Show us yer film shots then!

The quality of this one with all the detail is quite astounding which demonstrates the large format capability. Enlarge the image and the individual main strands of the cord tying the door shut can be clearly seen. Very good indeed.
 
Images like this in B&W which are sharp and have handled the contrast well, which this one has are always worth a 2nd viewing. There are always point of interest that are missed on the 1st, 2nd or even 3rd viewing.
 
Kevin Allan said:
It’s amazing the results you get from your XA3
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Marino said:
That’s exactly what I thought from the pictures you’ve been uploading lately @FishyFish
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Thanks. :)

It's a really easy camera to use to be fair. Once the clam-shell is open and I have the wrist strap on, I can use it one-handed. As long as I'm appreciative of the light I'm shooting in (which is why I've been pushing all my rolls of HP5+ a stop to 800asa when using it during the winter), all I need to consider is the zone focus setting. Everything else is just subject, composition, light.

I think the lens on the Trip 35 is better - the XA3 vignettes a bit - but the XA3 is incredibly pocketable.
 
First roll of film this year...

Fuji Acros on an EOS 30 with a Tamron 28-300

2024-03-28-acros100-eos30-01.jpg

Have new bike, will travel!
 
FishyFish said:
Thanks. :)

It's a really easy camera to use to be fair. Once the clam-shell is open and I have the wrist strap on, I can use it one-handed. As long as I'm appreciative of the light I'm shooting in (which is why I've been pushing all my rolls of HP5+ a stop to 800asa when using it during the winter), all I need to consider is the zone focus setting. Everything else is just subject, composition, light.

I think the lens on the Trip 35 is better - the XA3 vignettes a bit - but the XA3 is incredibly pocketable.
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I think that you take some cracking shots with your camera :)

Have you thought about the XA? Same size as the XA3 but has a lot more flexibilty.
 
FishyFish said:
Thanks. :)

It's a really easy camera to use to be fair. Once the clam-shell is open and I have the wrist strap on, I can use it one-handed. As long as I'm appreciative of the light I'm shooting in (which is why I've been pushing all my rolls of HP5+ a stop to 800asa when using it during the winter), all I need to consider is the zone focus setting. Everything else is just subject, composition, light.

I think the lens on the Trip 35 is better - the XA3 vignettes a bit - but the XA3 is incredibly pocKetable
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Definitely having to deal with less settings helps focus on the most important aspects you mentioned. Subject composition & light. Not that it would make me a better photographer.
The hp5 looks lovely pushed to 800 btw
 
Small fire at Exmouth docks in the early 1990s, captured with HP5, probably in a Yashica FR...

Fire at Exmouth Docks Unknown Camera 1992 01-11.jpg
 
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Some outdated 1998 FUJI ASTIA 220 size in my 1978 HASSELBLAD 500 C/M home-processed -- a Kirbys 5 day Coach Trip to the Chester area then Peak District National Park towns -- Weston Master V used but a lot came out dark and I had to 'Adjust' in PhotoShop 7
The famous CLOCK and Chester Cathedral
CHESTER City 01 by Peter Elgar, on Flickr
CHESTER Cathedral 03 by Peter Elgar, on Flickr
CHESTER Cathedral 02 by Peter Elgar, on Flickr
CHESTER Cathedral 01 by Peter Elgar, on Flickr
The Roman Arena with School Kids being ROMANS - the commands were done in LATIN but I could understand as I was GOOD at LATIN !
CHESTER City 05 by Peter Elgar, on Flickr
 
A few recent and old...I have not been out much lately.
I don't know about you guys but the weather in Belfast has been depressing, to say the least!
Have to figure out a way to take pictures even in bad light (overcast grey overall)
Untitled-(10r1) by Marino Kampisioulis, on Flickr
Untitled-(89)2 by Marino Kampisioulis, on Flickr
Untitled-(95) by Marino Kampisioulis, on Flickr
Untitled-(104) by Marino Kampisioulis, on Flickr
Untitled-(80) by Marino Kampisioulis, on Flickr
Untitled (110) by Marino Kampisioulis, on Flickr
Untitled-(40) by Marino Kampisioulis, on Flickr
 
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Marino said:
I don't know about you guys but the weather in Belfast has been depressing, to say the least!
Have to figure out a way to take pictures even in bad light (overcast grey overall)
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My theory is to go for subjects where flatter lighting is an advantage. Woodland can sometimes be tricky with the contrasts on a sunny day, and church interiors are easier to handle when the windows aren't going to almost automatically burn out.

