nikon F, 50mm f/1.2, sunny 16:

http://www.oceanstarproductions.com/photosharing/10112.jpg

[jcoldslabs]

Zeiss Super Ikonta A (531), Delta 400


http://www.kolstad.us/ebay/Ikonta---Puddle-r1.jpg

Jonathan

[buggz]

Quick play from last night, after receiving my new toy, Canon 50mm 1.0 L
http://www.cornbread.com/~buggz/_MG_0665-dahlia.jpg

[Myxine]

Another one from my beloved Xpan, triX and 45mm. Bandon, Oregon

http://farm9.staticflickr.com/8326/8101764013_a7a9f89880_b.jpg (http://www.flickr.com/photos/nolarnaud/8101764013/)
I'm but a Wave to... (http://www.flickr.com/photos/nolarnaud/8101764013/) by L'Eidolon (http://www.flickr.com/people/nolarnaud/), on Flickr

[Peter Lewin]

Wandering around locally with my Rollei 6006, since I injured an achilles tendon which makes carrying the 4x5 a bit much for the moment. Trying to make a series based on fencing and netting. All HP5+, PMK, minor cropping:

82260 82261 82262

[SamReeves]

Yes, I promise to dust off the Tachi soon, but a few new digital offerings from the venerable Canon D60.

Lexi being my secretary last week:

http://www.samreevesphoto.com/posts/CRW12_4611.jpg

Adelina being my surfer chick this week:

http://www.samreevesphoto.com/posts/CRW12_4847.jpg

[C4D]

http://www.kolstad.us/ebay/35mm---Sailboat.jpg



I love this!
Is that actual selective sunlight just hitting the sailboat?
If so that is amazing!

[C4D]

OK I told myself I would never post digital photos in this thread but only tiny film formats but I guess I will break my own rules and post a couple until my velvia shots come back from processing.

http://markkarpinski.com/web/digital/big_basin_Panorama1.jpg

Big Basin Panorama, Herecules Glade Wilderness Missouri

Nikon D800e
Nikon 24mm PC-E lens (two images stitched together from the right and left shift of the lens.
3 stop grad

http://markkarpinski.com/web/digital/cricket_creek_road1.jpg

Cricket Creek Cutoff Road, Arkansas

Nikon D800e
Zeiss 85mm Planar lens shot wide open

http://markkarpinski.com/web/digital/swan_creek1.jpg

Swan Creek, Taney County Missouri

Nikon D800e
Nikon 24mm PC-E lens
3 stop grad

[C4D]

and one film capture for good measure :)

http://markkarpinski.com/web/35mm/lil_golden_gate2.jpg

Little Golden Gate Bridge of The Ozarks

Leica CL
Summicron 40mm shot wide open
Kodak Gold 200 film (expired)
Desaturated in PS

[Corran]

I want to move where ever it is you're living!

Fantastic job...you shoot the D800E well. I haven't gotten anything as good here. My D800E is also in the shop :(.

[C4D]

Thanks Bryan!

Why is it in the shop?
So far I have mixed feeling for the D800e... really not seeing all the hype and I'm coming from a Canon 5Dmkll previously, especially when shooting at 400 to 800iso. I don't like the noise clumps I get in the shadow areas but the extra resolution is very nice.

[Corran]

It suddenly starting having "ERR" flash on the top screen when I took a photo, with no obvious reason. The camera still worked fine but would not allow me to change aperture or shutter speed unless I reset it. Then one photo later, "ERR." Not sure what the problem is but it's a "B1 Rank" repair, and being covered under warranty. It's been there two weeks, hoping they finish it soon...

I haven't noticed a real problem with noise in the shadows but honestly I think I've only shot either ISO 50 or 100 for landscapes OR 1600 ISO or higher for indoor event photography, so I doubt I've even used that ISO range seriously. At 50/100 it's just awesome IMO. Coming from a D700.

[C4D]

Wow that's a shame... hopefully you do not have to wait much longer to get your camera back.

