Aug 282015
 

titlefilmyear

A year with film – Leica, Contax, Nikon, and Hasselblad

By Adam Laws

I hope your well and have a cup of tea close by, it’s pretty miserable here in London. It’s been awhile since my last submission and I thought I would write to you about my year of analogue photography with a Leica, Contax, Nikon, and Hasselblad.

Since my last post on portraiture with the Sony A7 ‘apparently’ I have been going all hipster though I must say without the beard by shooting analogue.

The majority of my work is still shot on my Sony A7.

Sony images 1, 2 and 3 – 

Sony 1

Sony 2

Sony 3

However I have been supplementing my digital work with far more analogue images, furthermore I generally shoot all my personal snaps now on film. I don’t believe film is better in any way but I do believe without trying to sound all hippy film gives a more organic image. Most importantly I enjoy the process of shooting film more, and surely fun is the most important element in the creative process.

So I’ve gone through some cameras this year, which I will elaborate on why giving a brief synopsis/feel of the cameras.

Leica

I bought a Leica M6 TTL with a .85 viewfinder and 50 ‘cron. Leica’s are beautiful aren’t they? The lore written about them makes them sound at times like unicorns at times, as such I romanticized owning one.

My thoughts on owning one – Well they are beautifully built. Solid and satisfyingly weighty. I did struggle with ownership, which ultimately made me sell it after a few months. This is not the cameras fault but more the time in my life I purchased it. Soon after I started my part-time photography degree, I needed to shoot an element of film in a studio and the Leica with its limited flash sync was not ideally suited to this task.

I also struggled with the notion of how expensive it was. Don’t get me wrong it is a beautiful piece of machinery, which evokes an emotive response and for that I totally appreciate why individuals buy them. However for the less money I could purchase a Hasselblad 500cm, Nikon FM2n, and Contax G2 all of them with glass and have change. Is a Leica M6 better than all 3 of these cameras? And would I have less fun shooting these cameras. So I sold the Leica to find out.

Leica images 1, 2, and 3

Lecia 1

Lecia 2

Leica 3

Hasselblad

This camera is a beast. Well it terms what I’m used to. The sound of the low thud of the shutter makes me smile. I do struggle with its size. I’m used to traveling light so having a big medium format camera is somewhat strange for me. It also interesting shooting back to front, something I am still getting used to.

The best thing about the camera, even more so than the negative size it produces is the reaction I get from the model. As soon as a model sees this camera in my experience they instantly get more serious about the project.

Hasselblad 1, 2, and 3

Hasselblad 1

Hasselblad 2

Hasselblad 3

Nikon FM2n

This is becoming one of my favourite cameras I own. The bright viewfinder, the solidness of the camera, and the big manual dials. It does not feel as good as the Leica, not as well made or smooth. I would say the camera is more utilitarian workhorse. I use it with an awesome Nikkor 50mm 1.2, which is a joy to use.

Generally this camera is loaded with FP4 film shot relatively wide own in a studio environment, where I would be using the model light as a source of light in-between shots with Sony or Contax G2. I have started taking this camera on the street with me when I fancy shooting B’n’W.

Nikon 1, 2, and 3

Nikon 1

Nikon 2

Nikon 3

Contax G2

The Contax is pretty much always in my bag. It can do everything my Sony can but it uses film. Unlike the Nikon this is normally loaded with colour Portra. The focus is always accurate and makes a great travel companion.

The contax does feels better in my hand than the Leica ever did. This is due to the thumb rest situated at the back of the camera. In addition the dials are a step up from that of the Nikon, but the camera feels very electronic with autofocus sounding something like Robocop. I also use this as a secondary studio camera generally mimicking the settings I had with the Sony to have a comparative organic film image.

Contax 1, 2, and 3

Contax 1

Contax 2

Contax 3

Conclusion

Generally there isn’t one. I think ultimately as long as you enjoy the process of creating images that is the most important element.

Sometimes there is a more suitable tool for the job, but that doesn’t also mean it is the most fun way to complete the job after all.

For me I like the organic images, the slower pace of shooting, the challenges asked of you using antiquated cameras, and thought processes that go through your mind.

I have enjoyed playing about with different formats and cameras. I think it’s always a great idea to play around with as many cameras as possible that way you know what you like and don’t. In addition the challenges posed by new equipment makes you think about your photography, which is never a bad thing.

You can view more of my work on my website: www.adamlaws.com

However I regular update my Instagram with my newest work: https://instagram.com/adamlawsphotography/

Aug 212015
 

A Farewell to the Month of May, Bluebells and my Rolleiflex

By Ibraar Hussain

Hi Steve and Brandon,

Thought I’d share a few pictures with you which I took in May – a month I always love and look forward to as it’s when the weather is fantastic,  The tree’s have young leaves and everything is so bright and airy, and it’s a time when in some woods at home the English bluebells are in bloom.

