Not everyone’s cup of tea but they are fun to shoot. I’ve had the G2 for ~15 years and the 645 is a new addition. I love that the Fuji shoots in portrait orientation when holding the camera horizontally. I do miss the beautiful AE lock that the G2 has on the lever surrounding the shutter, which I guess I use a lot.
I have a Canadian 50mm Summicron M v4 that has the all too common issue of a broken aperture plate. The plate is not metal and made of some kind of composite. It has broken fully through the hole and is missing a piece on the top. My plan is to glue the bottom section and try to fill in the top section. What glue would you use in this instance?
Hoping someone else who loves the look and colors of these old lenses can help me out here. Shooting the Elmar on the M3 is a dream, on the M6 not so much. The little fiddly front face aperture tab makes for awkward handling for what is functionally a shutter speed priority camera.
Does anyone know of a lens with similar rendering with a proper aperture ring??
Just a quick comparison for those interested in RGB scanning vs High CRI white light.
These are just inverted with no edits. The two single capture ones (left and middle) are inverted with Negative Lab Pro on the basic model with saturation set at 3. The RGB sequential capture was manually inverted.
In my opinion, the trees look good in the RGB Single but the skin tones look bad. The skin tones look good in the 95 CRI White but the trees are looking a little sad. The RGB triple has great skin tones and the trees look great, also that is the actual color of his suit. All three will need editing but I would rather start with the RGB triple, but that's just me. You might like to start someplace else.
Glad that someone was able to make an inexpensive 35mm for the M system that people seem to love. Just despise the grifting on the name. Top 2/3 hits when trying to find the actual list of lenses designed by this man are related to something he had nothing to do with. I’m sure this is also a knock on Google search results, which have just been getting worse and worse…
Definitely should not have tried Provia. I said to myself "why not, what could possibly go wrong..." I will never financially recover from this.
It was so much fun to get the positives back after a lifetime of shooting negatives. I had shot some 35mm slides years ago but negatives have been my thing. All of the amazing benefits that I love about shooting small and medium format negatives seem to melt away with large format. I get it now haha.
Still working on DOF with the big camera and metering on a sunny day at the beach probably wasn't the best first go for slides, but I am happy with the results and will def be shooting more.
I recently shot the same stock with both my M6 with the 35mm FLE and my M3 with a 50mm Elmar f3.5 from the 1940’s. Maybe it was a mistake…
I have been very happy with the FLE and the fact that I never hesitate to use the 1.4 aperture is a huge boon for grabbing interior shots I wouldn’t attempt with other lesser lenses. But when seeing the results next to the older lenses images there are a few things that stand out. 1) Contrast: The FLE has a ton of it and I take mostly portraits so I find myself pulling down the contrast in post. 2) Color: I shoot a lot of Kodak stock and always pull out some red/magenta from my shadows in post. The FLE seems to exaggerate this because I didn’t need to do much color work with the Elmar. The images almost leaned cyan.
I am wondering if anyone has suggestions for an M mount 35mm that might have some of the characteristics of the Elmar. The funny thing is that I don’t really like the classic ‘vintage’ look. I owned a V2 50mm Summilux and got rid of it because of the overly swirly/glowy nature wide open.
The wish list is: 1.4 aperture, real aperture ring (no fiddly front face tab like the Elmar), lower contrast, color skews cooler.
This is a long shot! Can anyone remember the essay on 4x5 portrait lenses that recommends tessar’s over plasmats. It sings the praises of the Rodenstock Ronar, Ysarex and discusses the Xenar. I must have closed the stupid tab and now my searching around brings me nowhere!
It’s written in a similar style to Kerry Thalmann’s Future Classics article but has example images from most of the lenses discussed. Not a forum post but its own page. Has a close color portrait of two young women and a black and white image of a woman sitting on stone steps.
Like I said, a long shot haha!