Yeah at 100 iso the quality is amazing... almost too clean!
I got burned shooting at 400 and 600 iso on a commercial architecture job a couple months ago. I do Budweiser's new flagship distributing centers across the country and I was doing one in Houston when I first got my D800e and as I have always done with my 5Dmk2 after I finish the main exterior photos with a tripod I always come back on my last day and walk around the distributor doing secondary photos handheld at about 400iso and I take about 100 photos of the mechanical/garages/trucks/warehouse areas. As with the Canon these handheld photos always come out clean but with the D800e I found that I had just nasty noisy clumps in the shadow areas.. especially in greens (some shots where at 600 because it was very windy) and I was not very happy when I returned back home and saw this on my final RAW files. So now I know!

[Corran]

Interesting. I will have to look into that when I get it back. It seems like a read so much about terrible shadow noise (and banding) from Canon sensors and lots of praise for the D800 (Sony of course) sensor with noise-free shadows.

[C4D]

lol... exactly.
I have never had the banding or shadow issues with my Canon bodies but I seem to have the problems with the D800 including some banding when using a polarizer but I think that might be a 24mm Nikon PC-E problem over the actual body. But I never had polarizer banding problems with my Canon 24mm TS-E lens. For example the image below you can see a big blue circle in the middle of the sky, it was actually much worse but was able to fix it a bit in PS.. I swear if I shot the same scene with the Canon 24mm TS-E I would have a more even sky:

http://markkarpinski.com/web/digital/turkey_creek_fall1.jpg

[Scott Schroeder]

Trees

[Kav]

One from today once we got our passangers loaded up:

http://kavanaughmp.smugmug.com/photos/i-t2HtTpQ/0/XL/i-t2HtTpQ-XL.jpg
Nikon D7000
15mm f5.6
SB600 Flash

[jcoldslabs]

I love this!
Is that actual selective sunlight just hitting the sailboat?
If so that is amazing!

Thanks. And yes, I believe that was the case with the light. I got lucky, but let's keep that between us. ;)

The color work you've posted here is fantastic! Hyper-real in a good way.

Jonathan

[jcoldslabs]

Lexi being my secretary last week:

http://www.samreevesphoto.com/posts/CRW12_4611.jpg

Is that an Hermes 3000 typewriter? I collect those. Too bad that young woman's arm is blocking the view. ;)

Jonathan

[baxjj]

Greetings folks. LF noob here. This was taken with my RB67, sunrise, Victoria, BC.

82333

[SamReeves]

Is that an Hermes 3000 typewriter? I collect those. Too bad that young woman's arm is blocking the view. ;)

Jonathan

LOL. It says Facit on the typewritter. All I know is that I typed many many reports with that through grade school. :D

[lbenac]

Well two weeks after having been in tee-shirt at 2,000m, winter and snow have arrived in our mountains.
Failed attempts to reach Seed Peak yesterday. We turned back as the path get on ridges with sheer drops not very exciting with first snow.

Some of us were very optimistic and had to change on site :-)
http://www.LucBenacPhoto.com/img/s4/v67/p1209274516-3.jpg

The snow started to set-in partway
http://www.LucBenacPhoto.com/img/s4/v69/p1209275446-4.jpg

Which make for some nice photo
http://www.LucBenacPhoto.com/img/s4/v65/p1209275918-4.jpg

But it became a little bit cold
http://www.LucBenacPhoto.com/img/s2/v71/p1209276722-3.jpg


Kodak Medalist Tri-X @ 1250 Diafine

Cheers,

Luc whom had forgotten his gloves on his desk but still managed to take some shots.

[Greg Y]

A recent print from a 6x9 neg. Besides my Rolleiflex, the Fuji is pretty much the biggest size camera I can manage in these kind of places. 82335

[jcoldslabs]

It says Facit on the typewriter.

The keys on the Hermes are green, not black, so that should have been a give-away. Shows what kind of collector I am.

Like with cameras, I have way too many old typewriters. I should use them for a photo project or something, or get rid of them. But, like any good hoarder, I can't let them go.

Jonathan

[Greg Y]

Fuji GSW690III & HP5
82349

[jp]

Enjoying the fall outdoors today. First sunny weekend day in who knows how long.

http://farm9.staticflickr.com/8330/8110268871_0ff068b97b_c.jpg

http://farm9.staticflickr.com/8475/8110270319_0186684d6d_c.jpg
http://www.flickr.com/photos/13759696@N02/8110270319/sizes/c/in/photostream/


The af 105/dc Nikkor never gets old. An excellent match with the new d600.