I love this time of year and try to capture the Bluebells in all their glory as they carpet the clearings and patches of woodland bringing magic with them. They’re only fleeting though and after a couple of weeks they’re gone, not appearing again until the following Spring. I visited a few woods around Epping Forest, but the most amazing carpet was to be found in Wanstead park in East London which is a part of the Epping Forest. The Best time to capture these is at dawn or sunset when the sun is low and warm and illuminates these magnificent flowers and fills them with light, magic and drama.

I took my Rolleiflex 3.5F and a Rolleinar I and II close up lenses with a roll of Fuji NPH 400 Negative Film which has a wide Latitude/Dynamic range.
The Rolleinars are tricky as my eye sight isn’t the best at close up (need to get my eyes tested) and using a Waist level Finder while kneeling in bracken, brambles and stuff isn’t fun – But they’re great for portraits and head shots and give massive amounts of shallow depth in the photos when shot wide open.

I have just bought a Fuji TX-2 aka Hasselblad X-Pan II – a format I’ve been wanting to try for years, so my lovely Rolleiflex 3.5F complete with everything is having to be up for Sale to fund the purchase, and I think this was a fitting adieu to this legendary camera which I have used extensively the last few years and which has been with me to the Mountains of the Hindu kush, Karakoram and Himalaya.

One day I shall buy myself another, and for the time being my favourite Square Format photography will be performed with my Rolleiflex SLX II which I still have.

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Jul 312015
 

Film Friday: Death Valley 1987

by Dierk Topp

In 1987 I spent 3 months on an assignment in San Francisco, CA. At that time the Kodak T-MAX was announced and Kodak said: The world’s finest grained 100-speed black-and-white film.

To be sure I took many roles of film with me. On a weekend trip I took many shots in the Death Valley with my Nikon FA and good prime Nikkor lenses, polarizer, tripod and mirror lock up to make sure, to get the best possible results.

Of course I had no lab with me and gave the film to a professional lab for development.

But:

When I got the developed film back, I was very disappointed. I could see the grain and dirt with the naked eye! It looked more like ISO 800 or even higher to me.

What I was told and did not know: Kodak tested new products abroad to avoid any problems in the USA.  When I asked the lab, they told me, they did not know the film and developed the film in their “normal soup” !!

Find the result below. It is about the best, I could get.

analog: Death Valey 1987, T-Max 100, Nikon FA

analog: Death Valey 1987, T-Max 100, Nikon FA

analog: Death Valey 1987, T-Max 100, Nikon FA

wrong developement of the T-MAX in the lab reulting in severe grain

wrong developement of the T-MAX in the lab reulting in severe grain

analog: Death Valey 1987, T-Max 100, Nikon FA

wrong developement of the T-MAX in the lab reulting in severe grain

analog: Death Valey 1987, T-Max 100, Nikon FA

wrong developement of the T-MAX in the lab reulting in severe grain

analog: Death Valey 1987, T-Max 100, Nikon FA

analog: Death Valey 1987, T-Max 100, Nikon FA

analog: Death Valey 1987, T-Max 100, Nikon FA

wrong developement of the T-MAX in the lab reulting in severe grain

wrong developement of the T-MAX in the lab reulting in severe grain

wrong developement of the T-MAX in the lab reulting in severe grain

wrong developement of the T-MAX in the lab reulting in severe grain

wrong developement of the T-MAX in the lab reulting in severe grain

More of this series in my flickr album “Death Valley 1987, T-Max 100, Nikon SLR”

I digitized the negatives with a Sony A7R, bellows with enlarger lens and flash. Processing with Lightroom 5.

Dierk Topp

Jul 232015
 

Getting Acquainted with the Mamiya 7

By Andy Gemmell

Hi Brandon

After “scratching my itch” with the Leica Monochrom, I sold it 18 months ago and decided to give “film only” a go for a while. At the time I wanted to also try a medium format option and coming from a rangefinder and wanting to enjoy a camera which I could still carry around easily the Mamiya 7 seemed like a great choice. The Mamiya lenses are also superb and although possibly over shadowed by Zeiss and Pentax to some extent….they really shouldn’t be!

The camera itself is in a 35mm “style” of layout (conventional winder, back door loading of film, shutter dial on top of the camera, etc) and although not built of metal or alloy it is still well built and sturdy and could take some knocking around. One of the big benefits of this MF set up (unlike the Hasselblad V series) is the shutter mechanism (quite a s mouse) and ability to given no mirror to shoot handheld down to 1/15th (and possible even lower!) without disturbing the image. The lenses though are not fast and come in at 4 to 4.5 depending on what one you are using. I have the standard 80mm f/4 and the 50mm f/4.5 (keeping my Zeiss 25/28mm finder from the M days to use with this lens).

Unfortunately for various reasons I have not been out and about shooting as much as I’d like to, though have run a few roles of Tri-X and Portra through the Mamiya in street photography situations in Melbourne where I live. I personally haven’t really gelled with it, to be honest and it may be not having used it enough. Also coming from the MM as a much smaller 35mm option the adjustment is more than I had imagined. All up though I’d highly recommend it as a serious option to consider in the MF film world.

