Film Camera Week for May 4

Three from downtown Pittsburgh, Heiland Pentax H2, 55mm f/2 Auto-Takumar, P3200TMZ pushed to 6400 in HC-110B

A few from down at Anglers Marina. Pentax KX and my first attempt with Bergger Pancro 400. Dev. in PMK and Wet-scanned on the BSH/V700.

All taken with the Cosinon 35/2.8. I am really impressed with this old lens, apart from the focus, which is a "wrist-breaker". Any advice on how to free up the gunk would be greatly appreciated. This copy is not the -W, which is described as being the K-mount version while the non-W is the M42 version. Presumably, they also made some non-W in K-mount as well.

TAKING A BOW.

LONG WAY FROM HOME.

A "SARDINE TIN".

MARINA OFFICE.

BLUES'S BAYOU.

LOOKING DOWN ON NIRVANA.

FED2, FED 50mm f2.8, Tri-X, Diafine.

Nikon F2 Photomic, Nikkor K 200mm f/4, Kodak ColorPlus 200:

Anjali Aneesh Upasana, Bollywood Star, Mt. Rainier.

Calumet CC-400, Fujinon 90mmm f/5.6 SWD, FP4+, D-76, V800.

Mt. Rainier, Calumet CC-400, Fujinon 90mmm f/5.6 SWD, FP4+, D-76, V800. Pushed to 400 due to User Error.

Same as above, except Red filter and Caltar 215mm f/6.3.

Four images from this morning's expedition with a Bronica S2a and a 135mm Nikkor-Q f/3.5. The film was Bergger Pancro 400 developed in PMK Pyro.

Still Life with Cat

An Unlikely Cactus

The Smokehouse

Those Great Bergger Tones

Tatoosh Ridge, Mt. Rainier National Park. Properly exposed at ASA 100, on the 90mm Fuji.

Last worthy shot of the week, Anjali Aneesh Upasana, formerly Anjali Nair. Shooting promos for her upcoming movie, "Millionaire", to be shot this summer in the Seattle area.

Minolta Himatic 7S Berrger Pancro400

davecaz- Celtic lenses appear to have the same optical formula as the Rokkor versions, but exterior cosmetics are not as fancy. In some cases the Celtic lenses may have an older version of Minolta's lens coatings. The Celtic lenses were marketed to keep potential customers from going to Vivitar/Kiron/Sigma/Soligor etc. because the Rokkors were too expensive. Probably why Yashica offered the less expensive YUS lenses over the ML series.

A few older images to keep things moving.

[ATTACH=full]1244020[/ATTACH]

Hermione, Minolta SLR with 100mm f 3.5 MC Rokkor macro, Rolleipan 25 with flash

[ATTACH=full]1244021[/ATTACH]

high water from a few years back. Minolta SLR, same film

 

[ATTACH=full]1244022[/ATTACH]

Tesla coil at McWane Center, Olympus XA-2 (propped on chair) TMAX 400

[ATTACH=full]1244023[/ATTACH]

Thunderbirds, Yashica FX-3 Super 2000, Tokina 70-210, TMAX 400 (scanned from print)

Thanks, Mike. Pretty much what I thought. So, Yashica had a 3-tiered system? ML, then DSB or unspecified, then YUS?

Some frames from a length of Arista EDU Ultra 100 through a Nikkormat FTn, using a Tamron Adaptall II 35-70mm CF Macro f/3.5 lens (Model 17A). The film was developed in PMK Pyro and scanned on an Epson V700 Photo using Silverfast SE software.

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I would be thrilled with results like this, and they are beautiful images, of course, but they seem to lack that special Rick Magic, and I don't know if that's due to the lens or the processing. I'm not sure how to define the difference, either. A tad less edge contrast, maybe?

Presumably one of the "Southern Ratts"

[ATTACH=full]1244120[/ATTACH]

Praktina-Flektogon 35mm

I guess I don't have the frame of reference to understand the allusion to "Southern Ratts".

A few from down at Anglers Marina. Pentax KX and my first attempt with Bergger Pancro 400. Dev. in PMK and Wet-scanned on the BSH/V700.

