Post Bronica Photos... Any format. I just want to see Bronica photos

I was actually given a complete Bronica set a while back from my old landlord (two S2's, 5 lenses (including 2 75mm Nikkors, the lovely 50mm Nikkor and a 150mm and 200mm), multiple backs, chimney finder, flashes (which I ended up giving away), a couple different helicoids and a sweet Bellows Attachment for macro photography.

I don't shoot it all the time, but it's a beast and I do like it quite a bit.



Bronica S2, Nikkor-H 50mm f/3.5, Ilford Pan F Plus 50 film.

Unkempt by Khunya Lamat Pan, on Flickr

Bronica S2, Nikkor-H 50mm f/3.5, Ilford Pan F Plus 50 film.

Shiny by Khunya Lamat Pan, on Flickr

Bronica S2, Nikkor-H 50mm f/3.5, Bellows Attachment Type 2.

Carlo Dringenberg by Khunya Lamat Pan, on Flickr

Bronica S2, Nikkor-H 50mm f/3.5, Bellows Attachment Type 2.

20190005 by Khunya Lamat Pan, on Flickr

Bronica S2, Ilford Pan F+ 50.

Ellar Coltrane by Khunya Lamat Pan, on Flickr
 
Film: Kodak Tri-x 400
Camera: Bronica SQ-A
Lens: Zenzanon-PS 80mm 1:2.8
Developer: Kodak XTOL 1+2for 10.5 min @20C
Scanner: Epson Perfection V800 Photo



Film: Kodak Porta 400
Camera: Bronica ETRS
Developer: Colortec C41 Negative Kit
Scanner: Canon CanoScan 9000F


Kodak Porta 160:




 
DuPont State Forest in North Carolina, USA. Bronica S2 + Nikkor 50/3.5; Portra 160; 1/125 at f/22, polarizer. Lab dev & scan. Levels adjusted in post, possibly inadequately. This was a difficult one: the water was blinding white, while the forests on the sides were dense and dark. Glare was surprisingly minimal given this infamous lens.

--Dave


High Falls, Much Sky by Argenticien, on Flickr
 
Argenticien said:
DuPont State Forest in North Carolina, USA. Bronica S2 + Nikkor 50/3.5; Portra 160; 1/125 at f/22, polarizer. Lab dev & scan. Levels adjusted in post, possibly inadequately. This was a difficult one: the water was blinding white, while the forests on the sides were dense and dark. Glare was surprisingly minimal given this infamous lens.

--Dave
High Falls, Much Sky by Argenticien, on Flickr
Click to expand...

Nice work Dave.
You probably could of used f/16 or f/11 and stayed at 1/125s.
I probably would have shot f/11@1/125, or f/22@1/30
 
Swift1 said:
Nice work Dave.
You probably could of used f/16 or f/11 and stayed at 1/125s.
I probably would have shot f/11@1/125, or f/22@1/30
Click to expand...

Thanks Colton. With these waterfall shots, I did color and B&W, stop-motion and blur, and in this case a couple of different compositions of sky vs. water. But I did not truly bracket, as such. I guess in cases like this, I probably should. Although bracketing on 12-exposure MF rolls quickly gets expensive and ties up time loading film...

--Dave
 
150429_14.jpg
 
Panoramic from Mount Saint Mary's University up in the Brentwood Hills over L.A. This is two from the Bronica S2, Nikkor 50/3.5, Portra 160, 1/125 @ f/16. Lab dev and scan. Stitched in Photoshop Elements, then cropped a bit. Yes, I know you can't stitch wide shots and should instead strap on the normal lens before panoramificating; hence the bizarre perspective(s).
--Dave


Wonky L.A. Pano by Argenticien, on Flickr
 
At Chichén Itzá, Yucatán, Mexico. Bronica S2 + Nikkor 75/2.8, Ilford Pan F 50, 1/500 @ f/5.6, polarizing and yellow filters.

This is totally my go-to medium format kit right now. Can't stop using it. One mistake never to make, and probably obvious if you're not a n00b to the tropics: I had it in my Cancún hotel room, which was air-conditioned to about 18 C, overnight. Then went outside onto the beach to shoot sunrise pictures, not super-hot at about 25 C but at seemingly 9000% relative humidity. It took at least 15 minutes for all the cold, heavy metal and glass (including the massive 50/3.5 lens in that instance) to reach temperature and stop fogging. Lesson learned: plan for time to warm, or keep it equalized outdoors if you have a secure, high-storey balcony.

--Dave


Head on the Wall by Argenticien, on Flickr
 
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