Have a great weekend!

Andy

Starting Blocks – Tri-X 80mm

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Rest – Portra 400 80mm

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Sundays at St Kilda – Portra 400

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Breakfast on Spring Street – Tri-X 80mm

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Spare Change – Tri-X 80mm (testing it too the limits in very dark alley at f4 and 1/15th handheld)
The Jetty – Tri-X 50mm

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Morning Gold – Portra 400 50mm

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Jul 222015
 
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titlemanf

LIGHT AND CONTRAST

by Michiel Faro

Time to get some of my own work out there, to be commented on and be criticized, instead of it all going the other way.

A bit about myself: I’m 62, Dutch and live in Holland, married, a stepson of 18 and two lovely two-year old girls. I work as a lawyer in Amsterdam. I have two potentially time-consuming hobbies: riding racing bicycles (I rode competitively for 25 years) and photography. I’ve been photographing since I was 14 or so.

My late father taught me everything, darkroom work included, though we never progressed to colour. I started with a Werra, which is more or less the most simple and wellmade camera one can think of. A Zenit slr was next, then a Yashica TL Electro (great camera), until a Nikon FM2n followed in 1990; a body I still have and use with great pleasure. FE2, an FM3a, a Contax RTSIII and a collection of used Nikkor and Zeiss primes round-up my analogue stuff. Digital started in 2008 with a D200, then a D700, then a D800 and now a D800E (both the 800 and the E can be underexposed routinely by almost up to a stop without any noticeable loss in image quality; a real bonus) with the 24, 35, 58 and 85 1.4G’s. I like the SLR form factor, prefer OVF’s over EVF’s and displays, dislike tiny camera bodies that may be light but have infuriating ergonomics and no viewfinder, and once you’ve gone full frame there’s no going back to a smaller sensor. Oh, and I don’t buy the next best thing every time it comes out, which can be quite frequent. Learn the stuff you have thoroughly, and that’s complicated enough in itself.

My photography can be divided roughly into three main categories: portraits (close, and possibly intrusive), situations/geometry/shapes, and emptiness. That last category is even more frustrating than the others and might be suitable for another post in the future. For this submission it’s situations/geometry/shapes and portraits.

Near the place I work in Amsterdam are two photo museums: FOAM and Huis Marseille. I try to go there on my lunchbreak every month or so. There’s always something to see. I may not like a particular exhibition or image, but it always sets your mind working: what is it I don’t like, what is it I do like, could I emulate it, could I approach that level of perception and technique, what sort of gear was used (ha!), etc etc. On the net, apart from the usual gear sites it’s AmericansuburbX and Lensculture I have a look at quite frequently; always something interesting to see.

Foremost in my mind (subconsciously no doubt) when taking photographs is light and contrast. Light because of what the infinite varieties of light can do to what the human eye (and film or sensor) sees. Contrast because of the inherent, subdued or loud, tension I wish to see in the images I take. Interest, tension, something that makes you wonder, makes you ask questions, is what I’m looking for. Always.

So here is a selection of B&W film images, made with cameras like the Contax RTSIII, Contax RTS, Contax S2, Nikon F2AS and Nikon FE2 and a variety of primes, usually Tri-X and HP-5, and colour images, made with the D800 and D800E. Two of the three portraits were made with the Nikkor 58/1.4G, an amazing (and sometimes frustrating) lens; the third one with the 85/1.4G, another gem.

The 58, to dwell on that subject briefly, is attractive as an everyday walkabout lens (I have a camera with me always; 1.4/35 this week) for its (comparatively) low weight, but you have to account for the almost “short tele” like focal length. It really shines as a portrait lens in ambient light. I think it is, for all it’s failings, a classic in the making that has to be used frequently to be fully appreciated.

Captions for the images are as follows:

B&W Situations

1 Man in FOAM museum: camera and lens unknown, TRI-X

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2 Man with hoodie: Nikon F2AS, Nikkor 2.0/35 AiS, TRI-X

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3 Man at Terry O’Neill exhibition: Contax RTSIII, 1.4/35 Distagon, TRI-X

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———-

B&W Portraits

4 Cor: Contax RTS, 2.8/85 Sonnar, HP5

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5 Olivier: Contax S2, 1.7/50 Planar, TRI-X

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6 Rob Regeer, the artist and his art: Nikon FE2, Nikkort 1.8/50 AiS, TRI-X

 

 

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———-

Color Shapes

7 Nikon D800E, Nikkor 1.4/58G

DSC_1305
8 Nikon D800E, Nikkor 1.4/58G

DSC_1303
9 Nikon D800E, Nikkor 1.4/58G

DSC_1302
———-

Color Portraits

10 Ed de Jong, photographer, with waitress held napkin reflector at his insistence: Nikon D800, Nikkor 1.4/58G

DSC_3990
11 Jan Maaso, friend, Nikon D800, Nikkor 1.4/85G

DSC_0277
12 Wessel, colleague, Nikon D800E, Nikkor 1.4/58G

DSC_0506

Thanks to Steve and Brandon for posting this and, more importantly, for keeping this podium alive for many to post on and for even more to comment.

