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Ovelgönne – River Elbe. September 2014 #believeinfilm

I am feeling better about these two images.

I do wonder what the water would have looked like at say, 1 second exposure. Need to try this out when i finish the next couple of days working…

The detail in the shadows is amazing and Tri-X 400 will remain my film of choice!

Mamiya RB 67 Pro S Mamiya K/L 1:3.5 f=127mm L on Tri-X 400 @400 developed in Spur HCD-S + HCD-2 (2 min 30 sec. agitations then stand; 5:30 min 30 sec. agitations then every minute 3 times, 22°C).

Elbe – Ovelgönne. Hamburg, September 2014 #believeinfilm

I spent some time at the river Elbe, yesterday morning around 10:00 am which was earliest I was able to get to this spot. In my job I’ve been at this location at dawn and first light of the day, obviously without camera, tripod and – most important – time to do anything. With family life and stuff it’s still not that easy when off work. Sun goes up at this spot around 6:45 am and that right now is time to get dressed and breakfast fixed for the family… well there is still time.

Anyway, I shot a roll Tri-X 400 6x7 with tripod, getting to grips with the setup (RB 67, 3.5/127). I managed to get it developed and scanned same day and here are some of the results. I am not very pleased – please have mercy – obviously I didn’t move around enough to get better composition or even subject. What had drawn me to that place was the combination of the light of the container terminal on the other side of the Elbe in connection with the early morning light. Quite a different situation at 10 am favoring some film wasting… The first two images were a bit overexposed and dense bringing out the clouds but giving me more grain than I am used to (especially when scanned) and at the same time making the scene much more moody and darker than – in reality – it was at the time. Please check out the images at maximum resolution! Second image shows one of the ships of „Museumshafen Ovelgoenne“ but I failed to set it apart from the rather noisy background (limits of shooting @400 and needing smallish apertures). I might have chosen to pull Tri-X 400 down to @100 but I’d still need some kind of filter setup. 77mm stuff is expensive. I might try out some glass for welding… 

More top come.

Mamiya RB 67 Pro S Mamiya K/L 1:3.5 f=127mm L on Tri-X 400 @400 developed in Spur HCD-S + HCD-2 (2 min 30 sec. agitations then stand; 5:30 min 30 sec. agitations then every minute 3 times, 22°C).

maximgrew:

Kickstarter video filming day! 🎬 #4x5 #largeformat #kickstarter

trembling with anticipation!

maximgrew:

Kickstarter video filming day! 🎬 #4x5 #largeformat #kickstarter

trembling with anticipation!

mycreativevoid:

                            Isn’t Tumblr slow enough already?
U.S. Cable companies are spending millions to gut net neutrality and slow your internet to a crawl. We can’t let them. 
                           Sept. 10th is the Internet Slowdown
Cable companies want to slow down (and break!) your favorite sites, for profit. To fight back, let’s cover the web with symbolic “loading” icons, to remind everyone what an Internet without net neutrality would look like, and drive record numbers of emails and calls to lawmakers.
A dozen of the world’s largest websites announced that they’re joining in a big way. Sites you know and love like Etsy, Kickstarter, Wordpress, Vimeo,…
We need as many people as possible to see this site, write Congress and the FCC, and keep fighting until we win. Can you post these images everywhere?
Find out more:
www.battleforthenet.com/sept10th/ 
(queue)

I agree … 

mycreativevoid:

                            Isn’t Tumblr slow enough already?

U.S. Cable companies are spending millions to gut net neutrality and slow your internet to a crawl. We can’t let them. 

                           Sept. 10th is the Internet Slowdown

Cable companies want to slow down (and break!) your favorite sites, for profit. To fight back, let’s cover the web with symbolic “loading” icons, to remind everyone what an Internet without net neutrality would look like, and drive record numbers of emails and calls to lawmakers.

A dozen of the world’s largest websites announced that they’re joining in a big way. Sites you know and love like Etsy, Kickstarter, Wordpress, Vimeo,…

We need as many people as possible to see this site, write Congress and the FCC, and keep fighting until we win. Can you post these images everywhere?

Find out more:

www.battleforthenet.com/sept10th/ 

(queue)

I agree … 

Dark Portrait. August 2014 #believeinfilm
Underexposed (not taking bellows extension into the calculation – enough)
Mamiya RB 67 Pro S Mamiya K/L 1:3.5 f=127mm L on Tri-X 400 @400 developed in Spur HCD-S + HCD-2 (2 min 30 sec. agitations then stand; 5:30 min 30 sec. agitations then every minute 3 times, 22°C).

Dark Portrait. August 2014 #believeinfilm

Underexposed (not taking bellows extension into the calculation – enough)

Mamiya RB 67 Pro S Mamiya K/L 1:3.5 f=127mm L on Tri-X 400 @400 developed in Spur HCD-S + HCD-2 (2 min 30 sec. agitations then stand; 5:30 min 30 sec. agitations then every minute 3 times, 22°C).

photographic explorations planned

my family and me yesterday went for a funtrip to „Lokschuppen Aumühle“ a railway enthusiast’s museum with plenty of old gear. They had a working draisine (great fun for the kids) and some to-be-worked-over lokomotives and railway cars to show.

