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05-18-2011, 09:08 AM   #1801
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QuoteOriginally posted by goddo31 Quote
Every bit of weight makes a difference when you're walking around for a while! Weight was a factor in my purchasing of the WLF (folding focus hood), it makes the camera smaller and easier to cart around. That big prism weighs a lot.
I want to try one of those, but I have got no separate metering device. Except for size and weight, the prism can be impossible to use in some situations...

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Love the tones with the Ilford. That film is a favourite of mine, however I can seldom get tones as nice as that
I think many people miss that the tones don't come by themselves from the film. I've applied quite aggressive curves on those scans, which really gives much better results than any scanning software can do. It takes time, but it's well worth it.

05-18-2011, 09:20 AM   #1802
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Fair point about the prism and the film haha! I'm still working on improving my scanning and film to digital PP technique - and along with developing and everything else I guess. I'll have a play with some more aggressive curves on my next roll or two of FP4+, will see what happens.

Nice, that looks like the same version of the 55/4 that I have
I don't have a proper external meter either, usually I meter with a digital camera or sunny-16.
05-18-2011, 09:25 AM   #1803
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QuoteOriginally posted by Makten Quote
think many people miss that the tones don't come by themselves from the film. I've applied quite aggressive curves on those scans, which really gives much better results than any scanning software can do. It takes time, but it's well worth it
I would agree - although it is 'easier' to do in photoshop than in the wet darkroom, we should remember in the digital domain we are usually presenting 'prints' rather than 'film' and thus we ought to pay some attention to post processing for the look we want.
05-18-2011, 09:47 AM   #1804
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QuoteOriginally posted by lbenac Quote
2,3 and 4 work for me

I am growing fond on my 90/2.8. It is not supposed a great lens but I get really good result for my taste with it.

cheers,

Luc
QuoteOriginally posted by Makten Quote
Thanks! I'm thinking of selling the 90, but only because it's too close to 75 and 105. Also, it seems optimized for closeups and the bokeh can get really nasty at larger distances (if you don't stop it down a bit), which is what I want the short DOF for. There's more vignetting and curvature of field at f/2.8 than with the 105 at f/2.4 too, so the only reason for choosing it for me, is if I want just a little bit more coverage.

But yes, it's a nice lens and the "small" size makes it great for walkarounds, if you even consider that with such a camera (I do!). I'd really want to switch the 75/4.5 and 90/2.8 for a 75/2.8, but they are very uncommon and expensive over here.

Thanks!
A good way to have/justify the 90mm and the 105mm is to get the Takumar 90mm LS if you can find it. It is not as compact as the regular 90mm but it gives you some things you may want from time-to-time.

One is, of course, the leaf shutter for flash shots. Another is that you can do a pure, vibration-free, leaf shutter shot with it in the 1/60-1/500 speed range by locking the camera's shutter open in that special mode between 1/1000 and X (on 6x7 and 67's at least). And finally for those that have the 6x7 or 67 body version, you can do double or more exposures in pure LS mode.

I keep my 90mm LS around just for those features even though I have the 105 and 75mm too.


Last edited by tuco; 05-18-2011 at 10:09 AM.
05-18-2011, 11:47 AM   #1805
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QuoteOriginally posted by goddo31 Quote
Fair point about the prism and the film haha! I'm still working on improving my scanning and film to digital PP technique - and along with developing and everything else I guess. I'll have a play with some more aggressive curves on my next roll or two of FP4+, will see what happens.
My advice is to scan as a positive image in full bit-depth and then do everything manually from there. Have a look at which one of the color channels (R, G & B) that is sharpest, because with a fairly simple scanner (V700 for example), the blue one will be sharper than the others. This is because the shortest wavelength will be affected less by diffraction in the scanner optics than the red and green channels. If the difference is worth considering, scrap the other channels and use only the blue (or any other that seems sharpest). If they are equally sharp, use all three for lowest scanner noise.

Then comes the hard work, because the image will look like crap. Very low contrast and a histogram that isn't anywhere close to filling 0-255 values (pure black to pure white).
The most important part with the curve is to make it steep where in the tonality you want locally high contrast. Because it doesn't have to be in the middle, as with a simple S-curve you often use for digital images.

I'll post an example next time I'm in the process.

