[tuco]

Gear porn with my new Mamiya C3, Sekor 80/2.8, Delta 100 and Mamiya's paramender parallax compensator. I have a 65mm for it now to try out as well.


Crown Graphic by tuco, on Flickr

[rlmartindale]

There is some manipulation. Not through aurora HDR and no HDR used. I selected the sky with the new tool in Lightroom, inverted it then brightened the buildings and foreground in the palace shot. I did the same in the first of the previous set. I tend to shoot exposing for the highlights as I know I can recover shadows with Sony sensors.

Would you be willing to post a few SOOC versions so we can see what the camera recorded?

[itshimitis]

In those conditions, I tend to expose for the sky so the foreground would be quite dark, so not sure there is much point.

Here is the one with the interesting sky. SOOC in LR, the sky is far more neutral than it was - Fuji's auto WB tends to be cool, - around 5100 while the tint is on the magenta side

I'm a little hesitant, as SOOC images the way I take them are unfinished. I know the way that Sony sensors act when faced with highlights so I always deliberately 'underexpose' the image - my exposure compensation is nearly always at -1 : to was the same when I had the Z. Highlights are difficult if not impossible to recover.



This is with the auto button pressed in LR and using the WB droplet in the snow to get a more realistic colour balance as I saw it at the time. It was 15/20 minutes before sunset and the sun was being refracted across the clouds which created a lot of colour which the Adobe Colour profile completely eliminated, until the WB was changed. The buildings are still too dark, and the sky still needs work, so I used the new sky selection in LR (which is usually spot on) and gave the buildings and foreground quite a lot of extra exposure and then reduced the exposure on the sky - which was a little overexposed in a few places, but not completely blown.



I quite like the reds being a bit more pronounced, so I used Adobe's version of Fuji's Nostalgic Negative simulation. I use this simulation frequently with golden hour shots as it brings out the colour of the sunset/rise.

The camera records what I ask it to - not a finished shot in high contrast situations. I have always shot in this way with cameras with Sony sensors -so in the 645z, the Nikon D800 and also the various A7rs that I have had, The main difference with Fuji is that the temperature tends to bias lower and the tint pushes towards the magenta. Sometimes it is too much and I tone it down a little, but often especially with a nice pink sky it's nice to help bring this out.

I use Nik filters, but much much less than I did with the Z. I have also reduced the amount of sharpening by more than half. To re-emphasise, this is not because the Z was inferior in any way, just that they are different. You have to have a tighter rein with the Fuji.

[Smolk]

Edinburgh, 2015; Rolleiflex 2.8C

[TDvN57]

In those conditions, I tend to expose for the sky so the foreground would be quite dark, so not sure there is much point.

Here is the one with the interesting sky. SOOC in LR, the sky is far more neutral than it was - Fuji's auto WB tends to be cool, - around 5100 while the tint is on the magenta side

I'm a little hesitant, as SOOC images the way I take them are unfinished. I know the way that Sony sensors act when faced with highlights so I always deliberately 'underexpose' the image - my exposure compensation is nearly always at -1 : to was the same when I had the Z. Highlights are difficult if not impossible to recover.



This is with the auto button pressed in LR and using the WB droplet in the snow to get a more realistic colour balance as I saw it at the time. It was 15/20 minutes before sunset and the sun was being refracted across the clouds which created a lot of colour which the Adobe Colour profile completely eliminated, until the WB was changed. The buildings are still too dark, and the sky still needs work, so I used the new sky selection in LR (which is usually spot on) and gave the buildings and foreground quite a lot of extra exposure and then reduced the exposure on the sky - which was a little overexposed in a few places, but not completely blown.



I quite like the reds being a bit more pronounced, so I used Adobe's version of Fuji's Nostalgic Negative simulation. I use this simulation frequently with golden hour shots as it brings out the colour of the sunset/rise.

The camera records what I ask it to - not a finished shot in high contrast situations. I have always shot in this way with cameras with Sony sensors -so in the 645z, the Nikon D800 and also the various A7rs that I have had, The main difference with Fuji is that the temperature tends to bias lower and the tint pushes towards the magenta. Sometimes it is too much and I tone it down a little, but often especially with a nice pink sky it's nice to help bring this out.

