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iangreenhalgh1
Joined: 18 Mar 2011 Posts: 15679
Expire: 2014-01-07
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Posted: Thu Jun 07, 2012 9:58 pm Post subject: I give up, it's just too dark... |
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iangreenhalgh1 wrote:
I've been trying to shoot BW film in bad conditions recently, during rain and bad light, to see what is possible.
I managed some decent results but today I had to admit failure, it was just too dark (and raining hard).
These were the best results from a 12 shot test roll in my newly acquired Konica FP-1 with Hexanon 4/21. Kodak Vision2 100T in Fomadon LQR 10mins 1:14 23C.
Just too dark... photography without light just isn't gonna work...
#1
#2
#3
_________________ I don't care who designed it, who made it or what country it comes from - I just enjoy using it! |
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Attila
Joined: 24 Feb 2007 Posts: 57865 Location: Hungary
Expire: 2025-11-18
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Posted: Thu Jun 07, 2012 10:00 pm Post subject: |
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Attila wrote:
Looks like winter _________________ -------------------------------
Items on sale on Ebay
Sony NEX-7 Carl Zeiss Planar 85mm f1.4, Minolta MD 35mm f1.8, Konica 135mm f2.5, Minolta MD 50mm f1.2, Minolta MD 250mm f5.6, Carl Zeiss Sonnar 180mm f2.8
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iangreenhalgh1
Joined: 18 Mar 2011 Posts: 15679
Expire: 2014-01-07
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Posted: Thu Jun 07, 2012 10:02 pm Post subject: |
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iangreenhalgh1 wrote:
Yes, instead it is 4pm on the 7th of June
10C, heavy rain and windy, no wonder we Brits talk about the weather so much.... _________________ I don't care who designed it, who made it or what country it comes from - I just enjoy using it!
Last edited by iangreenhalgh1 on Fri Jun 08, 2012 7:22 pm; edited 1 time in total |
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Laurence
Joined: 26 Mar 2007 Posts: 4809 Location: Western Washington State
Expire: 2016-06-19
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Posted: Thu Jun 07, 2012 10:27 pm Post subject: |
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Laurence wrote:
Don't feel too bad. That is our typical weather here as well, in the Pacific Northwest. Sometimes it's frustrating having
day after day or dark, gray skies, and rain. I just pretty much forget about photography on those kinds of days, as I
like the colorful days much better. _________________
Assent, and you are sane;
Demur,—you ’re straightway dangerous,
And handled with a chain.
Emily Dickinson
Cameras and Lenses in Use:
Yashica Mat 124 w/ Yashinon 80/3.5,
CV Apo-Lanthar 90/3.5SL, (Thank you Klaus),
Pentax 645,
Flek 50,
Pentax-A 150
Pentax-A 120 Macro
Voigtlander Vitomatic I w/Color Skopar 50/2.8
Konica TC and zoom lenses (thanks Carsten)
Contax AX
Yashica ML 50/2
Yashica ML 35/2.8
Carl Zeiss Contax 50/1.4
Tamron Adaptall SP 17/3.5
Tamron Adaptall 28/2.5
Tamron Adaptall SP 300/2.8 LD (IF)
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Jesito
Joined: 24 Aug 2007 Posts: 5745 Location: Olivella, Catalonia, (Spain)
Expire: 2015-01-07
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Posted: Thu Jun 07, 2012 10:40 pm Post subject: |
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Jesito wrote:
I like #3, it's really nice to see that composition and the reflections on the water puddles, with the skyligth on them...
Not so bad!.
Jes. _________________ Jesito, Moderator
Jesito's backsack:
Zooms Sigma 70-300, Tamron 35-135 and 70-210 short, 70-210 long, 28-70 CF Macro, 35-70, 35-80, Vivitar 70-210 KA, Tamron 70-250.