P.S. I love the third photo!
 
Hey @StephenM
I avoid Woodland like the devil :) no matter what the light, I find it the most challenging subject .
And since I'm not religious, churches is a no no for me (even though the architecture is stunning).
Jokes aside, you're right. Instead of waiting for better days I should chase subjects more suited to flat light.
Yes, the third photo is my favourite as well, I like the whole Shadow shapes and footway lines thing going on.

Plain Nev said:
I'm going to have to swear off shooting film. I've got a backlog, and I am not sure which film is which now, or which camera I used. Such is life.
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Back in 2005-2007 I used only one film type/brand and one camera with one lens for years and whatever developer they had available in the photo club.
Now I have bought a few different brands of films/ developers and I feel you pain:rolleyes:.
Like the 3rd photo by the way!
 
Marino said:
I avoid Woodland like the devil :) no matter what the light, I find it the most challenging subject .
And since I'm not religious, churches is a no no for me (even though the architecture is stunning).
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May I suggest that perhaps you're putting the cart before the horse - looking at things backwards. There's a painting by Magriite of a pipe, but written under it a statement that it isn't a pipe. Quite true; it's a painting.

The lesson I choose to draw from this is that an image isn't the same as the ostensible subject, and in reality we should be looking at the world without regard to what the objects are but how they appear in a photograph. Look at Edward Weston's peppers and cabbages as an example. Or read and ponder my signature line quotes :).
 
FishyFish said:
My favourite Garry Winogrand quote is: "I photograph to find out what something will look like photographed.".

It pretty much explains my whole photographic compulsion (and why I photograph pretty much anything :)).
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Doesn't always work for me as the times I have been disappointed in that what you see by the eye doesn't always look the same as the photograph :(, but then sometimes the photo looks better than by the eye :)..........something to be said in just using a 40/50mm as less problems.
 
@StephenM I agree.
I need to find my muse…
Maybe getting older affects the way I see things. I used to find everything exciting but not anymore. At least not in the same degree of excitement..
Again I agree, art is transcendent. And personally I think it’s hard to describe what art is, because it’s so many things.
By the way I didn’t recognise the names of the artists you mentioned but after searching on the internet I’ve realised I’ve seen most of their work in the past.
.
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Something to consider is that besides creativity an artist needs to just do the work (I haven’t been consistent, life gets in the way). And that’s something @FishyFish is really good at
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FishyFish said:
My favourite Garry Winogrand quote is: "I photograph to find out what something will look like photographed.".
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One of the many reasons I like film. The feeling of anticipation to see what the pictures will look like
 
excalibur2 said:
Doesn't always work for me as the times I have been disappointed in that what you see by the eye doesn't always look the same as the photograph :(, but then sometimes the photo looks better than by the eye :)..........something to be said in just using a 40/50mm as less problems.
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I think it’s more about what you feel and not what you see if it makes sense. That’s why Some pictures fail, because it’s difficult to convey emotions to an image.
 
On seeing, see The Invisible Gorilla :) .

We see not what's there, but what we expect to see. To that extent, as sirch's signature states, setting your expectations lower could be a big step forward :D.

We look more carefully in unfamiliar places which is why we see more opportunities.
 
Marino said:
I think it’s more about what you feel and not what you see if it makes sense. That’s why Some pictures fail, because it’s difficult to convey emotions to an image.
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As a B&W photographer, this isn't something you'd expect from me, but colour can be a big part in creating a feeling.
 
StephenM said:
As a B&W photographer, this isn't something you'd expect from me, but colour can be a big part in creating a feeling.
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And that’s where I fail with B&W sometimes. I look through the viewfinder forgetting I’m taking pictures in b&w
Rookie mistake :banana:
 
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