Very good composition, the heads of the people are right in front of the entrance of the museum and they are beautifully enclosed by the fences. Maybe I would have left out the lanterns and the waste paper basketon the right - but the side wall of the house in the back just in - so that a little more of the left side of the museum would have come into view.
Thanks Erik, i just run to cross a busy street and they just showed up in front of me. I just quickly took the pic, I had no time to compose better.Very good composition, the heads of the people are right in front of the entrance of the museum and they are beautifully enclosed by the fences. Maybe I would have left out the lanterns and the waste paper basketon the right - but the side wall of the house in the back just in - so that a little more of the left side of the museum would have come into view.
Erik
Ultimately it happens automatically, just like shifting gears when driving a car.Thanks Erik, i just run to cross a busy street and they just showed up in front of me. I just quickly took the pic, I had no time to compose better.
February 1996 - Epirus/Greece
Kodak Ektachrome Elite 200
I got very poor advice from the start regarding slides - the seller told me to always underexpose them by 1 stop to get more vibrant colours. As a result most of my slides are underexposed (you don't see it much when using a projector to a nearby wall). Things got better when I got a Gossen Sixtino later on. But the combination of under exposure and the Praktica's so-and-so meter means that some of them are unusable.There were a few tricks to get the best out of E200. So many materials gone, so much (so much!) wasted knowledge in my head.
E200 got very muddy underexposed, and could separate some tones poorly even well/properly exposed. Some of the 400 speed E6 films were worse. I always gave it a slight push in the first developer in the six bath chemistry. This helped a lot.I got very poor advice from the start regarding slides - the seller told me to always underexpose them by 1 stop to get more vibrant colours. As a result most of my slides are underexposed (you don't see it much when using a projector to a nearby wall). Things got better when I got a Gossen Sixtino later on. But the combination of under exposure and the Praktica's so-and-so meter means that some of them are unusable.
Thank you, I have some slides taken with its slower sibling, the 100, which I think was a better film.E200 got very muddy underexposed, and could separate some tones poorly even well/properly exposed. Some of the 400 speed E6 films were worse. I always gave it a slight push in the first developer in the six bath chemistry. This helped a lot.
The photo from Epirus is beautiful.
My main problem was that even the slower E6 films had their problems with consistency. Digital was the making of colour photography as a properly manipulable medium. Even the ‘best’ colour media from the immediately pre-digital era had serious technical limitations. It could be awful.Thank you, I have some slides taken with its slower sibling, the 100, which I think was a better film.