Sanders McNew
Rolleiflex User
David Goldfarb said:
Funny you should mention the Serra shots --
I posted them here in another thread on TLRs.
http://www.rangefinderforum.com/forums/showpost.php?p=665280&postcount=358
I've not shot color film before, but I would like to
play with some muted color film, or film with an
odd/imprecise rendering of the palette. Any
suggestions?
Sanders.
Sanders McNew
Rolleiflex User
john neal said:
John, it is uncoated. I used a FISON hood.
And yes, still Foma 200, rated at EI 80.
Sanders
john neal
fallor ergo sum
Sanders McNew said:
You have controlled the potential for flare very well, given that the lens is uncoated, my Elmar shots in similar conditions have been very soft. I don't have a FISON (could never afford a nice one). I do have a Swiss after-market hood (can't remember the name) but I think it vignettes slightly with the Summaron.
I'm just hoping that we get some snow this winter - the last five or six have been very mild where I live.
David Goldfarb
Well-known
Sanders McNew said:
The Heliar will take some of the edge off, so something like Provia should be just about right. If you want something more muted, try Astia 100F for transparencies or for color neg Portra 160NC.
Years ago I used to like Agfachrome 100, which could print easily to Cibachrome without need for masking, but I never tried the more recent versions of this film. Astia and Portra 160NC are in the same ballpark.
john neal
fallor ergo sum
Sanders McNew said:
I find that Kodak 200VR print film comes out quite nicely muted with an uncoated lens - just rate it at 120asa and get it processed normally. It's a bit like 1970's colour film, not too saturated. I find it cheap too - at our local supermarket I get 2 x 36 cassettes for less than £1.70.
sepiareverb
genius and moron
Love that fresh snow in NY. When I lived on B'way (@ 125th) I had a great fresh snow day out along the river under Riverside Drive. They had dismantled the ironwork back then to restore it all, and fresh snow on the stacked iron was lovely. If I can dig out a print this-afternoon I'll scan it. We've fresh snow here in VT today, a very sloppy one so I'm off today- college closed up due to weather!
Found it.
Found it.
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dingowarlord
Newbie
Great Image Sanders, I can just hear the dog saying; "You Looking at me?"
It was nasty weather. I was driving down Broadway yesterday morning around 8:00am.
It was nasty weather. I was driving down Broadway yesterday morning around 8:00am.
rumbliegeos
Well-known
Beautiful photographs - I clearly need to pull some b+w film out of the freezer, and shoot some of our accumulating 12" of snow. Not that it matters, but is that an afghan or wolfhound?
gerry
gerry
Sanders McNew
Rolleiflex User
rumbliegeos said:
Beats me. Someone else called him a Borzoi.
(I thought that was a Russian ballet company.)
FPjohn
Well-known
GW means more precipitation
GW means more precipitation
Marvelous!
GW means more precipitation
Marvelous!
LeicaTom
Watch that step!
That`s a classic shot....just love the dog, poor thing he`s NOT digging the weather at all
I`d feel the same way too
Tom
I`d feel the same way too
Tom
KenD
Film Shooter
Sanders-
If you really want to bend the color pallette try Ektachrome infrared! It is getting a bit hard to find, but really produces some wild colors. It may not be as much fun in the winter since the biggest shifts tend to be the vegetation if you are outdoors.
Ken
If you really want to bend the color pallette try Ektachrome infrared! It is getting a bit hard to find, but really produces some wild colors. It may not be as much fun in the winter since the biggest shifts tend to be the vegetation if you are outdoors.
Ken
Sanders McNew
Rolleiflex User
KenD said:
I am thinking more about a look at the other extreme
-- something really muted, almost black and white,
with grain.
Suggestions?
David Goldfarb
Well-known
Portra 160NC is pretty muted.
Of course with larger cameras there's Polaroid type 669/59/809. This one's 809--
Of course with larger cameras there's Polaroid type 669/59/809. This one's 809--
KenD
Film Shooter
Sanders McNew said:
Fastest slide film you can find, push processed, overexposed 1 stop beyond your pushed speed, shoot with your widest lens (or zoom out with your feet), and crop like crazy so you get major blow-up. Check out some of Sarah Moon's early stuff. Some of David Hamilton's stuff is similar, but Moon's grain is gigantic. Gets very soft, muted, impessionistic. Shoot daylight with tungsten and it starts to look somewhere in between sepia toned and soft color.
John Shriver
Well-known
Overexposed Kodachrome 200.
sepiareverb
genius and moron
Fuji Provia 400F @ 800 might work- 640 gives a little less harsh grain, but Provia 400F has a good 'city grey' even when shot in the winter woods. Sorry, no scans to post.
kuzano
Veteran
Compensation for the prime failing of meters
Compensation for the prime failing of meters
The meter only does one thing... it measures light, and it does it badly on a scene with unusual lighting characteristics.
Actually, in the picture posted, there is a lot of average scene in the upper and right side of the scene, so I'd tilt the meter up and right just a tad and take the shot as metered. The other option, since it's a snow day and most other images for the day may be weighted to the bright side, would be to meter the scene toward the bright and then open up 1 to 1.5 stops to bring the white back up from grey. (exposure compensation says increase the exposure when the scene is overly bright, decrease the exposure when the scene is overly dark). It took me a long time to understand compensation until "the light went on". The meters job is to render a neutral (18%) grey. So when it sees snow, it stops the shutter or f-stop down to turn the white neutral (grey dingy snow). You must open up to render white snow. Conversely, when the meter reads a largely dark scene, it opens the exposure up to bring the blacks up to neutral grey. To get the darks back, you must override the meter reading and stop down.
That's why all the modern metered camera's have exposure compensation built in to them. You know... the little wheel that goes up + two stops and down - two stops.
Compensation for the prime failing of meters
gb hill said:
The meter only does one thing... it measures light, and it does it badly on a scene with unusual lighting characteristics.
Actually, in the picture posted, there is a lot of average scene in the upper and right side of the scene, so I'd tilt the meter up and right just a tad and take the shot as metered. The other option, since it's a snow day and most other images for the day may be weighted to the bright side, would be to meter the scene toward the bright and then open up 1 to 1.5 stops to bring the white back up from grey. (exposure compensation says increase the exposure when the scene is overly bright, decrease the exposure when the scene is overly dark). It took me a long time to understand compensation until "the light went on". The meters job is to render a neutral (18%) grey. So when it sees snow, it stops the shutter or f-stop down to turn the white neutral (grey dingy snow). You must open up to render white snow. Conversely, when the meter reads a largely dark scene, it opens the exposure up to bring the blacks up to neutral grey. To get the darks back, you must override the meter reading and stop down.
That's why all the modern metered camera's have exposure compensation built in to them. You know... the little wheel that goes up + two stops and down - two stops.
Stu W
Well-known
Sanders McNew said:
I think it's a Russian Wolfhound which I believe is the same as a Borzoi. I end up in Brighton Beach a lot and there are a ton of them there. Stu
sepiareverb
genius and moron
Fall asleep on the train Stu? 