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11-09-2011, 03:00 AM   #2866
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where in Hamburg are you, itshimitis? I am in the old town.
I live at the Nikolaifleet, they are doing some "ground" work there today - two heavy ships in that not very wide dike with today's fog: you should get some great shots outta this. Maybe you have the time and check it out?

Where did you buy those FA lenses? Colonaden?

11-09-2011, 04:57 AM   #2867
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QuoteOriginally posted by phonoline Quote
where in Hamburg are you, itshimitis? I am in the old town.
I live at the Nikolaifleet, they are doing some "ground" work there today - two heavy ships in that not very wide dike with today's fog: you should get some great shots outta this. Maybe you have the time and check it out?

Where did you buy those FA lenses? Colonaden?
Yes. Photohaus. A real Alladin's cave I found it. Lots of rolleiflex. A mamiya 7 and also a Volgtlander Bessa there tempted me but I managed to walk away. Then my manfrotto tripod broke on me- quite an expensive carbon fibre one so I bought a Gitzo. That's the second CF tripod to break. The other was a Giottos. Thanks for the tip. Am now headed for Munich. Pity about the weather but normal for November. I was staying in Neustadt within easy reach of the Alster.
11-09-2011, 10:51 AM   #2868
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I've adjusted the car shot to add a little light to the shadows


11-09-2011, 02:39 PM   #2869
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QuoteOriginally posted by Makten Quote

Indeed, the latest ACR is more worth getting than upgrading the camera in many cases! Nice images of yours, but perhaps there's some sort of a color cast there as well?
They may look a tad too saturated but: those are straight from the cam, Makten.

QuoteOriginally posted by Makten Quote
I haven't shot MF for a long time now, but yesterday I decided to finish the Tmax 400 roll in the Bessa III. So I grabbed the tripod and took a little walk just around the block.

Gorgeous. How do you meter the light with the Bessa, Makten? Looks incredibly balanced. Any post-processing there?
Again, gorgeous. I love your photos, seriously.

11-10-2011, 04:03 AM   #2870
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Some from Munich

This is the Madonna Statue in Marienplatz in Munich. I kept having to go back and back to get the full statue in. I had to increase my ISO to 400 as with a slower shutter speed the tripod (a Gitzo GT2530 was moving even though I had my rucsac hanging of it so needed a faster shutter speed.

Pentax 645D FA 400mm f/5.6 at f/11 and 1/125




To demonstrate the sharpness here is a 100% crop at the madonna's feet: To demonstrate the amount of detail, the 1024 x 722 image is 386kb, the crop is 822 x 1088 and is 1.4mb! The whole file (.tif) is 194mb




And another with my new 120 macro,

f/13 0.4 secs


11-10-2011, 05:45 AM   #2871
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I gotta say though that I do not like what the Pentax 645D does to JPGs straight out of the cam. They look ugly the closer you look at them.
11-10-2011, 07:32 AM   #2872
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I always shoot in RAW never shot in jpeg except to use with iPad to checkfocus with a bigger screen
11-10-2011, 11:36 AM   #2873
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QuoteOriginally posted by phonoline Quote
Gorgeous. How do you meter the light with the Bessa, Makten? Looks incredibly balanced. Any post-processing there?
Again, gorgeous. I love your photos, seriously.
Thanks! This time I used my handheld Gossen Digiflash, because the center weighted meter of the Bessa is probably not good at all for this sort of scene with very high contrast.
It was my third ever night shot with film, but it obviously turned out well. I metered at the water edge and placed that at medium gray.

I post-process all of my images severely. For this image I masked the sand and wooden horse and applied separate tone curves for the top and bottom of the image.
This is what the negative looked like, straight out of the scanner, just flipped to positive (I scan as slide film to get as "raw" data as possible):



11-10-2011, 12:57 PM   #2874
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QuoteOriginally posted by Makten Quote
This time I used my handheld Gossen Digiflash, because the center weighted meter of the Bessa is probably not good at all for this sort of scene with very high contrast.
High contrast? Ignoring the point light sources in the scene which there is no detail to be captured (ie it doesn't matter if they are 3 or 10 stops above middle gray exposure - they are still white dots), I'd guess there is only 4 stops of light to contend with.