Fixed Industar-50, , Tamron 24mm, Tamron 135mm, Sands Hunter 135mm, Pancolar 50mm, Volna-3, many Exakta lenses
DSLR SIGMA SD9 & SD14, EOS 5D, Sony A700 and NEXF3, Oly E-330, E-400, E-450, E-1
TLR/6x6/645 YashicaMat, Petri 6x45, Nettar, Franka Solida, Brilliant
SLR Minolta X300, Fuji STX II, Praktica VLC3, Pentax P30t, EXA500, EXA 1A, Spotmatic(2), Chinon CM-4S, Ricoh, Contax, Konica TC-X , Minolta 5000, 7000i, 3Sxi, EOS 500 and CX
Rangefinders Chinon 35EE, Konica C35 auto, Canonet 28, Yashica Lynx, FED-2, Yashica electro 35, Argus C3 & C4, Regula Cita III, Voigtlander Vitoret (many), Welta Welti-I, Kodak Signette 35, Zorki-4, Bessa-R & L, Minolta Weathermatic, olympus XA2
Compact Film Konica C35V, Voigtlander Vitorets, Canon Prima Super 105, Olympus XA2 and XA3
Compact Digital Olympus C-5050, Aiptek Slim 3000, Canon Powershot A540, Nikon 5200, SIGMA DP1s, Polaroid X530, IXUS55, Kodak 6490, Powershot G9 and G10
CSCCanon EOS-M, Samsung NX100 and NX210, Lumix G5, NEX-F3 |
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iangreenhalgh1
Joined: 18 Mar 2011 Posts: 15679
Expire: 2014-01-07
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Posted: Thu Jun 07, 2012 11:38 pm Post subject: |
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iangreenhalgh1 wrote:
Cheers guys, let's hope we get some light soon _________________ I don't care who designed it, who made it or what country it comes from - I just enjoy using it! |
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visualopsins
Joined: 05 Mar 2009 Posts: 10967 Location: California
Expire: 2025-04-11
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Posted: Fri Jun 08, 2012 2:15 am Post subject: |
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visualopsins wrote:
Let there be light!
I think know what you mean. Today I switched from f/2.5 to f/1.4 lens -- it is so much easier to SEE now! I actually made some keepers... _________________ ☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮ like attracts like! ☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮
Cameras: Sony ILCE-7RM2, Spotmatics II, F, and ESII, Nikon P4
Lenses:
M42 Asahi Optical Co., Takumar 1:4 f=35mm, 1:2 f=58mm (Sonnar), 1:2.4 f=58mm (Heliar), 1:2.2 f=55mm (Gaussian), 1:2.8 f=105mm (Model I), 1:2.8/105 (Model II), 1:5.6/200, Tele-Takumar 1:5.6/200, 1:6.3/300, Macro-Takumar 1:4/50, Auto-Takumar 1:2.3 f=35, 1:1.8 f=55mm, 1:2.2 f=55mm, Super-TAKUMAR 1:3.5/28 (fat), 1:2/35 (Fat), 1:1.4/50 (8-element), Super-Multi-Coated Fisheye-TAKUMAR 1:4/17, Super-Multi-Coated TAKUMAR 1:4.5/20, 1:3.5/24, 1:3.5/28, 1:2/35, 1:3.5/35, 1:1.8/85, 1:1.9/85 1:2.8/105, 1:3.5/135, 1:2.5/135 (II), 1:4/150, 1:4/200, 1:4/300, 1:4.5/500, Super-Multi-Coated Macro-TAKUMAR 1:4/50, 1:4/100, Super-Multi-Coated Bellows-TAKUMAR 1:4/100, SMC TAKUMAR 1:1.4/50, 1:1.8/55
M42 Carl Zeiss Jena Flektogon 2.4/35
Contax Carl Zeiss Vario-Sonnar T* 28-70mm F3.5-4.5
Pentax K-mount SMC PENTAX-A ZOOM 1:3.5 35~105mm, SMC PENTAX ZOOM 1:4 45~125mm
Nikon Micro-NIKKOR-P-C Auto 1:3.5 f=55mm, NIKKOR-P Auto 105mm f/2.5 Pre-AI (Sonnar), Micro-NIKKOR 105mm 1:4 AI, NIKKOR AI-S 35-135mm f/3,5-4,5
Tamron SP 17mm f/3.5 (51B), Tamron SP 17mm f/3.5 (151B), SP 500mm f/8 (55BB), SP 70-210mm f/3.5 (19AH)
Vivitar 100mm 1:2.8 MC 1:1 Macro Telephoto (Kiron)
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Minolfan
Joined: 30 Dec 2008 Posts: 3438 Location: Netherlands
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Posted: Fri Jun 08, 2012 9:33 am Post subject: |
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Minolfan wrote:
Jesito wrote: |
I like #3, it's really nice to see that composition and the reflections on the water puddles, with the skyligth on them...