Best regards,

Michiel Faro

 

Jul 032015
 
Pentacon Six TL 6x6

Film Friday 6×6 images

By Dierk Topp

Pentacon Six TL 6x6

Hi Steve,

This is a small collection of analog images made with the Pentacon Six medium format camera, made in the GDR, German Democratic Republic, long time ago.
I used the Zeiss Flektogon 4/50mm  and the  Zeiss Sonnar 180mm/2.8 with the Kodak T-MAX 100 and Agfa Ultra 100 color negative. Scanned the negatives with Epson Photo 2450 scanner and digital processing with Lightroom and Nik Silver Efex.

You may find more of my analog and digital images here on flickr

Pentacon Six 6x6, Zeiss Sonnar 2.8/180mm, Kodak T-MAX 100

Pentacon Six 6x6, Zeiss Sonnar 2.8/180mm, Kodak T-MAX 100

Pentacon Six 6x6, Zeiss Sonnar 2.8/180mm, Kodak T-MAX 100

I could not resist to make a  triptych from these images

Pentacon Six

Pentacon Six

this series is in memoriam of Ansel Adams

 

6x6 analog, Petacon Six, Zeiss 50mm

6×6 analog, Petacon Six, Zeiss 50mm

 

6x6 analog, Petacon Six, Zeiss 50mm

6×6 analog, Petacon Six, Zeiss 50mm

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6x6 analog, Petacon Six, Zeiss 50mm

6×6 analog, Petacon Six, Zeiss 50mm

 

6x6 analog, Petacon Six, Zeiss 50mm

6×6 analog, Petacon Six, Zeiss 50mm

 

analog 1992

analog 1992

 

analog 1992

analog 1992

The next images are from La Palma, Canary Islands

6x6 analog, Petacon Six, Zeiss 50mm

6×6 analog, Petacon Six, Zeiss 50mm

 

6x6 analog, Petacon Six, Zeiss 50mm

6×6 analog, Petacon Six, Zeiss 50mm

 

6x6 analog, Petacon Six, Zeiss 50mm

6×6 analog, Petacon Six, Zeiss 50mm

 

6x6 analog, Petacon Six, Zeiss 50mm

6×6 analog, Petacon Six, Zeiss 50mm

 

6x6 analog, Petacon Six, Zeiss 50mm

6×6 analog, Petacon Six, Zeiss 50mm

 

6x6 analog, Petacon Six, Zeiss 50mm

6×6 analog, Petacon Six, Zeiss 50mm

 

6x6 analog, Petacon Six, Zeiss 50mm

6×6 analog, Petacon Six, Zeiss 50mm

…and last but not least stitched panorama shots, that I made in 1995 in Hamburg
I planed to mount the prints but never did, now with stitching software it is easy and perfect

stitch of 3 images

stitch of 3 images

Pentacon Six 6x6, Zeiss Flektogon 4/50mm, Agfa Ultra 100 color n

…and again, as it is at the top of this post, this is the camera (with the 80mm Biometar)
it is blurred, but I have only this one. I sold it to Hong Kong long time ago.

Pentacon Six TL 6x6

thanks very much for your time and attention

regards
Dierk

Jun 262015
 

Shooting CineStill 50Daylight Xpro film

By Aivaras Sidla

Picture1. Pentax MZ-S, SMC Pentax-FA31mm F1.8 Limited

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As darkness of Lithuanian winter gave place to sun and light, I finally reached the depths of my fridge and took out new CineStill film for testing. CineStill 50Daylight Xpro is ISO50 film balanced for daylight. Basically its Kodak motion film remade and suited for C41 process. Plenty of information on that you’ll find in manufactures site.

I had 5 rolls ant it was enough for a full month of exiting life in strange ISO50 world. I like to shoot one film extensively, for longer period of time, to try it in different situations under variable light and with different glass. It gives perspective and possibility to adjust shooting to results.
So here go my remarks:

Its slow. Slowest film I shot before was Kodak Ektar. CineStill is whole stop slower than that. And it makes big difference; each shot has to be taken with greater care, tripod becomes your great friend, you start to notice that snails start to overspeed. Really. But as all limitations it helps to focus and improves skills.

Colors this film provides are neutral, but provide enough punch. Skin tones are pleasant and accurate.

Halation. As usual with CineStill films there is an issue with halation effect. In this case is much less pronounced comparing to 800 tungsten film, actually as you see in photos I was able to shoot directly into evening sun and get away with almost no halation effect. Cold be that this effect is more pronounced with artificial lights, but I haven’t had many opportunities to do that, as this film is to slow for dark places.