[lbenac]

I had left a roll of Plus-X in my Kodak Medalist from last spring.
There was a strom brewing when we took the ferry back.

http://www.LucBenacPhoto.com/img/s4/v63/p1211488596-4.jpg


http://www.LucBenacPhoto.com/img/s1/v56/p1211488414-4.jpg


This one is from the Saber

http://www.LucBenacPhoto.com/img/s1/v55/p1211487680-4.jpg


Cheers,

Luc

[paulr]

What raw processor are you using? This sounds very strange. All the results I've seen from the 800/800e have been lower in noise than the 5Dii and have nicer looking noise as well.
Might be worth checking the getdpi forums ... there's a small army of geeks using 800s and talking about the ins and outs of procesing the fies.


Wow that's a shame... hopefully you do not have to wait much longer to get your camera back.

Yeah at 100 iso the quality is amazing... almost too clean!
I got burned shooting at 400 and 600 iso on a commercial architecture job a couple months ago. I do Budweiser's new flagship distributing centers across the country and I was doing one in Houston when I first got my D800e and as I have always done with my 5Dmk2 after I finish the main exterior photos with a tripod I always come back on my last day and walk around the distributor doing secondary photos handheld at about 400iso and I take about 100 photos of the mechanical/garages/trucks/warehouse areas. As with the Canon these handheld photos always come out clean but with the D800e I found that I had just nasty noisy clumps in the shadow areas.. especially in greens (some shots where at 600 because it was very windy) and I was not very happy when I returned back home and saw this on my final RAW files. So now I know!

[Frank Petronio]

For flower pictures ;-p

[C4D]

What raw processor are you using? This sounds very strange. All the results I've seen from the 800/800e have been lower in noise than the 5Dii and have nicer looking noise as well.
Might be worth checking the getdpi forums ... there's a small army of geeks using 800s and talking about the ins and outs of procesing the fies.

I have been using Apple Aperture or Adobe's CS6 ACR.
Thanks for the tip... I will definitely check it out as I would love to gather more confidence behind shooting the D800E.
I'm really starting to think it has something to do with the Nikon 24mm PC-E lens as I'm not seeing the same problems when shooting with my ZF lenses as I look further into some higher iso images I have shot this week with the other lenses.

[Corran]

More marching band! Shot with my new Bessa RF 6x9 folder, complete with light leaks from forgetting to close the red window and dust! It's a fun camera. Anyway, all at f/16 and shot unmetered with sunny 16 rule on old expired Fuji NPH400:

http://www.oceanstarproductions.com/photosharing/smb01.jpg

http://www.oceanstarproductions.com/photosharing/smb02.jpg

http://www.oceanstarproductions.com/photosharing/smb03.jpg

[Kav]

Today I did a photo shoot for a friend. She is getting married and I had just the spot to take some photos of her in her dress. She enjoyed her day, and liked the extra attention from the people driving by.

http://photos.smugmug.com/photos/i-kN7SQ3V/0/XL/i-kN7SQ3V-XL.jpg

http://photos.smugmug.com/photos/i-7NLVWq8/0/XL/i-7NLVWq8-XL.jpg

[jcoldslabs]

Here's a marching band shot from a few years ago. That's my wife's little brother at the center of the frame.

I'm still having trouble color balancing my scans, but this one is getting a little closer.

Mamiya 7, Portra 160


http://www.kolstad.us/ebay/M7---Golden-Valley-01.jpg

Jonathan

[Corran]

Nice reds!

[Scott Schroeder]

Luc, those storm pics are nice! I love that white sailboat.

[David R Munson]

My cat Bosco has an eye infection. I feel bad for him, but the cone is hilarious all the same.

82464

[Roger Cole]

My cat Bosco has an eye infection. I feel bad for him, but the cone is hilarious all the same.

82464

Aw, I hope he feels better soon. :(

I think our cat Hattie (short for Hatshepsut) would go stark raving bonkers with one of those.

[lbenac]

Luc, those storm pics are nice! I love that white sailboat.