Not so bad!. |
+1! |
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trev
Joined: 30 Jun 2010 Posts: 580 Location: North Wales - UK
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Posted: Fri Jun 08, 2012 9:52 am Post subject: |
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trev wrote:
Suffer from the same problem here on the Llyn peninsular in North Wales - total lack of good light apart from a few days a year (SUMMER????) _________________ Fuji X10, X-A1 and Samsung nx 20 |
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martinsmith99
Joined: 31 Aug 2008 Posts: 6950 Location: S Glos, UK
Expire: 2013-11-18
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Posted: Fri Jun 08, 2012 12:34 pm Post subject: |
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martinsmith99 wrote:
I have flash guns and various triggers; maybe try this for a different technique and creativity. British weather is going to present a few issues, so it's going to keep you shooting.
And before the natural light purists, jump on me; I've heard it all before _________________ Casual attendance these days |
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Orio
Joined: 24 Feb 2007 Posts: 29545 Location: West Emilia
Expire: 2012-12-04
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Posted: Fri Jun 08, 2012 2:01 pm Post subject: |
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Orio wrote:
Where's the problem with the light? #3 is very good and moody.
When a photo turns out not good, 99 times out of 100 the problem is the photographer, not the light.
Said otherwise: there is no bad light, there are only bad photos.
I can't believe that so many photographers complain about poor/low light. Every light has it's strenghts and weaknesses, every light has it's pros and cons.
The task of the photographer is to understand the light, and take the most out of no matter what kind of available light.
Photography is not effortless: it comes with sacrifice.
Many of the photos that I like more have been taken in poor, almost impossible light. That's when the right stuff surfaces:
Robert Doisneau, Les Flics et la Pluie (1945):
_________________ Orio, Administrator
T*
NE CEDE MALIS AUDENTIOR ITO
Ferrania film is reborn! http://www.filmferrania.it/
Support the Ornano film chemicals company and help them survive!
http://forum.mflenses.com/ornano-chemical-products-t55525.html |
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Nesster
Joined: 24 Apr 2008 Posts: 5883 Location: NJ, USA
Expire: 2014-02-20
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Posted: Fri Jun 08, 2012 2:23 pm Post subject: |
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Nesster wrote:
There are two things going on here: Photographer's depression with the dark rainy weather is one. It just feels like it is bad. But the second thing, as Orio points out, often once you give into the lack of lots of light, the light that is there can be beautiful and can illuminate things in very nice ways indeed. And wet pavement is usually a great thing for photography. And why God made umbrellas (but for some reason neglected to give us the three hands we need to work the camera and hold the umbrella) _________________ -Jussi
Camera photos
Print Photographica
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Orio
Joined: 24 Feb 2007 Posts: 29545 Location: West Emilia
Expire: 2012-12-04
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Posted: Fri Jun 08, 2012 2:29 pm Post subject: |
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Orio wrote:
Nesster wrote: |
And why God made umbrellas (but for some reason neglected to give us the three hands we need to work the camera and hold the umbrella) |
I took what I consider some of my best photos that way (umbrella in left hand camera in right) I'm a specialist _________________ Orio, Administrator
T*
NE CEDE MALIS AUDENTIOR ITO
Ferrania film is reborn! http://www.filmferrania.it/
Support the Ornano film chemicals company and help them survive!
http://forum.mflenses.com/ornano-chemical-products-t55525.html |
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Laurence
Joined: 26 Mar 2007 Posts: 4809 Location: Western Washington State
Expire: 2016-06-19
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Posted: Fri Jun 08, 2012 6:37 pm Post subject: |
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Laurence wrote:
I use the umbrella in my hiking as a shield. I'm usually away from a trail, so I just bash all the plants ahead of me
and above me with the umbrella so that some of the water can shake off, and I can actually make it through with
drowning!
Okay you guys who talk about getting good shots in even the darkest light - I hear you, and I stand corrected! I will
quit whining and go out and shoot. _________________
Assent, and you are sane;
Demur,—you ’re straightway dangerous,
And handled with a chain.
Emily Dickinson
Cameras and Lenses in Use:
Yashica Mat 124 w/ Yashinon 80/3.5,
CV Apo-Lanthar 90/3.5SL, (Thank you Klaus),
Pentax 645,
Flek 50,
Pentax-A 150
Pentax-A 120 Macro
Voigtlander Vitomatic I w/Color Skopar 50/2.8
Konica TC and zoom lenses (thanks Carsten)
Contax AX
Yashica ML 50/2
Yashica ML 35/2.8
Carl Zeiss Contax 50/1.4
Tamron Adaptall SP 17/3.5
Tamron Adaptall 28/2.5
Tamron Adaptall SP 300/2.8 LD (IF)
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Minolfan
Joined: 30 Dec 2008 Posts: 3438 Location: Netherlands
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Posted: Sat Jun 09, 2012 12:48 am Post subject: |
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Minolfan wrote:
Nesster wrote: |
And why God made umbrellas (but for some reason neglected to give us the three hands we need to work the camera and hold the umbrella) |
Need of three hands? Thats pure luxury! I make a lot of my pictures when walking the dog. Walking in the rain with umbrella I need four hands!