Overexpose tolerance. Film has huge ability to keep information in highlights. I noticed that after few first rolls I started tendency to meter and expose more for shadows and compensate it in post process.

Grain in this film is very fine, provides smooth look.

Conclusion is that its good film with natural colors and overall look. Main properties of this film that I noticed are latitude toward overexposing and speed. Biggest impression from this film – ISO50; its strange to be more disciplined while having fun. :)

Thank for reading!

More: https://www.flickr.com/photos/aiwalit/

Aivaras

Picture2. Pentax MZ-S, SMC Pentax-FA50mm F1.4

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Picture3. Pentax MZ-S, SMC Pentax-FA50mm F1.4

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Picture4. Pentax MZ-3, SMC Pentax-FA43mm F1.9 Limited

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Picture5. Pentax MZ-3, SMC Pentax-FA43mm F1.9 Limited

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Picture6. Pentax MZ-3, SMC Pentax-FA43mm F1.9 Limited

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Picture7. Pentax MZ-S, SMC Pentax-FA77mm F1.8 Limited

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Picture8. Pentax MZ-S, SMC Pentax-FA77mm F1.8 Limited

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Picture9. Pentax MZ-S, SMC Pentax-FA77mm F1.8 Limited

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Picture10. Pentax MZ-S, SMC Pentax-FA31mm F1.8 Limited

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Picture11. Pentax MZ-S, SMC Pentax-FA31mm F1.8 Limited

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Picture12. Pentax MZ-3, SMC Pentax-F50mm F1.7

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Picture13. Pentax MZ- SMC Pentax-F50mm F1.7

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Jun 122015
 

Friday Film: Leica M6 & Kodak

By Santiago del Águila

Hi Steve,

I believe its been 2 years since I’ve submitted any pictures to your site, 2 years ago I sent in some pictures from Sierra Leone, and since then I’ve gone into film shooting 100% film, since then I went one summer to London and took a course in darkroom processing which I enjoyed a lot and found really useful, I got crazy shooting film almost ran out of money! hahah. Images of London where very focused in street photography and the intensity as I said really helped me get real good at knowing my camera and getting fast and consistent with it.

Shortly after this I was lucky to go on a trip to Japan this January, it was only one week, but real intense… We spent the first half of the trip in Kyoto and moving around the area visiting the traditional architecture (I study Architecture 5 year now, 2 to go!), and the next half we went to Tokyo were modern Architecture and urban life style kicked in. I would say I enjoined a lot both parts but Tokyo was awesome, for street photography, Kyoto was also good but I believe a got most of my keepers in Tokyo.

For the images I’m going to show you, the gear I took was: My Leica M6 TTL body, a Voigtlander 35mm f 2.2 colour Skopar lens, A Carl Zeiss 50mm Sonnar F 1.5 (50s model with the Amadeo adapter)
I shot about 19 rolls of film, mainly B&W Kodak T-Max and Tri-X, Fujifilm Superia 200/400, Ilford hp5

Now time to choose 3 photos…

Picture 1, could be my lucky shot, not sharp and all but hey I had 2 nasty doors and a banner covering half my lens did not see it because in the view finder it did not show up as I had the camera in contact with the door at the end of the metro wagon, still the scene is perfectly visible and creepy, maybe just a contrast of cultures. (Lens is the 50mm and Tokyo and Film is Kodak T-max 400)

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Picture 2 was also complicated, I did it while visiting Kengo Tange’s Catholic cathedral of Tokyo, Did now disturb the guy I believe, he didn’t even know. I like the light in it how it discovers some emotion in his face. (Lens is the 35mm and film is Ilford hp5)

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Picture 3 Was made at the Tsukiji market tuna auction, tells a bit of the process into it, there’s more of it in my flickr.( Lens 50mm f 1.5
film fuji Neopan 100)

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My biggest concern about al of this is being always stuck in a constant ISO that in various situations do not work at their best or at all, I think it brigs a whole bunch of problems to deal with and some times it’s a little bit depressing seeing your colleague with a Sony A7 charging with all the ISO of the world and you forcing your way with low shutter speeds and getting light out of nowhere, maybe it’s joust fine at the end you get different results and points of view…
Anyway this is for fun not for work as I say.

Thanks in advance Steve,
and sorry for my writing could me much better.
Santiago del Águila

Here’s My Flickr Page: https://www.flickr.com/photos/santiagodelaguila/
Here’s the japan Album: https://www.flickr.com/photos/santiagodelaguila/sets/72157650393784347

Jun 052015
 

Film Friday: Australia

By Massimiliano Farinetti

Dear Steve, Brandon and all stevehuffphoto.com readers

one month ago my business brought me to Australia for a couple of weeks. When I was packing my luggage I wondered which gear would have been with me and finally I decided for beloved Leica M2 with skopar 35/2,5. No digital but the smartphone. In the fridge I had a roll of Rollei RPX400 and two rolls of FP4+: I put them in the bags and off I went. As it wasn’t meant as a leisure trip I knew I’d have had few time to shoot photos, but it helped me to relax during such demanding business trip. I’ve been to Adelaide first (where I’ve visited the incredible Trent Parke’s “The black rose” exhibition I recommend), then to Sydney and ended up in Brisbane. Back home I developed the films and put them in the Epson V600 selecting some pictures I share here with you. Some of them will be furtherly printed as soon as my darkroom will re-start.