Last edited by tuco; 11-10-2011 at 01:25 PM.
11-10-2011, 02:00 PM   #2875
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QuoteOriginally posted by tuco Quote
High contrast? Ignoring the point light sources in the scene which there is no detail to be captured (ie it doesn't matter if they are 3 or 10 stops above middle gray exposure - they are still white dots), I'd guess there is only 4 stops of light to contend with.
No no, when I shoot at daylight in full sunshine, the negatives hold much lower contrast than that. As a matter of fact, it took me several minutes to even see the ground below me at the beach. It was close to pitch black, while the buildings on the other shore were quite bright. I actually thought the ground would end up unexposed.

Edit: The Digiflash didn't read anything at all when pointed at the sand or the sky, but I think it was -2 EV @ ISO 400 on the water.
11-10-2011, 02:12 PM   #2876
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Been wandering around a very gloomy Munich today.

This is the bavarian war memorial from 19th century:

Pentax 645D FA 120mm F/4 at f/16 0.6 secs




Lots of other lions around too!

Same lens f/11 0.3 sec


11-10-2011, 10:08 PM   #2877
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QuoteOriginally posted by Makten Quote
No no, when I shoot at daylight in full sunshine, the negatives hold much lower contrast than that.
I see. I was just going off your raw scan. Raw scans can be flat and dull for sure. When I scan without clipping either end of the histogram, my raw scans are usually pretty accurate at telling me a delta difference in the tones of my exposure. They correlate pretty much with the EV differences my one-degree spot meter reads.

The hard part for me, however, is metering/developing to hit an absolute tone value. That is, meter and place a black just at the edge of lost detail and have it come out on the negative that way within a 1/3 of a stop. I get roughly a stop when I flirt with that edge on a good day. I find whites easier because I can pad in a buffer if you don't have to worry about where your lowest tones end up too much.

Last edited by tuco; 11-11-2011 at 12:19 PM.
11-11-2011, 12:43 AM   #2878
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QuoteOriginally posted by itshimitis Quote
I've adjusted the car shot to add a little light to the shadows


Beautiful shot, sure beats the sh$t hawk.
11-11-2011, 06:39 PM   #2879
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A few more from Munich:

pentax 645D FA 120mm f/4 Macro at f/16 and 1/4

building in the centre of Hofgarten




Closed outside seating area of bar in Hofgarten:

Pentax 645D FA 120mm f/11 2 secs ISO 100

Converted to black and white in CS5 and contrast adjusted




Statue of King Ludwig of Bavaria

Pentax 645D FA120mm f/4 at f/16 and 0.6 ISO 100


11-12-2011, 12:22 PM   #2880
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Itshimitis, not to underestimate your talent, but have you tried not stopping down so darn much? Even if diffraction is of little influence on these small images on the web, I'm sure your lenses will perform better if you choose a larger aperture; say f/8 and thereabout. You'll have plenty of DOF in most cases of the above images anyway. I seldom use f/16-22 even when shooting 6x7.

----------------------

QuoteOriginally posted by tuco Quote
I see. I was just going off your raw scan. Raw scans can be flat and dull for sure. When I scan without clipping either end of the histogram, my raw scans are usually pretty accurate at telling me a delta difference in the tones of my exposure. They correlate pretty much with the EV differences my one-degree spot meter reads.
I don't know what scanner you use, but with the V700 I can't get even close to pure black or white even with a clear film base or pitch black densities of an overexposed negative. So the "raw" scan will always look dull, regardless of the contrast of the negative.

QuoteQuote:
The hard part for me, however, is metering/developing to hit an absolute tone value. That is, meter and place a black just at the edge of lost detail and have it come out on the negative that way within a 1/3 of a stop. I get roughly a stop when I flirt with that edge on a good day. I find whites easier because I can pad in a buffer if you don't have to worry about where your lowest tones end up too much.
That's beyond my skills. I just try to place something in the middle of the tonal range of the scene at middle gray, and the latitude of the film usually takes care of any error. One stop above or below perfect exposure is really no problem with Tmax 400 or Tri-X.

----------------

More Bessa and a scene I wouldn't even try with a digital camera.


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