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11-04-2009, 09:47 AM   #16
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Tuco, I'm in AWE!!

11-04-2009, 01:42 PM   #17
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Me too! Love them!
11-04-2009, 06:20 PM   #18
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Tuco, many thanks for posting those gems here. I've tried (unsuccessfully) to follow some of your more technical posts (which says more about me than the posts; my dad had a quote from one of his philosophy profs in college who said "If you take a book and rap it against your head as hard as you possibly can, it's not necessarily the book that sounds hollow"). It's beyond impressive to see the theory in practical application. Bravo and thank you for the inspiration.

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Kevin
11-04-2009, 11:30 PM   #19
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Thanks, you guys.

11-05-2009, 02:23 PM   #20
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QuoteOriginally posted by foster Quote
Just started shooting and developing black and white film again after doing it as a kid with my dad in the 80's.

3. Pentax ME, Pentax M 50mm f/1.7, T-Max 400



4. Minolta Autocord, Fomapan 200




All developed in D-76 1+1 and home scanned on a Canon flatbed.


Looking forward to getting much better at this
These last two are very good


QuoteOriginally posted by tuco Quote


Pentax 67, SMC Pentax 105mm ƒ2.4, ND2.7 Filter, Fuji 100 Acros, PMK Pyro developer, 60 sec exposure
As I've said earlier, I really like your stuff. And thanks for info regarding the shot.
Is it spray from the waves that created the mist ?

Last edited by J.Scott; 12-13-2009 at 04:00 AM.
11-05-2009, 05:33 PM   #21
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QuoteOriginally posted by Jonson PL Quote
Is it spray from the waves that created the mist ?
Yes, the waves. These long exposures are like a box of chocolates. You never know what you're going to get. A story behind that shot was I was just going for a 2min exposure. During that time a sneaker wave came in and hit me up to my knees, soaked me inside my shoes and moved the tripod even though I held it. So I reset for a 1 min exposure so I could get out of there before it happen again. So after this sneaker wave, they didn't come in as far during that 60 seconds except for the last 10ish seconds a wave came in and consequently didn't get recorded much and gave that mist look.

If the waves would have came in steady and I did get the original 2min exposure, the waves may have looked like this taken the same day, same place, same rock but different angle. Note I report my ND filters by their density (9 stops X 0.3 = 2.7). And additional info for those other 67 shooters is I used a waist level finder and a one-degree, Pentax Spotmeter V.



Pentax 67, SMC Pentax 105mm ƒ2.4, ND2.7 filter, Fuji 100 Acros, PMK Pyro developer, 120 sec exposure

Last edited by J.Scott; 12-13-2009 at 04:00 AM.
12-01-2009, 08:45 PM   #22
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some great work in the thread already. I recently got the Super-A, and though havenít shot many rolls with it yet; Iíll still post an example :
Attached Images
 
12-02-2009, 09:07 AM   #23
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QuoteOriginally posted by tuco Quote

Pentax 67, SMC Pentax 105mm ƒ2.4, ND2.7 + Pentax O2 Filter, Fuji 100 Acros, PMK Pyro developer, 120 sec exposure
Jebus, tuco, I can't post anything in this thread after these. These are absolutely magnificent, this one being my favourite.

Damn.

12-02-2009, 01:41 PM   #24
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Why thanks, brkl

Over Thanksgiving holiday, I went and shot this one. Lesson learned using deep ND filters, make sure your tripod is locked down before shooting because you can't see to compose well. The rock in the foreground had some space on its right but I never noticed I moved the camera when I took it.




Hasselblad 500C/M, Zeiss Planar CF T* 80mm f2.8 , ND2.7 + Pentax O2 filter, Fuji 100 Acros, PMK developer 120 sec exposure.

Last edited by J.Scott; 12-13-2009 at 04:01 AM.
12-02-2009, 01:43 PM   #25
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How much does a Hasselblad like that go for these days?
12-02-2009, 02:05 PM   #26
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Amazing B/W work tuco. It takes a different way of seeing things to pre-visualize those amazing long exposures.

2009 was (and still is) a year of experimentation for me. I attempted the "sprocket hole" photography (using 135 film in 120 cameras) a few times. I'm pretty happy with how some of them turn out. These were all taken using Koni Omegaflex M (KOFM, a funky TLR camera):




(color tweaked in Lightroom)




Last edited by J.Scott; 12-13-2009 at 04:16 AM. Reason: adding wide tags
12-02-2009, 02:41 PM   #27
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Excellent sprocket holes - I love the colors and the movement in your compositions.

And that hassy shot... I quit photography.
12-02-2009, 03:13 PM   #28
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Tuco, those are phenomenal shots of the coast. Very inspirational. Where were they taken? I would love to get a 6x6 camera, I really like that format.

Swift1
12-02-2009, 03:41 PM   #29
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Simply put, there is some amazing stuff in here!
I don't really have anything worthy, but will look to see what I have.
12-02-2009, 04:11 PM   #30
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QuoteOriginally posted by brkl Quote
How much does a Hasselblad like that go for these days?
In excellent condition for this generation of body, that generation of lens, WLF and one A12 back is about $1000 USD looking on keh.com. Note the stock focus mat is terrible. I had to upgrade it to a Acute-Mate D to get good focus on that WLF.

But you can find better deals if you are patient, look for something with a little wear and don't get the latest generation of lens, I'm sure. The C lens generation is a lot cheaper. The CB lenses are "budget" and they only made a few models and reportedly of the four the 60mm CB is just the same/good as a CF and CFi lens optically.

I really like the film "hot-swapping" capabilities of the camera. Shoot a few shots on one film, swap out and shoot a few more on another film and go back to the other roll again.

QuoteOriginally posted by Swift1 Quote
Tuco, those are phenomenal shots of the coast. Very inspirational. Where were they taken? I would love to get a 6x6 camera, I really like that format.

Swift1
Why thanks, Swift. They are all taken at various locations. Washington cost, Oregon cost, Columbia River and Puget Sound. For more detailed location, you can see these photos in my gallery where I noted the location.

Some people swear by 6x6 as the ultimate format. To each is own, I guess. But having a Pentax 6x7 too, I sometimes find 6x6 a little cramped for certain compositions.
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