Thank you.
I also got a shot when it was closer.

http://www.LucBenacPhoto.com/img/s2/v73/p1213463440.jpg

cheers,

Luc

[Scott Schroeder]

Great!
I just have a door....
;-)

82488

[al olson]

lol... exactly.
I have never had the banding or shadow issues with my Canon bodies but I seem to have the problems with the D800 including some banding when using a polarizer but I think that might be a 24mm Nikon PC-E problem over the actual body. But I never had polarizer banding problems with my Canon 24mm TS-E lens. For example the image below you can see a big blue circle in the middle of the sky, it was actually much worse but was able to fix it a bit in PS.. I swear if I shot the same scene with the Canon 24mm TS-E I would have a more even sky:

http://markkarpinski.com/web/digital/turkey_creek_fall1.jpg

I think you problem is from using a polarizer with a wide angle lens. For darkening the sky, the polarizer is most effective when when aimed perpendicular to the direction of the sun's rays. It is least effective when aimed parallel to the rays. If your lens coverage is too wide (as with a wide angle) part of your scene may include areas where the direction is close to perpendicular and other areas that are more acute.

I have had similar problems when I forgot that I had a polarizer on my lens and I zoomed out to 28 mm. Even in the case where the darkest region is more to the side the result still appears unnatural. This is a common problem with polarizers and wide angle lenses.

[C4D]

The thing is I really never had this problem with using a polarizer on the Canon 24mm TS-E lens for the past decade but maybe it has something to do with the Nikon lens takes a larger filter at 77mm instead of 72mm so it has more surface area to give me those polarization holes.

[tuco]

The thing is I really never had this problem with using a polarizer on the Canon 24mm TS-E lens for the past decade but maybe it has something to do with the Nikon lens takes a larger filter at 77mm instead of 72mm so it has more surface area to give me those polarization holes.

You've only use a CPL with that Canon 24mm as your wide lens? No other wide lenses? I've had that uneven issue with every wide angle lens I've tried with a CPL. But I stopped using a CPL filter on wide angle after ruing too many shots so I can't say that is the case with all my wide angle lenses for my many different cameras.

[przemur]

Thank you.
I also got a shot when it was closer.

http://www.LucBenacPhoto.com/img/s2/v73/p1213463440.jpg


Gorgeous! I think I like it even more than the previous ones.

[Frank Petronio]

Did a shoot recently....

82505

[C4D]

You've only use a CPL with that Canon 24mm as your wide lens? No other wide lenses? I've had that uneven issue with every wide angle lens I've tried with a CPL. But I stopped using a CPL filter on wide angle after ruing too many shots so I can't say that is the case with all my wide angle lenses for my many different cameras.

yeah the 24mm really is my only wide I have used in the past 8 years... I just acquired a 21mm ZF lens but have not used it much yet.

[Wally]

Frank,

It looks like it still has the sales receipt tied to it. Even so, it's quite suggestive.

[lbenac]

Gorgeous! I think I like it even more than the previous ones.

Thank you very much.
I just printed it on Hanmuhle Bamboo with K7 carbon ink and I have to say that I am very happy with the result.

Cheers,

luc

[sanking]

Fall colors. White Mountains, New Hampshire, October 2012.


Sandy825208252182522

[Corran]

Some small-format photos from my Strickland Mill project (http://www.largeformatphotography.info/forum/showthread.php?95786-Strickland-Cotton-Mill-built-in-1899-Remerton-GA) that I developed tonight. This roll was taken in the original water tower, which held a water tank and supplied the mill with running water by gravity (first photo is looking out a shattered window onto the roof of the main building). Taken with a Mamiya 645 Pro w/ 45/2.8 or 80/1.9 lenses on Tri-X 400 shot @200, dev'd in Rodinal 1:50 @68F for 8.5 minutes:

http://www.oceanstarproductions.com/photosharing/sm64501.jpg

http://www.oceanstarproductions.com/photosharing/sm64502.jpg

http://www.oceanstarproductions.com/photosharing/sm64503.jpg

http://www.oceanstarproductions.com/photosharing/sm64504.jpg

[austin granger]

Newspapers, Abandoned Home, Beaverton
http://farm9.staticflickr.com/8187/8121248114_8306e75ec0_z.jpg

http://www.flickr.com/photos/austingranger/

[chassis]

http://farm9.staticflickr.com/8053/8122520373_62a2b764af_c.jpg
Bronx-Whitestone Bridge, NYC
iPhone4

[jcoldslabs]

Some small-format photos from my Strickland Mill project.