I thank you again if you’d admit me to the Film Friday

Carry on!

Massimiliano Farinetti

Adelaide-2

Adelaide-7

Adelaide-8

Brisbane-7

Brisbane-15

Brisbane-18

Brisbane-20

Sydney-1

Sydney-3

Jun 052015
 

Film Friday

By Zhao TianYu

Hi Brandon,

It’s been almost a year since I last wrote to you. Over the last year I made the switch from digital to film and have since been shooting exclusively on film for my street works. Would like to share with you some images taken during the past few months in various parts of the world. I’m looking at getting a masters degree in photography in the US next year (I don’t have an art background) so I would really appreciate if you guys can give me some feedback on these. I’ve got both 135 and 120 shots and it’s definitely going over the 3 shots limit so please bear with me :)

All 135 shots were taken with Leica M6 and Summilux 35mm f1.4 FLE on Trix. 120 shots were taken with Hasselblad 500cm and 80mm f2.8 kit lens on various films.

Hope you will like them!

2015-04-05-0006

Scan-140901-0003

Scan-141015-0011

Scan-141018-0014

Scan-150102-0056

Scan-150103-0041

2015-04-05-0013

Scan-141027-0014

2015-05-29-0028

2015-05-29-0029

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D1000010-2

D1000012-3

Thanks a lot!

flickr: https://www.flickr.com/photos/tianyuzhao/
instagram: tianyuzhao

Jun 052015
 

Film Friday

By Dierk Topp

Hi Steve and Brandon,
this is a small collection of photographs for the “Film Friday”.

I loved panorama photography for a long time and was dreaming of a 6×17 camera. One day on the Photo Flee Market in Hamburg about 1990 I saw the Russian panorama camera Horizon 202 – and I bought it. The negative size of this camera is 24x56mm. The first series was made on a foggy November day 1995 in Hamburg, Germany I used Ilford Delta 400 and scanned the negatives with my Epson Photo 2450 scanner
digital processing with Lightroom and Nik Silver Efex

You may find more of my analog and digital images here on flickr

#1
this type of panorama is only possible with a “one shot” panorama camera with the panorama function of a digital camera “stitched during the esposure” you get a lot of ghost images in this type of panorama with moving objects

scan of 24x56 negative from Horizon 202, Russian Panaorama Camera, PP: LR5 and Nik Silver Efex

scan of 24×56 negative from Horizon 202, Russian Panaorama Camera, PP: LR5 and Nik Silver Efex

#2
the rotating lens gives the same distortions like you see on stitched images straight lines look like curves

scan of 24x56 negative from Horizon 202, Russian Panaorama Camera, PP: LR5 and Nik Silver Efex

scan of 24×56 negative from Horizon 202, Russian Panaorama Camera, PP: LR5 and Nik Silver Efex

#3

scan of 24x56 negative from Horizon 202, Russian Panaorama Camera, PP: LR5 and Nik Silver Efex

scan of 24×56 negative from Horizon 202, Russian Panaorama Camera, PP: LR5 and Nik Silver Efex

#4

scan of 24x56 negative from Horizon 202, Russian Panaorama Camera, PP: LR5 and Nik Silver Efex

scan of 24×56 negative from Horizon 202, Russian Panaorama Camera, PP: LR5 and Nik Silver Efex

#5

scan of 24x56 negative from Horizon 202, Russian Panaorama Camera, PP: LR5 and Nik Silver Efex

scan of 24×56 negative from Horizon 202, Russian Panaorama Camera, PP: LR5 and Nik Silver Efex

#6

scan of 24x56 negative from Horizon 202, Russian Panaorama Camera, PP: LR5 and Nik Silver Efex

scan of 24×56 negative from Horizon 202, Russian Panaorama Camera, PP: LR5 and Nik Silver Efex

The second series on Ilford Delta 100, 
I used the NEX with a bellows, Leica enlarger lens and a slide duplicating adapter. Due to the 24x56mm of the negatives I shot two parts of the negatives and joined them with stitching. As you get digital negative images, you have to invert them in to positive (for example with Photoshop or Lightroom)
#7
analog: Horizon 202, 24x56mm, Ilford Delta 400, 1996
#8
analog: Horizon 202, 24x56mm, Ilford Delta 400, 1996
#9
analog: Horizon 202, 24x56mm, Ilford Delta 400, 1996
#10
Horizon 202 (24x56) B&W film
#11
Horizon 202 (24x56) B&W film
#12
Danmark, 1995, Ilford Delta 100, digitized with Sony NEX-6