I use Nik filters, but much much less than I did with the Z. I have also reduced the amount of sharpening by more than half. To re-emphasise, this is not because the Z was inferior in any way, just that they are different. You have to have a tighter rein with the Fuji.

I have the same experience with the highlights blown if I shoot at normal exposure, hence mine is also permanently on -1. Except when the light starts to fade away, then I switch back to 0. Hence the first couple of shots in the morning my highlights are usually blown until I remember to switch back to -1.

I like your approach of exposing for the sky and let the darks follow. It does solve a couple of issues, I'll give a try next time.

[Smolk]

Microflex 3.5/77.5mm

[texandrews]

Gear porn with my new Mamiya C3, Sekor 80/2.8, Delta 100 and Mamiya's paramender parallax compensator. I have a 65mm for it now to try out as well.


Crown Graphic by tuco, on Flickr

That is a cherry Crown Graphic! Most of the ones I ever saw were not anywhere near this condition.

[tuco]

That is a cherry Crown Graphic! Most of the ones I ever saw were not anywhere near this condition.

Thanks. Yeah, it is in pretty good shape. It could use a new rangefinder, however. It works but with a hack holding it together inside. Here is a shot using the RF and ones I like to do more of and better at with it.



Manspreading by tuco, on Flickr

400TMY

[tuco]

It finally stopped raining long enough for me to get out and try this lens out yesterday.


POE Dock by tuco, on Flickr

Mamiya C3, Sekor 65/3.5, FP4+, D-23

[Smolk]

Edinburgh

[Eric Auer]

Pentax 645N | SMC Pentax-FA 645 45-85mm ƒ4.5 | Bergger Pancro 400 | R09 One Shot 1:25 | CS F96



City Frame-247 by Eric Auer, on Flickr

[texandrews]

Thanks. Yeah, it is in pretty good shape. It could use a new rangefinder, however. It works but with a hack holding it together inside. Here is a shot using the RF and ones I like to do more of and better at with it.



Manspreading by tuco, on Flickr

400TMY

Wow, I never used the RF on my Speed Graphic. Way too small and rhymes with "happy", but not happy. Always zone focusing.

[tuco]

Wow, I never used the RF on my Speed Graphic. Way too small and rhymes with "happy", but not happy. Always zone focusing.

Ha, yeah, the RF is a POS and hard to use mounted on the side (film back is in the way). I see some models have the RF on top. My thoughts are if you're going to go through the expense of design and manufacturing of the darn thing, why not make it both more robust and comfortable to use with larger viewing optics. I didn't think they designed to minimum material back then.

[texandrews]

Ha, yeah, the RF is a POS and hard to use mounted on the side (film back is in the way). I see some models have the RF on top. My thoughts are if you're going to go through the expense of design and manufacturing of the darn thing, why not make it both more robust and comfortable to use with larger viewing optics. I didn't think they designed to minimum material back then.

Well, part of my take on this is what the name implies "Speed". Most of the photos I've seen of photographers using these things when they were the main camera for press/sports/crime use shows them using the wire frame to just get in the ballpark for composition---and I assume they were also zone focusing. So it may be that the RF was a bit of an afterthought. FWIW, most RF cameras I've used had stinky RF's. Even my GSW690II. I almost never actually used the viewfinder as an RF, and it was my all time fave film camera.

[tuco]

Well, part of my take on this is what the name implies "Speed". Most of the photos I've seen of photographers using these things when they were the main camera for press/sports/crime use shows them using the wire frame to just get in the ballpark for composition---and I assume they were also zone focusing. So it may be that the RF was a bit of an afterthought.

Mine is the Crown Graphic using leaf shutter lenses with their inherent slower top shutter speed. The Speed Graphic has a focal plane shutter with faster shutter speeds and perhaps more commonly used by the press photographer back in the day. With a monopod, I can also focus with a loupe on the ground glass pretty quick and then use the viewfinder on top for framing/composition.