QuoteQuote:
Nice, that looks like the same version of the 55/4 that I have
I don't have a proper external meter either, usually I meter with a digital camera or sunny-16.
It seems to be a nice lens, but I haven't developed the two rolls I shot since yesterday yet, so I don't know about the performance. I'm pretty sure it's good enough. I must say that I really like the angle of view of 55 mm on 6x7!

QuoteOriginally posted by Nesster Quote
I would agree - although it is 'easier' to do in photoshop than in the wet darkroom, we should remember in the digital domain we are usually presenting 'prints' rather than 'film' and thus we ought to pay some attention to post processing for the look we want.
Exactly! The PP of a scanned negative is corresponding to making a print in the darkroom, which means choosing paper, developing the paper and stuff like that must be done on the computer if you want the best results.

QuoteOriginally posted by tuco Quote
A good way to have/justify the 90mm and the 105mm is to get the Takumar 90mm LS if you can find it. It is not as compact as the regular 90mm but it gives you some things you may want from time-to-time.

One is, of course, the leaf shutter for flash shots. Another is that you can do a pure, vibration-free, leaf shutter shot with it in the 1/60-1/500 speed range by locking the camera's shutter open in that special mode between 1/1000 and X (on 6x7 and 67's at least). And finally for those that have the 6x7 or 67 body version, you can do double or more exposures in pure LS mode.

I keep my 90mm LS around just for those features even though I have the 105 and 75mm too.
I never use flash, so that doesn't matter to me. The main reason to keep the 90 for me, is the "perfect" angle of view.

Is it the 75/4.5 or 75/2.8 you have? I'd like to see some pictures with the latter.
05-18-2011, 01:34 PM   #1806
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QuoteOriginally posted by Makten Quote

Is it the 75/4.5 or 75/2.8 you have? I'd like to see some pictures with the latter.
Me too. I wish I had the f2.8 mostly for the filter size of 67mm and standardization. I gave up trying to get one. That 82mm on the f4.5 is a problem for me and long exposures with dense ND filters.

Never say never on what you don't shoot... you never know what the future holds.
05-19-2011, 06:47 AM   #1807
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QuoteOriginally posted by phonoline Quote
I love my 645D but I feel that my 67II and its superb lenses still do a better job on the intensity of my images. I can't really explain it. But your pictures do remind me of that.
I gotta start developing colour..
Looking through the many images and found the 67 is actually better. That is bigger sensor/film surface that makes the images much better. The 645D sensor is much smaller than 6x7, so I'm afraid it's almost impossible to achieve the similar feel.
05-19-2011, 06:59 AM   #1808
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QuoteOriginally posted by Makten Quote
My advice is to scan as a positive image in full bit-depth and then do everything manually from there. Have a look at which one of the color channels (R, G & B) that is sharpest, because with a fairly simple scanner (V700 for example), the blue one will be sharper than the others. This is because the shortest wavelength will be affected less by diffraction in the scanner optics than the red and green channels. If the difference is worth considering, scrap the other channels and use only the blue (or any other that seems sharpest). If they are equally sharp, use all three for lowest scanner noise.

Then comes the hard work, because the image will look like crap. Very low contrast and a histogram that isn't anywhere close to filling 0-255 values (pure black to pure white).
The most important part with the curve is to make it steep where in the tonality you want locally high contrast. Because it doesn't have to be in the middle, as with a simple S-curve you often use for digital images.

I'll post an example next time I'm in the process.



It seems to be a nice lens, but I haven't developed the two rolls I shot since yesterday yet, so I don't know about the performance. I'm pretty sure it's good enough. I must say that I really like the angle of view of 55 mm on 6x7!



Exactly! The PP of a scanned negative is corresponding to making a print in the darkroom, which means choosing paper, developing the paper and stuff like that must be done on the computer if you want the best results.



I never use flash, so that doesn't matter to me. The main reason to keep the 90 for me, is the "perfect" angle of view.

Is it the 75/4.5 or 75/2.8 you have? I'd like to see some pictures with the latter.
Thanks Martin.
About the 55/4, I find it to be very sharp. The only other lens I have is the 105/2.4, but I do find the 55mm to be noticeably better. Of course they are both good lenses though. Apparently the version of the 55mm that we both have is 'not as sharp' as the slightly later one, but as soon as I scanned some images with mine I forgot all about that!