Danmark, 1995, Ilford Delta 100, digitized with Sony NEX-6

#13
Danmark, 1995, Ilford Delta 100, digitized with Sony NEX-6

Danmark, 1995, Ilford Delta 100, digitized with Sony NEX-6

 

#14
try this with the panorama function of a digital camera, it will not work
Markt Wedel, 1995, Ilford Delta 100, digitized with Sony NEX-6

Markt Wedel, 1995, Ilford Delta 100, digitized with Sony NEX-6

#15

hfbeibdg

#16 
this is made with 1/5 sec. during the exposure of the Horizon is running,
you see the unsharp movement of the front including the lens behind it
lens ist rotating during exposure

lens ist rotating during exposure

#17
the film plane is curved corresponding to the rotating lens
Horizon 202 Panorama 24x56mm
many regards
dierk
May 222015
 
image010

San Francisco and the Xpan: how I think my photography

By Dirk Dom

I’m not manic now for a month or so, which is great, but I didn’t start or did anything. Day before yesterday I just stopped scanning at 1AM, yesterday and today I don’t feel in the mood. I ‘m going to start something because like now I waste time. My shots of S.F. are good. I learnt a lot about what’s interesting in photography. Not the usual tourist stuff.

The panorama’s of the Xpan I make straight, they look better that way, they look finished.

From this (original scan)

image001

To this:Select, process, transform, and stretch away. Anything goes.

image008

This one I think real special:

The Xpan on “B”, f/22, eight seconds’ exposure, hand held while a train got in the station. It moved, it’s double; the manikin ghost is made of the two overlapping images of that man.

image009

Peter Lik (one of the two photographers in the world who sell to the general public for lots and lots of money, and who is a commercial genius) sold a shot with a ghost for over 6 million dollars:

Maybe I can, this one, too? I’m happy with 5,999,995 dollars. I’d better keep the negative safe, because I’ll never be able to make this shot again.

image010

The shot I’m proudest of is this one:

Of course, this is the ultimate tourist shot. Just that I haven’t seen it yet and it’s so spectacular. I was walking near this boat, searching for interesting images, and I just couldn’t believe it when I discovered this one. The tower and this boat, couldn’t be better. I’d take the big Fuji 617 to S.F. just to take this one shot. But with the Linhof and the 47mm I can shoot it in 6×9 black and white and crop. Finding panoramic compositions is different, you have to fill the entire image with interesting stuff in a way that looks natural and not just shoot things that are in the middle; it takes an effort. I discover panoramics before I look through the camera and this one really hit me. Sometimes Photoshop helps: I’m crazy about fire escapes

image014

Original image:

Now, that wasn’t panoramic enough.

image015

Stretched (at these extreme perspectives you get away with anything):Nice, eh?

Kodak Ektar 100 is a sublime film which scans incredibly. Burnt out highlights like cloud parts, I don’t even look at them anymore, they’re always good. Shooting film is so much easier than shooting digital!
The 65mm (2.55 inch) negative of the Xpan is very comfortable to work with, with the Epson scanner at 2,400PPI I can enlarge to about two feet at 300DPI.

I really like the colors of this one:

A sidewalk, cement. Such fine color nuances you can get with the digital Leica, I don’t think I could get them with mu Olympus PEN. Look at the fine, etched highlights.

image018

I crop to this:

image021

Which reminds me of this:

Not doing anything with it, because the image isn’t good enough, but a new idea: associative photography, showing with an image what the abstract shot reminds you of. No words.

image022

The most typical S.F. shot I took: Haight Street, of course.

image023

From this shot, had a bit of work with it:

image024

Since legal, Marijuana is everywhere, must be a big boost to the economy.

image030

Finally, to show that I’m just as good as famous Flemish photographer Bert Danckaert: See how I put the shadow out of the middle? I’m an Artist Genius!
image039

Allez, groetjes,
Dirk.

May 192015
 
Drum Men

Hi Steve and Brandon,

My name is Richard Palmer

All these photos have been shot on a Mamiya 7ii using Ilford Hp5 and developed in Ilford Microphen.
The photo of my dad was shot at 1/125 using f8, the photo of my brother was shot at 1/30 using f5.6,
and the photo of the rugby pitch was shot at 1/250 using f16.

My details are:

Flickr
https://www.flickr.com/photos/richie_photographer
and my instagram is https://instagram.com/richardjamespalmer/

Thanks for this opportunity.

Richie.

unnamed-3

unnamed-4

unnamed-5

May 192015
 
image025

Return to film: Spring flowers in San Francisco

By Dirk Dom

Hi!

The last two years I’ve been serious about black and white on film and I grew to enjoy grain very much. With my Hasselblad Xpan I shot Kodak Ektar and fuji Superia 400 and I immensely liked the results. My Olympus PEN digital camera is extremely good, but I got tired of color noise. Film grain is beautiful, digital color noise is ugly.

