Show us yer film shots then!

I saved up 13 films for processing, four colour, the rest Harman K400, which I had taken over the last four or five months and sent them out for processing to a popular developing service which many of you know and use. One of the K400 films was pushed two stops and the rest were shot at box speed. When they came back I more than suspect that all the K400 films were developed as if they had been pushed, absolute blacks and huge grain, almost solarised. Every cannister was marked with the film speed I used! I haven't contacted the processor but instead put all my efforts into trying to recover what I can. Here is a selection, soot and whitewash. All taken with a Canon A1 with either a 24/2.8 or 50/1.4 lens, maybe the odd one with a 100/2.8.



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Moving on then...

Some colour photos taken with grossly out of date Kodak film. I've done a bit to correct the colour shifts.

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@PeterSpencer

Shame about that Peter, you must be gutted.

Recognize a couple there from Two Lads! :)
 
@PeterSpencer

Shame about that Peter, you must be gutted.

Recognize a couple there from Two Lads! :)
Not the first time something similar has happened, a bunch of about five colour films got entangled a a processor earlier this year. They were sort of salvageable, the curious random chemical stains were interesting.

The lesson here is, if you are going to screw up developing why not do it yourself, it's cheaper. I must bear that in mind.
 
Moving on then...

Some colour photos taken with grossly out of date Kodak film. I've done a bit to correct the colour shifts.

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The technique in this video might help with the odd colours in these, Peter.

I've used it to correct casts in expired slide film, but also some colour negative stuff too. It doesn't work on everything, but its pretty simple to try as long as you have editing software that allows you to edit the RGB curves.

View: https://youtu.be/gLFZh7M4PFY?si=yUGQMTypH0qBukLl
 
F90 with 28-105
matrix meter hand held
kentmere 200 in adox Fx 39

Some rocks with histogram

some rocks.jpg
 
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F90 with 28-105
matrix meter hand held
kentmere 200 in adox Fx 39
PP - auto and some contrast, very slight vignette


I was lucky here on this afternoon, was approx 2:30-3:00 pm and the sun was occasionally breaking through the patch cloud, I was originally drawn to the picket fence, I was walking between the fence and the railing when I turned and saw the railing glowing, I moved back to the steps to take in the whole railing picked out by Low sun (back right, shadows just visible on the beach)


White railing at the beach

White Railings-2.jpg
 
Minolta X-300
Minolta 50mm f/1.7 MD
Ilford Type-517. Ilfotec DD-X 1+4 14.5mins @ 20°


Northfield Road by fishyfish_arcade, on Flickr


Disintegrator by fishyfish_arcade, on Flickr


Razor wire by fishyfish_arcade, on Flickr
Supershots there Nigel, the second especially so in my view, Apart from the super framing, I am particularly attracted the light streaming into the kerb markings as if picking them out by design and the vertical shadow of the concrete panels almost cutting the light in half, the first no no entry sign only lit from the fence up and there lies the light through the gate inviting me to enter and ignore the "no entry".
 
Supershots there Nigel, the second especially so in my view, Apart from the super framing, I am particularly attracted the light streaming into the kerb markings as if picking them out by design and the vertical shadow of the concrete panels almost cutting the light in half, the first no no entry sign only lit from the fence up and there lies the light through the gate inviting me to enter and ignore the "no entry".
Thanks Wayne.

It was an interesting subject, and the light was good. With that shot it was the "Disintegrator" sign that was my focus and then I framed the rest to try and avoid interesting parts of the structure being cut off.
 
This was, I think, the first roll of film I shot in 120. Taken at the imperial war museum car park Manchester. Fomapan 100 massively underexposed the negative scanned very dark almost nothing visible, I had a good 10 minutes messing about with it, the vid Nigel posted couple of days ago has been very helpful for me who doesn't know anything about lightroom, I got this something like but its more digital image taken on film.

Burning Alive

Burning man.jpg
 
Chateau Neuil Contarex 50T.jpg

Chateau de Neuil, Haute-Vienne, France. Contarex Bullseye, 50mm CZ Tessar, Kodak Pro Image. Pro processed& scanned
 
I have been told in no uncertain terms that I overthink and over complicate things in my photography, That is just characteristic, which I have found both a blessing and a curse.
In another thread the photographic skill of "seeing" has been mentioned. I sat here on the sea wall and had a reet good chat with a fellow photographer who had been collecting interesting stones, shells and pieces of driftwood for a "still life" section of the photography course he was undertaking, I found it quite ironic that we discussed still life in the shadow of death.