I have been using my Sinar Alpina for about a year now and would like to find a 4x5 folder that works for me. I have been looking at the Chamonix 45F-2. It seems like the weight / movements / cost ratio can’t be beat. The 45N-2 and the 45H-1 are enticing as well.
I shoot portraits and travel. I don’t plan on backpacking with it, so a hyper light camera is not required. I do use some front rise and tilt pretty often. Widest lens will be a 90mm the other most used lens is a 150mm. I have a 300mm but barely use it.
Are there other systems I should be looking at? The front standard needing to be attached after unfolding seems like a bit of a negative in the 45N-2 and the lack of zero position detents will take a bit of getting used to. A bonus question: Are the carbon fiber Linhof lens boards chamonix will sell you worth it?
A side note on the Sinar Alpina. It really is a great starter camera. It’s cheap, isn’t that heavy and is plenty rigid. Has all of the movements you could really need and the depth of field calculator on the focus knob is a welcomed addition. I figured out a way to keep the camera set up and ready to go on the small extension rail you can buy for it, take it fully assembled out of the case and slide it on the main rail.
Believe me I have tried, but I always come back to the 500 series hasselblads. I really don’t think you can go wrong with any one, starting with the 500 C/M on. Once you get used to the waist level finder it provides the best viewfinder experience of any medium format camera, in my opinion. The modularity of the systems is insurance that your system will last for years. It’s lightweight compared to a Pentax 67 and a Mamiya RB/RZ67. Should I go on?!
Some will say that the 6x7 is special and I don’t disagree, the tradeoffs just weren’t worth it for me. Also, some don’t like to crop a 6x6 but I think the flexibility is amazing. If Ansel Adams can do it for a shot like moon over half dome then I think the matter is settled!
Just a love letter to a great camera.
I am wondering if anyone has found a process that works for them? I really like the results but it is far too time consuming to do in bulk.
My typical dev run for 35mm is 4 rolls at 38 shots each so the idea of 152 frames is daunting.
The tone photographic auto carrier looks great but isn’t available yet and my guess is $$$. It will be great if the software it uses is available without the hardware.
I would love to have someone more knowledgeable than I am explain this to me. Why does my -2.0 diopter correct great for my vision without my glasses but seems to have no effect with my glasses on? Meaning the viewfinder is crisp and sharp with the diopter on with both my glasses on and off. I like it because I can just keep it on all the time but I am wondering if there is an effect I am just not perceiving, like magnification.
Nate responded to my post over on the Film Community forum with this screenshot. Looks promising!
I know this has been a long time coming but I would love for NLP to officially break containment from the Adobe ecosystem.
I use the Valoi 360 kit to do my camera scanning and the quality of the parts are generally good. I bought the 35mm sprocket holder and the quality has really dropped. Rather than injection molded plastic like the rest of the kit this part is 3D printed. It has some pretty basic 3D printing issues like the clear delamination in the center, bad corners and cupping. $60 is bananas to charge for this part at this quality level even without the obvious issues.
I am tempted by the Negative Supply stuff but I believe some of their parts are 3D printed as well but maybe better?
I have been shooting some Kodak Vision 3 stock lately and have just instinctively used a warming filter when shooting the new 500T AHU in daylight. Then I saw some comments that a filter is not needed and the white balance can be adjusted in post. So I used half of a roll of 500T AHU and did a little A/B test to see what I like best.
The same camera was used with the filter and without. Shutter speed was changed to adjust for the 2/3 stop that the filter eats. I used a plain 85 filter (not 85A, 85B, etc). The first set is the uncorrected scans converted with NLP and no edits. The second set is me going through my regular color correcting process to get the image where I want it.
The results are a bit surprising to me. I prefer the filtered images but I bet it is only because I can see the unfiltered ones next to it. If the unfiltered images were the only ones presented to me I would most likely be fine with how they came out. The unfiltered images are easier to work with in my opinion. The deep cyan cast was easy to adjust right in the main white balance tab. Where with the filtered images I was having to dive into the shadows and highlights to correct for color shifts created by removing the yellow cast.