05-19-2011, 01:45 PM   #1809
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I just started scanning a roll I shot with the 55, and yes, it is sharp! Way better than I thought, and almost as good as the 75/4.5, but with a bit lower local contrast.




Tmax 400 @ 400 developed in Fomadon R09 1:40. It seems that I could expose half a stop lower at least, because the midtones of the scan is a bit to the right in the histogram, and there's plenty of detail in the shadows (obviously not any more after my PP).

Edit: Heck, one more! This time wide open...



Last edited by Makten; 05-20-2011 at 03:45 PM.
05-20-2011, 07:51 AM - 1 Like   #1810
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From a recent expedition to Saskatchewan. St John's Church near the former town of Fosterton, in the (relatively) early morning sun. Pentax 645D with P67 55-100 zoom, two image stack for DOF.
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05-20-2011, 10:18 AM   #1811
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QuoteOriginally posted by Makten Quote
I just started scanning a roll I shot with the 55, and yes, it is sharp! Way better than I thought, and almost as good as the 55/4.5, but with a bit lower local contrast.




Tmax 400 @ 400 developed in Fomadon R09 1:40. It seems that I could expose half a stop lower at least, because the midtones of the scan is a bit to the right in the histogram, and there's plenty of detail in the shadows (obviously not any more after my PP).

Edit: Heck, one more! This time wide open...


Lovely work Martin. I like "Commuters" particularly, and it's a good wide open shot!

QuoteOriginally posted by materialsguy Quote
From a recent expedition to Saskatchewan. St John's Church near the former town of Fosterton, in the (relatively) early morning sun. Pentax 645D with P67 55-100 zoom, two image stack for DOF.
Nicely composed and thought out shot.

cheers
05-20-2011, 04:17 PM   #1812
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Thanks goddo31! I didn't like Tmax 400 last time I shot a roll, but now I think I've got the hang on how to process it...

More SMC 6x7 55/4 on P67II:

















I'm in love with the AOV of the 55! The corners are lacking a bit if you don't stop it down to f/11 or more, but most of the frame is tack sharp at f/5.6 already. I also find it easier to focus than he 75/4.5.
05-20-2011, 08:55 PM   #1813
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Shipyard - Pentax 67 Take #2

All shots 400TMY-2 Pyrocat HD 1:1:100

55/4







90/2.8







200/4




I cannot fault any of these lenses. Really enjoyable.

Cheers,

Luc
05-20-2011, 09:00 PM   #1814
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QuoteOriginally posted by Makten Quote
I didn't like Tmax 400 last time I shot a roll, but now I think I've got the hang on how to process it...
It is all in the processing. I get a different effect from it than you do. And we are looking at the same film with the same lens/camera.


QuoteOriginally posted by Makten Quote
I'm in love with the AOV of the 55! The corners are lacking a bit if you don't stop it down to f/11 or more, but most of the frame is tack sharp at f/5.6 already. I also find it easier to focus than he 75/4.5.
I thing that it is about a 28mm in 135. I have always found that to be a sweet spot for me. Wide angle but sharp and controlled.

Cheers,

Luc
05-21-2011, 02:56 AM   #1815
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QuoteOriginally posted by lbenac Quote
It is all in the processing. I get a different effect from it than you do. And we are looking at the same film with the same lens/camera.
That's because we probably want different effects. So whether I like a film or not depends on if it gets me where I want or not, after post processing.

Tmax 400 in R09 seem to give more than ISO 400, so I'll try to expose a bit lower next time. The "hump" in the histogram for middle gray is a bit too far to the right with the recommended development time (8 minutes in 1:40), without giving very dense negatives.
You might wonder why I use R09 instead of Tmax developer or anything else, but that's just because I liked it very much with Tri-X, and I don't want to use several different developers, plus that R09 won't degrade as fast over time.

QuoteQuote:
I thing that it is about a 28mm in 135. I have always found that to be a sweet spot for me. Wide angle but sharp and controlled.
I don't really like 28 mm on 135 format, but that's mostly because of the aspect ratio. I actually hate 3:2. It ruins every scene for me, heh.
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