You guess, I hardly make photos in the rain |
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Orio
Joined: 24 Feb 2007 Posts: 29545 Location: West Emilia
Expire: 2012-12-04
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Posted: Sat Jun 09, 2012 12:50 am Post subject: |
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Orio wrote:
Minolfan wrote: |
Need of three hands? Thats pure luxury! I make a lot of my pictures when walking the dog. Walking in the rain with umbrella I need four hands!
You guess, I hardly make photos in the rain |
Equipp the dog with a parasol stand _________________ Orio, Administrator
T*
NE CEDE MALIS AUDENTIOR ITO
Ferrania film is reborn! http://www.filmferrania.it/
Support the Ornano film chemicals company and help them survive!
http://forum.mflenses.com/ornano-chemical-products-t55525.html |
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peterqd
Joined: 28 Feb 2007 Posts: 7448 Location: near High Wycombe, UK
Expire: 2014-01-04
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Posted: Sat Jun 09, 2012 3:20 am Post subject: |
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peterqd wrote:
I don't see what's so terrible about any of the photos Ian, I think you did well in the circumstances. But it has to be B&W in poor grey light - colour would be useless. I think No 1 could perhaps be better if you'd used the light to help you rather than fighting it, by taking it from the other side of your father and with the light shining on his face. _________________ Peter - Moderator |
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iangreenhalgh1
Joined: 18 Mar 2011 Posts: 15679
Expire: 2014-01-07
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Posted: Sat Jun 09, 2012 10:32 am Post subject: |
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iangreenhalgh1 wrote:
Well, it was almost as dark this morning and I shot another roll. Waste of time, just more dull, dark crappy results. These were the only two worth showing.
_________________ I don't care who designed it, who made it or what country it comes from - I just enjoy using it! |
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kansalliskala
Joined: 19 Jul 2007 Posts: 5038 Location: Southern Finland countryside
Expire: 2016-12-30
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Posted: Sat Jun 09, 2012 11:19 am Post subject: |
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kansalliskala wrote:
I have similar problem, wanted to test if Kiev light leak repair works but it's so dark I can't tell the difference. _________________ MF: Kodak DCS SLR/c; Samsung NX10; OM-10; Canon T50
Zuiko 28/3.5, Distagon 35/2.8; Yashica ML 50/2;
Zuiko 50/1.4; S-M-C 120/2.8; Zuiko 135/3.5; 200/5;
Tamron AD1 135/2.8, Soligor 180/3.5; Tamron AD1 300/5.6
Tamron zooms: 01A, Z-210
Yashicaflex C; Київ 4 + Юпитер 8, 11; Polaroid 100; Olympus XA; Yashica T3
Museum stuff: Certo-Phot; Tele-Edixon 135; Polaris 90-190; Asahi Bellows; Ixus IIs
Projects: Agfa Isolette III (no shutter), Canon AE-1D (no sensor),
Nikon D80 (dead), The "Peace Camera"
AF: Canon, Tokina, Sigma Video: JVC GZ-MG275E |
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F16SUNSHINE
Joined: 20 Aug 2007 Posts: 5486 Location: Left Coast
Expire: 2011-11-18
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Posted: Sun Jun 10, 2012 4:53 pm Post subject: |
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F16SUNSHINE wrote:
I think it would pay huge dividends to invest some time learning about the fundamentals of the "Zone system".
With successful B+W film photography. The photographer chooses how to manipulate the seen for the desired results.
You have control via Film sensitivity, exposure, developer type, development time/temp, agitation, and, if you do so .. printing to get the desired results.
You need not use the zone system in it's entirety to benefit from the basic principals.
Learning to observe luminance in a scene and choosing where your important exposure "zone" lies and, whether or not you will be blocking highlights or shadow exposing for a particular zone will improve any photographers keeper rate.
Creating a B+W image is can be a simple matter of recording a scene within the basic limits of "standard" exposure and development.
However, if you want more from B+W images. Learning how to manipulate the medium to your vision of the seen is essential.
Try finding a copy of "The Zone System Craftbook" by John Charles Woods. Or read Adams "The Negative" (and "The Print" if you will be wet printing)
Also consider finding a spot meter to use until you have trained your own internal brain meter to view subtleties in EV. _________________ Moderator |
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