I do not know if your interested in what I "see" but since you are reading this I will carry on trying to explain, to you it may well be quite meaningless and poppycock, and you could well be right.

Symbolism I see , the handrail is significant in respect to life, it provides support and guidance and no more so than in a time of grief where the need of support is at its most profound. The temporary nature of the flowers, in this photo, signify the raw transient nature of grief until eventually in the distance it blends seamlessly into the hard rock, unobtrusive but ever present. The slipway, mirrors that progression forcing us unavoidably to the flat sand of acceptance. The warning triangle features in so many of our seaside photography images, usually it depicts sewerage out flow, the last dispatch point of waste, and that is where these raw emotions end up, flushed away.

Would anyone else interpret this scene in the same way, I don't think so. Its just a crap grainy snap of a bit of railing and a ramp. And why should they?


Slip Away.

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Reflections of a tree. Zeiss Contarex, CZ 50mm Tessar & Kodak Pro Image.

Chateau Neiul Tre Reflection PTF Contarex 50T.jpg
 
Bronica ETRSi @50m
Incident meter, tripod
Kodak T max 400 @ box in F39ii 1/14 -1 n
PP auto

Chester Ginnel


Chester Ginnel.jpg
 
Bronica ETRSi @50mm
Incident meter, supported by wall
Kodak T max 400 @ box in F39ii 1/14 -1 n
PP one click auto

Chester Cathedral from car park roof

Shopping.jpg
 
Bronica ETRSi @50mm
Incident meter, tripod
Kodak T max 400 @ box in F39ii 1/14 -1 n
PP one click auto

Elaborate hinge furniture on Chester Cathedral door.

Ornate Ironwork.jpg
 
Kershaw 450, 6x6
Incident meter, zone focus, hand held
Fomapan 100 in Bellini Euro
PP one click auto, crop to remove scan curl

The Ruff


The Ruff-2.jpg
 
@FishyFish

Lovin' that fountain shot!

Beautifully framed
 
Kershaw 450, 6x6
Incident meter, zone focus, hand held
Fomapan 400 Ei 320 in Adox HC110
PP one click auto, crop to align and contrast boost

I am beginning to enjoy the convenience of this little camera its compact for MF and slips quietly into a jacket pocket, there is a bit of vignetting from the lens, but I can live with that as its quite a nice effect. The main thing I enjoyed was the encouragement to explore, because it does nothing apart from open and close the shutter, even the film advance is manually wound on via a thumb wheel, not stuff to carry I played with the light meter as I walked along, taking readings when I was in bright sunlight and when I moved into shaded areas, I then tried to second guess a scene where I was in the shade and the bit I wanted to photograph was in bright sunlight, I had not considered this adequately enough previously, so I think I might be getting a bit better. the ranges I encountered were from F22 down to F4.5, the widest capability of the lens. But with an accurate impression of what I thought was going on enabled me to better consider the scene.
The fomapan 400 I had not used since an outing to Manchester earlier this year and I think I have got a bit better with camera operations in general since then. Recalling advice previously received I made the decision, as conditions permitted it, to Expose at 320 or as near as I could get.

When I scanned the film this morning I was pleasantly surprised that the pictures turned out so well, and impressed the flexibilty of the film giving very different looks depending on the selected exposure area, with these two shots I stood in the shade so could not get an effective Incident reading and was estimating, based on previous readings as I had walked along, what exposure I wanted for the scene in front of me, ie. sky, shade or somewhere in between.

This first shot of the marina I went "middle of the road" as there were bright white building and plenty of black boats.



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The next shot I glimpsed as I turned round to shout the dog, the trees in the distance were picked out by the light and it looked lovely so I made the decision to make sure I capture the sun falling on the trees. The difference in the look created by just those simple estimations is, to my eyes, incredible. Under normal circumstances I would just think I was lucky, but I had considered a few things so I am patting myself on the back for once instead of beating myself up.


canalside walk.jpg

I love the effect on the trees in the distance, to me they really look like an old painting. I knocked the exposure right down a couple of stops knowing that I would maybe lose the path as it was in total shade and that was not the bit I wanted anyway so I was surprised to see that the path was not completely lost!
The film I have a new found respect for, as many articles I have read dismiss it. I have categorized it as flexible and responsive to exposure adjustments as required with a gorgeous look on certain scenes. A nice walk where I was pleased with the camera, pleased with the film and pleased with myself, not because the images are magnificent or anything, but because I think I learned something important that will stand me in good stead for future expeditions.
 
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