What have you just BOUGHT?

Vince Lupo said:
Yeah we Italians are a quirky lot - Sicilians, sheesh don‘t get me started….
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Hey, watch that! My grandfather might call you out from his grave... LOL! 🙂

Anyways, that Super Duplex 120 appeals to my sense of the absurd quite a lot, but I'm gonna resist hunting one up to play with anyway. I have way too many limited-use, mostly absurd camera toys in the closet already. 😉 I'll be very interested to see what you do with it.

G
 
seany65 said:
I bought a B+W 20mm olive-green/yellow-green/light-green (hard to describe green) push on filter for my altitx III…
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I’m curious how you’re using green filters and the effects you’re getting.

Some of my Minox 8x11mm cameras have a green filter that can be selected. I used these for some landscape photos with foliage and I couldn’t detect a difference between using the green filter and no filter - this was with Ilford Delta 100. Perhaps my choice of foliage wasn’t varied enough to show a distinction.

I also acquired a Nikon 52mm green filter I’d like to use; maybe I should just experiment when Spring comes around.
 
Pal,

I haven't used mono filters a lot, but I did a series of shots on a couple of films and could see a bit of a difference as the green grass and leaves seemed to get slightly lighter in some shots. I also used Orange, Yellow and Yellow-Green filters. Unfortunately, the pics were all of the same view and I hadn't made notes of which pics were taken using which filters and the film was commercially processed and printed. On top of that, I think the lab (max speilmann) I think use a range of outside labs to process the mono films and these prints seemed to be quite poorly printed, with a sort of "low quality digital" rather than "average quality analogue" look to them - it's rather hard to explain.

I think best results would come from home printing.

The green filter I referred to in my previous post is a weird sort of Green, as it has x2 on it, which I think would make it a "Light" green, but is is rather duller than the "normal" light green filters I've seen, and the Green is paler than proper Green filters that I've seen.

I clicked on the "Quote" thing thinking it would act like the other "quote" buttons on other forums, I hadn't noticed the "Reply to Pal_K" button. Lol!

Pal, I've just been wondering if the Green flters on your minoxes are light or normal Green filters?
 
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Pál_K said:
I’m curious how you’re using green filters and the effects you’re getting.

Some of my Minox 8x11mm cameras have a green filter that can be selected. I used these for some landscape photos with foliage and I couldn’t detect a difference between using the green filter and no filter - this was with Ilford Delta 100. Perhaps my choice of foliage wasn’t varied enough to show a distinction.

I also acquired a Nikon 52mm green filter I’d like to use; maybe I should just experiment when Spring comes around.
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Looking at my Minox B, the metering mark for the built-in Green filter indicates a one stop change (or filter factor of 2x). So it is a medium green filter.

When I got my Leica M10-M camera, one of the first things I did was to evaluate its spectral sensitivity with no filter, a 2.5x orange filter, and a 2x green filter by shooting an Xrite Color Checker and comparing the results. Here's the combined comparison image:


Spectral Changes by Filtering – Leica M10 Monochrom + Summarit-M 75mm f/2.4​

The differences compared to both the no filter and the between the two filters are in some cases quite subtle. However, I find that I often fit the green filter as standard as it tends to expand and separate tones nicely. The orange filter has a more intense effect of raising the overall image contrasts in day light, and less effect when indoors due to the lower color temperature of indoor lighting in general.

To find out what a particular filter is going to do with a particular film, you have to do a series of tests like this with the target film and your intended processing workflow. I've done this for various films over the years...

G
 
On the subject of filters and mono film, I think I've read somewhere that filters affect Ilford XP more than other films.

This week I bought:
1) A 20mm push in B+W yellow filter from Australia, which I ordered before I found out that 20mm is a tidgy bit too small.

2) Yet another second-hand 52mm Hoya HMC sky1B filter, which, yet again, has turned out to be a bit too damaged to use.