I particularly like the first and last shots. For some reason the graffiti on the windows really catches my attention.

Jonathan

[jcoldslabs]

I'm old enough to have grown up reading Richard Bach's Jonathan Livingston Seagull (https://en.wikipedia.org/wiki/Jonathan_Livingston_Seagull), and this photo reminds me (in spirit) of the illustrations from that book. Not sure if this is a seagull, although it was taken at the beach.

Nikon F3, Kodachrome 64


http://www.kolstad.us/ebay/35mm---Bird.jpg

Jonathan

[David Schaller]

Testing a Rolleiflex before I (probably) sell it. But I kind of liked the results. Expired (2003) Acros @ 80, Pyrocat HD 1:1:100 9:00 minutes @ 70 degrees.
82597

82598

[austin granger]

Cape Lookout, Oregon
http://farm9.staticflickr.com/8471/8122437518_02fc327db7_z.jpg

http://farm9.staticflickr.com/8332/8123088958_df4370cd57_z.jpg

http://farm9.staticflickr.com/8332/8122425355_6278b19a97_z.jpg

http://www.flickr.com/photos/austingranger/

[C4D]

Just amazing and stunning Austin! Are these tri-x film captures?

[austin granger]

Gee thanks! The light was really good that day. It had that post-storm, sort of 'silvery' quality to it. The film was T-Max 400, which is not my usual choice, but I had it on hand so I used it. While I'm here, here's another one, this time using Tri-X. I for one am glad to see that the weather's returned to Oregon!

Rain, Oregon Coast
http://farm9.staticflickr.com/8325/8125477231_045875b64c_z.jpg

http://www.flickr.com/photos/austingranger/

[jcoldslabs]

I for one am glad to see that the weather's returned to Oregon!

Amen to that! And great photos as usual, Austin. Whenever the weather gets like this I wish I was at the coast to see it.

Jonathan

[C4D]

Just love the dark sand foregrounds with the dramatic skies to complement... really lovely work and I'm happy to see someone is there to take advantage of the weather!

[ross]

Those are beautiful Austin!

[Corran]

I'm running live sound and video for the Valdosta State Opera this weekend. Tonight was the final dress rehearsal, so I brought a couple of cameras. In between cues I quickly took a couple of grab shots, and here's the best from the night. Nikon D700, Sigma 300mm f/2.8:

http://www.oceanstarproductions.com/photosharing/e-8329s.jpg

[austin granger]

One more from the coast. Indulging my lo-fi tendencies here. Shhh...
http://farm9.staticflickr.com/8471/8126098435_4e3f572cfb_z.jpg

http://www.flickr.com/photos/austingranger/

[jcoldslabs]

An oil storage tank in an industrial area north of Portland.

Fuji GSW690II, Velvia 50


http://www.kolstad.us/ebay/GSW690II---Oil-Tank.jpg

Jonathan

[Jody_S]

Canon digital + Helios 44M:

82690

[joselsgil]

Can a cheap plastic camera join this thread?

Some images taken with a plastic ANSCO Panoramic camera.

One photo is of the camera.
Two photos were taken with Tri-X and developed in PMK Pyro.
One photo taken with T-Max 100 developed in D76 1:1.

The T-Max 100 D76 developed film seems to scan better than the Tri-X PMK Pyro developed film.

Jose

[DKirk]

A shot from early Sept, though becoming a concept for a future project.82710

[austin granger]

From Cape Lookout, Oregon
http://farm9.staticflickr.com/8469/8136255170_57d29cc0ac_z.jpg

http://www.flickr.com/photos/austingranger/

[Frank Petronio]

Oh to be back in Paris....

82727

[jcoldslabs]

Wow, Frank. You went to a different Paris than I did!

Here's a shot from the Musée National Picasso in Paris, handheld so a tad blurry. I think I want her job.

Mamiya 7, 80mm, Velvia


http://www.kolstad.us/ebay/M7---Picasso-Museum.jpg

Jonathan