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Leica MP, Summilux 50mm f/1.4 v1, 400-2TMY/Adox MCC 110.

Erik.

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Erik van Straten said:
Nice picture/composition, Pan. Is this an old German bridge? Poznan used to be a German city (Posen). Looks very WW1.


Erik.
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The original parts of the bridge (the curved ones) were built in 1905 but it was blown up in second world war and rebuild during the PRL. It is more famous as young lovers engrave padlocks with their names and lock them on the bridge. You can hardly see them on the left side of the picture.
 
Larry Cloetta said:
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Dang Larry that shot is a kick! I saw you converted it from a color image - I often do that as sometimes that is how it should be but you didn't have B&W film in the kamera.
I know that this is not a purist philosophy, but if I'm not sure on what my subject matter and/or the conditions would be I load color film. That way I have both color and B&W images available from the same roll if need be.
 
That's nice Dourbalister, and super composition!

I've been playing around with photography in very low light, using Tmax P3200 pushed to 6400 and on the Leicaflex SL2. Spot metering leaves no room to hide, but if there is no light in the area where the matched needles are you can't see a thing, and moving it into the light is not an option!

There was a light festival in an old Naval yard around the corner from my home so I got out and mostly screwed up, but those I did get right I'm very happy with. Shot on the Summilux R 80mm f1.4.

royalwilliamlightfestival-1-of-1.jpg
 
Huss said:
Dang Larry that shot is a kick! I saw you converted it from a color image - I often do that as sometimes that is how it should be but you didn't have B&W film in the kamera.
I know that this is not a purist philosophy, but if I'm not sure on what my subject matter and/or the conditions would be I load color film. That way I have both color and B&W images available from the same roll if need be.
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I don’t even know any longer what a purist philosophy actually entails, outside of film and wet printing, which, sadly, isn’t a realistic option for me. Once you are committed to a hybrid technique, that does offer alternate, almost endless, possibilities. The filmstrip is just the raw material to my way of thinking. There are so many ways to massage tones and colors, once digitized, that it seems almost perverse not to take advantage of those options in trying to get a final image that somehow works for you.
Whether it works for anyone else is always a separate question.

I think you are right about always being open to using a given color negative to make a monochrome print, much more so now than in the past.

And, thanks! I liked this one in Black and White as well. It was a cheaper film, shot at dusk in poor light conditions, and poorly developed at a drug store, so there was some (!) grain and general splotchiness which worked better when it wasn’t in color. The color print went into the round file, but you never know what you can do with a negative until you try.
 
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