3) One of those "X-tra large camera backpack" thingies, which are sometimes branded "Unho" and sometimes unbranded. Mine is unbranded. The waist belt isn't very good and due to where it attaches to the body, I can't fold it back around the bag to get it out of the way. If I have the shoulder straps as tight as I normally have them on my normal backpack, the "waistbelt" is an "above the belly button belt" lol. If I loosen the straps so the bag sits lower and the waistbelt actually becomes (fairly near) a waistbelt, then the strap across the chest almost strangles me, lol. luckily I don't use chest straps. Anyway, with the shoulder straps and waist strap adjusted so some of the weight is near my hips and then the shoulder straps tightened, it seems quite comfortable. The lower section is just large enough for various kits I have, eg camera +24, 35, 50 and 105mm, or 24mm and 35-135mm or camera and 80-210mm. The upper compartment fits in butty and biscuit boxes, first aid kit and emergency stove and fire-lighting kit. There is a removable padding thingy between the shells of the upper compartment which could slightly increase the space in the upper compartment. There are fewer pockets on this bag than there are on the £100+ Tarion and that other one (whose name I can't remember), but for half the price (and probably slightly less storage space), it seems to be reasonable.
 
Kodak H35 Half-Frame Camera
 
Godfrey said:
Oh yes ... For those who haven't memorized the color matrix of an Xrite Color Checker and would like a quick reference ... 😉 ... here's a quick snap of mine made with the Leica CL camera in color:


Xrite Color Checker – Leica CL + Summicron-M 50mm​

G
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I wonder why the colors are arranged that way. I can’t find an explanation.

The way it is now, I have to glance around to different parts of the chart to see how a filter affects different shades of green and then glance around to more different parts to see how that same filter affects shades of red.

It seems to me that, like the gray scale, each row should be dedicated to a particular hue which starts light and becomes progressively darker.

That way, for a particular filter I could see a sort of boundary effect across the rows where the filter is having an affect for all the hues.
 
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Pál_K said:
I wonder why the colors are arranged that way. I can’t find an explanation.

The way it is now, I have to glance around to different parts of the chart to see how a filter affects different shades of green and then glance around to more different parts to see how that same filter affects shades of red.

It seems to me that, like the gray scale, each row should be dedicated to a particular hue which starts light and becomes progressively darker.

That way, for a particular filter I could see a sort of boundary effect across the rows where the filter is having an affect for all the hues.
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The Color Checker (originally Macbeth ColorChecker) was introduced in a 1976 paper by McCamy, Marcus, and Davidson in the Journal of Applied Photographic Engineering. ... See Wikipedia for the design logic involved.

I have few useful ideas as to how to do a better job; I just use it as it is an accepted standard reference that works. 🙂
I do have an idea how to present my testing a little more effectively using it, but that will take me some work to develop and present.

G
 
seany65 said:
On the subject of filters and mono film, I think I've read somewhere that filters affect Ilford XP more than other films.
...
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This notion depends upon a) the spectral sensitivity of the film in question, b) the kind of lighting used to expose the film, c) the exposure settings used, d) how the film is processed, and e) specifically what filtration you are using. To say anything concrete about Ilford XP that stands a credibility test, I'd need to test Ilford XP with and without the filters I want to use along with documenting the light source and the processing methodology I use.

I'm unaware of any unusual spectral bias with Ilford XP film when I have it processed commercially, but I have noticed when processing it in B&W chemistry (because I won't setup and run C41 process at home) that the finished, dried film has a strong color to its backing medium which could be influencing the contrast and gradation of tones in a chemical printing process. This backing medium tone is immediately cancelled by a white balance neutralization on clear portions of the developed film when scanning and rendering via image processing software.

It's an interesting thought, however, and I'll do some testing the next time I shoot a load of XP2 Super. I believe I have a few rolls of it in stock, and I have no film loaded in either the Retina IIc or the M4-2. Thanks! 🙂

G
 
Godfrey said:
Oh yes ... For those who haven't memorized the color matrix of an Xrite Color Checker and would like a quick reference ... 😉 ... here's a quick snap of mine made with the Leica CL camera in color:
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Godfrey, are you aware of any automated means of using Color Checker + scanned film to get more accurate results from color negatives?
 
Tim Murphy said:
Dear Board,

I had one of these as a kid. I decided I wanted another, 40 years later.

Regards,

Tim Murphy

Harrisburg PA 🙂

IMG_6807 by Tim Murphy, on Flickr
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Tim,

I have quite a few cameras now that I could only lust after as a kid. There was about a ten year stretch where they were affordable at thrift shops and on craigslist. After COVID, those deals are much harder to find.

Scott
Harrisburg, OR
 
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