So when I went to san Francisco this easter, I had my Xpan, my canon F1 and my Olympus PEN with me. And, not to my surprise, I didn’t shoot a single digital shot.

I wanted a creamy and graphical look for my flowers. The cream comes from shooting with a Canon FD 85mm f/1.2, at f/1.2. The graphical part comes from Fuji Superia 800. I used a 3 stop ND filter all the time. I used extension tubes. I don’t think there is any modern camera system that allows this kind of shots with modern lenses. Digitally, the Sony A7 with Canon FD 85mm f/1.2 and extension tubes and a $30 adapter would do the job perfectly. But I shot at ground level a lot, you’d need to use the screen, then.

Today I got my negatives back and I’ve met my objectives. This was what I had in mind. Sharpness freaks will be disappointed: this is not about sharpness but about beauty and atmosphere.

Film is beautiful.

Enjoy!

California is in its fourth year of draught, so there weren’t many flowers. Still, I got nice shots.
 image021

Pacifica. A lily.

image022

At the beach.

image023

Also near the beach.

image024

Poppy, Golden Gate Park.

image025

Golden Gate Park. Shot through a flower in the foreground, focused on a flower behind. With the Canon F1 speedfinder I can shoot right to ground level.

image026

Cherry tree.

image001

The 85mm sometimes gives rainbows.

image005

image006

Beach near the Golden Gate: great diversity of flowers. Unfortunately, they were mowing the path when I got there. 

image008

Poppies at f/1.2.

image009

image010

image012

image013

image014

image015

Grain. Love it!

image017

Bernal Hill, all the flowers were already gone.

image018

Bye,
Dirk.

May 152015
 

Film Friday: Riots and Zeiss Biogon T* 2.8/25 on Leica M6

by fiftyasa

Steve already wrote a good review of the Zeiss Biogon T* 2.8/25 back in 2009 (http://www.stevehuffphoto.com/2009/11/18/the-zeiss-zm-25-2-8-biogon-lens-review/), but the lens does not seem very common among Leica M shooters, especially if compared to other Zeiss lenses like the Planar 50 or Biogon 35.

I recently picked up one copy and tried to shoot some street action in the city of Hamburg where every year peaceful demonstrations and riots take place as a tradition on May 1st. Mounted on a Leica M6 loaded with TriX 400 and TMAX 400, I made my way through the “urban guerrilla”…

Shooting from the hip while walking and pre-setting the focus distance seem to work OK with a bit of luck (although the agents seem to smile at me, I don’t think they realized that I took a photo of them shooting from the hip):

R01F27_LeicaM6_Biogon25_TriX400

But the lens is wide! It seems you are never close enough… In the following 2 pictures I pre-set the focus distance, walked as close as I could and used the viewfinder to (guess-)frame.

R01F26_LeicaM6_Biogon25_TriX400-2

In the picture “you are never close enough” it is interesting to see that the 2 subjects did not notice me despite I was at less than 1 meter from them, while the young guy and the woman behind were probably asking themselves what I was doing so close…

R01F32_LeicaM6_Biogon25_TriX400

Unfortunately most of the copies of this lens bring up the 35 mm frame lines on the M6, M9 and Zeiss Ikon ZM. This is a bit distracting for me. The 28 mm frame lines would be a better choice (but not perfect, this lens is substantially wider!) if the external viewfinder is not available, but, at the time the lens came to the market, it targeted the M8 where the correct frame lines (35 mm equivalent) is triggered.

It is known that the lens can focus down to 0.5 m but the rangefinder disengages at 0.7 m. So if you want to use it from 0.7 and 0.5 m, you’ll have to guess the distance. I would also like to mention that, despite some websites state that the Zeiss Ikon ZM can use the rangefinder to focus down to 0.5m, this is not true. I have a Zeiss Ikon ZM and the rangefinder disengages at 0.7 m like the Leica M6 and M9.

Being the angle of view so wide, the Biogon 25 is an ideal companion for landscapes and cityscapes

R01F30_LeicaM6_Biogon25_TriX400

Or to give a “wide angle effect” to your shots:

R02F02_LeicaM6_Biogon25_TriX400

Or to capture a lot of things in one frame:

R02F10_LeicaM6_Biogon25_TriX400

Yes, the lens is sharp. In the picture above you can actually read the street sign next to the last flag on the right:

Screen Shot 2015-05-06 at 11.42.24 PM

Three more attempts to get closer to the subject:

R02F13_LeicaM6_Biogon25_TriX400

R02F15_LeicaM6_Biogon25_TriX400

R02F16_LeicaM6_Biogon25_TriX400

These pictures are digitalized by photographing the Kodak negatives with a Sony A7 mounted on a copy stand and equipped with bellow and macro lens Apo Rodagon-D 1x 75 mm. Negatives are inverted with negfix8 and post-processed (mainly tone curve adjustment only).

If you like to see more, please visit https://fiftyasa.wordpress.com

© 2009-2015 STEVE HUFF PHOTOS All Rights Reserved
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