We got a very impressive introduction into working railway switches and setting course ways for trains by a tram driver from Leipzig including east german (saxon) accent and uniform. Fun!

The society runs several trams at a location outside of Kiel (portcity at the baltic sea). The place is right near Fürst Bismarck’s family residence and in the middle of a beautiful nature resort featuring huge beechtrees. I have to go back there and spent some time in the forest – properly equipped with a tripod which I missed this time. I took my Zenza Bronica ETRSi (645) with Zenzanon-PE 1:2.8 f=50mm and some Tri-X 400 and Portra 400  fitting for that overcast and wet day we had.  

Images awaiting processing. More to come.

Digital Goodness

button2pushbuttons:

Well, crap.

I feel like that’s how I’m supposed to start this out, but quite honestly, I’ve never been anti-digital, or thought that one is better than the other. Truthfully, I see some amazing work by people using digital on a regular basis, and there is more good than bad that crosses my eyes(I don’t look at Flickr Explore too often). But I made some serious sacrifices, selling personal belongings and even a few pieces of camera gear, to acquire the camera that I felt would most seamlessly fit into my routine, and allow a more cost effective and streamlined workflow than working with film. Right off the bat, not having to spot negatives, then color balance(the scanner basically guesses white balance with each preview leaving several frames with a slightly different color cast–not good for continuity!) is HUGE. I’ll always save medium and large format film for some of the important stuff. Until I afford a higher end digital back, for what they offer both the client and myself, they can’t be beat.

So, crap. Here’s to being able to afford more film while enjoying the digital side of this spectrum.

emphasize by me. For me going digital is not cost effective in the sense that I plainly cannot afford a proper DSLR [I’d never consider anything than full frame in what – basically – is a 35mm system taking in account DOF and suitable lenses] and besides handling that beautiful gear „from the past“ is what I want. Meself I go more medium format than 135 and as a consequence my Nikon F2 Photomic is not gathering dust but awaiting just the right project for it right now. 

i still believe there is difference in how [direct] digital imagery looks and feels like in comparison to analog-digital. In my perception there is a certain „cleanness“ for lack of a better word which is ok in it’s own right and works for certain subjects but then I’d still prefer a comparable analog image of the same sujet because of that difference.

The main difference of course is handling/using the gear: some things are notably more difficult analog, like strobist activity (probably a steeper learning curve) and – if one choses to – „concentrating on the shot“ like people photography and letting the camera handle the rest (if one get’s the result one wants by that method). Anyway I have never been for in-camera automatics (disclaimer: I do own one Nikormat EL with aperture-priority automatics but it doesn’t get much use) and the two lil’ wheels for everything method of working the camera has never been the one for me.

[end of very personal comment]

Goofing for Papa. August 2014 #believeinfilm
Mamiya RB 67 Pro S Mamiya K/L 1:3.5 f=127mm L on Tri-X 400 @100 developed in Spur HCD-S + HCD-2 1:35 (3 min; 30 sec. agitations then stand; 5 min; 30 sec. agitations then every minute 3 times, 20°C).

Goofing for Papa. August 2014 #believeinfilm

Mamiya RB 67 Pro S Mamiya K/L 1:3.5 f=127mm L on Tri-X 400 @100 developed in Spur HCD-S + HCD-2 1:35 (3 min; 30 sec. agitations then stand; 5 min; 30 sec. agitations then every minute 3 times, 20°C).

Smart Detectives [eat icecream]. August 2014

#believeinfilm

At the birthday party of my son. Was supposed to be a „mystery“ party where they had to solve the secret of the kidnapped dad and rescuer him (me hiding at ice-cream parlor).
My Zenza Bronica ETRSi (645) has turned into the 35mm equipvalent and the Zenzanon-PE 1:2.8 f=50mm [= 30mm for 135] is just excellent.
Zenza Bronica ETRSi (645) Zenzanon-PE 1:2.8 f=50mm on Tri-X 400 @400 developed in Spur HCD-S + HCD-2 (2 min 30 sec. agitations then stand; 5:30 min 30 sec. agitations then every minute 3 times, 22°C).

Smart Detectives [eat icecream]. August 2014

#believeinfilm

At the birthday party of my son. Was supposed to be a „mystery“ party where they had to solve the secret of the kidnapped dad and rescuer him (me hiding at ice-cream parlor).

My Zenza Bronica ETRSi (645) has turned into the 35mm equipvalent and the Zenzanon-PE 1:2.8 f=50mm [= 30mm for 135] is just excellent.

Zenza Bronica ETRSi (645) Zenzanon-PE 1:2.8 f=50mm on Tri-X 400 @400 developed in Spur HCD-S + HCD-2 (2 min 30 sec. agitations then stand; 5:30 min 30 sec. agitations then every minute 3 times, 22°C).