This is a shot I'm really proud of. From the total eclipse down here back in October 2023. Kentmere Pan 100, Minolta SRT, MC 200 f/3.5, handheld at 1/500 stopped down to f/16. I had plans to try out my 500 f/8 reflex lens for the total eclipse earlier this year, but the weather prevented me from seeing any of it.
Rolleiflex K4A that's been on loan to me for about a year now. Took this shot running the Canon A-1 through its paces after a CLA and resolving the shutter cough the correct way. Ilford FP4 and Vivitar 285H flash.
Fuji Acros II in my Minolta α9, souped in DD-X. Yellow filter and I believe I had the 24 mm on at the time. I need to start up a photography journal again to keep track of what settings I used like I did back in high school.
Time for something digital. Canon R5 with the Minolta MD 50/3.5 macro lens with 1:1 adapter (I believe, or I may have had extension tubes, I no longer remember). Vivitar 285H flash.
My Minolta XE with my orange filter I got the other day. It's loaded up with TMax 100, now I just need to get some Xtol or Pyrocat HD.
In reply to Azryael :
We had to log our shots, too.
I’m not logging every frame today, but I do have a spreadsheet for each roll of film: camera, lens, subject, film stock, date scans received, camera settings, etc. For “camera settings,” I’m keeping track as to whether I pushed or pulled the frame, trusted the meter, etc. So far, it’s been working.
In reply to David S. Wallens :
I've been meaning to coerce myself back into it, as I'm forgetting a lot of what I had the camera set to. Only for super memorable shots are the settings burned into my head. I have a notepad that I usually carry with me that's meant to be used for logging purposes, but I tend to just get lost in shooting and composing on the fly and moving on to the next exposure.
In reply to Azryael :
The log has helped. I’m not recording every shot–just the settings for each roll.
Here’s the top row of my spreadsheet:
Date received
File name
Film
Camera
Settings
Lens
Shooting notes
Film notes
Subject
And a teaser of sorts as this is a cell phone photo of the image displayed on my camera’s viewfinder.
Valerie wanted something vintage, so we created something vintage. This was all done with my X-Pro3.
In reply to David S. Wallens :
I think I'll do the same. This is a good start. It will be a good habit to get back into.
Shot with the Canon R5 and Minolta MC 58/1.4 with a yellow filter. That 58/1.4 is an unbelievably sharp lens.
This was shot in Western Nebraska on a Panasonic Lumix by ReconKid#4. She has a gift...
Valerie on Tri-X.
Last week’s 52Frames assignment: a selfie.
Made this during our recent local art walk with my Fuji X100V.
In reply to Azryael :
Does the yellow filter change much when using a digital camera and a color to B&W conversion? What I've heard from owners of the Pentax K-3 III Mono is that filters impart a very small change to the image which is not how things work with B&W film.
Also I have heard good things about the Minolta 58mm f1.4 and especially the f1.2 as well. Seems like you have a very good copy of the f1.4.
Snowed here again earlier this week so I went out and took pictures. Shot with my Fuji X-H1 and a Sigma 28mm f1.8 EX DG in Pentax K-mount.
In reply to pres589 (djronnebaum) :
So, when I'm using color filters on the R5, I set the camera for monochrome, so you can visibly see the difference in how certain colors are rendered through the EVF or the rear LCD, especially with something as pronounced as a red 25A or an orange.
The raws still render full color, but will have the tint of whatever filter I've used. I think what I'll do is set up the R5 on a tripod with a static subject and take a few snaps with each filter I have to throw up comparisons. I would have expected a monochrome sensor to be even more sensitive since it doesn't have a debayering layer to deal with. I have done a test on a stop sign just up the street, and without the red filter it's dark as you'd expect, but with the red it's light. Filters certainly appear to affect the light that's reflected off colored objects and how it reaches the sensor. It very well could be that Yellow is a rather mild filter and that's why there's no real perceptible difference.
I'll try to take those test shots out of curiosity and share it as a single image to keep with the one photo rule.
Yeah, this 58/1.4 is superb, though it does focus just a tad beyond infinity, but that's okay. Seems to be a rather common thing on certain MC-era lenses. I'd love the 1.2, but hard to find for a price I'd be willing to pay.
Mt Tremblant historics July 2013
Cold ride on Saturday, but worth it!
Okay, this was hard, as there aren't a lot of colorful things around my yard. The color image is the only image that was processed to enhance the colors. All monochrome shots are unedited raws save for flipping to B&W in LrC. The difference in this scene between no filter and Yellow is pretty imperceptible, but you can see the foliage is actually just a little bit lighter. Orange has the foliage darkening somewhat, and the berries appearing brighter. Red darkens the foliage the most and brightens the berries. The last shot of green does the inverse, and you can really see this biggest difference between green and red. I think for things like yellow and orange, you'll have more granular control over the colors influenced by those colored filters when you actually start processing and using curves and levels, with the eyedropper to select those shades you wish to edit.
You'll definitely not want to use *Auto* when making adjustments, even for a baseline, as depending on which filter you're using LrC will just try to balance everything out and lighten things that are meant to be dark or darken things that are meant to be light.
Just looking at the raws, however, I still think orange is the sweetspot for general shooting as it darkens the greens enough for a nice contrast and doesn't brighten warm tones as much as red would. Now, if you're doing high contrast/IR, then Red is a clear winner, and you can clearly see that the CMOS sensor is definitely impacted by the filter of choice. I will concede that perhaps yellow is not worth it, but this may need more testing. Maybe when the yellow Lantanas bloom again I'll try those. Perhaps we should roll this into a Photography - Tips and Tricks thread so as to not clutter this up.
An Adirondack Railroad brakeman hams it up for the camera as they motor south through Barneveld, NY on Saturday
You'll need to log in to post.