All taken with the Cosinon 35/2.8. I am really impressed with this old lens, apart from the focus, which is a "wrist-breaker". Any advice on how to free up the gunk would be greatly appreciated. This copy is not the -W, which is described as being the K-mount version while the non-W is the M42 version. Presumably, they also made some non-W in K-mount as well.

[ATTACH=full]1244132[/ATTACH]

TAKING A BOW.

 

[ATTACH=full]1244133[/ATTACH]LONG WAY FROM HOME.

 

[ATTACH=full]1244134[/ATTACH]

A "SARDINE TIN".

 

[ATTACH=full]1244135[/ATTACH]

MARINA OFFICE.

 

[ATTACH=full]1244136[/ATTACH]

BLUES'S BAYOU.

 

[ATTACH=full]1244137[/ATTACH]

LOOKING DOWN ON NIRVANA.

Nice set of images. The Looking Down on Nirvana shot gives me a sense of forboding, like I'm being judged, or something.

Have you tried the hair dryer treatment on that lens? They guys here recommended it for my "frozen" Five-One-Nine, and it worked like magic, although it took quite a bit of heat. And it hasn't re-frozen, as I expected it to do.

FED2, FED 50mm f2.8, Tri-X, Diafine.

[ATTACH=full]1244172[/ATTACH] [ATTACH=full]1244173[/ATTACH] [ATTACH=full]1244174[/ATTACH] [ATTACH=full]1244175[/ATTACH]

I love that first shot. The crispness of it, and the interesting light, combined with the smooth tonality and the symmetry of the window frames and the positioning of the tables and chairs, with the unusual lights above all work together to elevate what could have been an ordinary snapshot to an image worth appreciating.

Dave, thank you. Will give it a try.

Tony

davecaz said:

I would be thrilled with results like this, and they are beautiful images, of course, but they seem to lack that special Rick Magic, and I don't know if that's due to the lens or the processing. I'm not sure how to define the difference, either. A tad less edge contrast, maybe?

I agree, these images are lacking a little in critical "sharpness". It was actually quite low light in the old cemetery, despite the sunny appearance, and I was tending to sacrifice shutter speed for DOF, shooting at 1/60th which is definitely slow for a lens sometimes extended to 70mm. So, I suspect a touch of camera shake may have something to do with it. The first frame, of the pond, would have been shot at 1/125 and appears to be reasonably sharp.

Took My new F2 out for a walk today. I loaded a roll of Foma 100 and went downtown Austin TX to see what I could see. Never do I get to see this mural without cars parked in front of it.

I love that first shot. The crispness of it, and the interesting light, combined with the smooth tonality and the symmetry of the window frames and the positioning of the tables and chairs, with the unusual lights above all work together to elevate what could have been an ordinary snapshot to an image worth appreciating.

Thanks so much for the comment Davecaz! It seems to work well in monochrome.

Last Friday, Remembrance Day in the Netherlands.

A short re-enactment of the signing of the Capitulation of German Forces in the Netherlands, Hotel "De Wereld" Wageningen 1945

Not my best work, 1/10th of a second @ f/4.7, hand-held with a Graflex Anniversary Speed Graphic.

I really need a flashgun for this sort of thing.....

Graflex Anniversary Speed Graphic with Graphic 23 roll film holder, Kodak 127mm f/4.7 Ektar, Rollei Retro 400S.

Yes, I was fighting with the Rollei film to get it onto the spool. :)

I agree, these images are lacking a little in critical "sharpness". It was actually quite low light in the old cemetery, despite the sunny appearance, and I was tending to sacrifice shutter speed for DOF, shooting at 1/60th which is definitely slow for a lens sometimes extended to 70mm. So, I suspect a touch of camera shake may have something to do with it. The first frame, of the pond, would have been shot at 1/125 and appears to be reasonably sharp.

Of course you take the blame, rather than blaming the equipment :) If you mean the shot of the leaves, I agree that it appears sharper than the others, although that one seems to have harsher contrast than I've seen in your work before. Mind you, this is not intended as criticism, just a surprised observation.

Thanks so much for the comment Davecaz! It seems to work well in monochrome.

You're welcome, and I agree! Color would simply distract from this image.

Not my best work, 1/10th of a second @ f/4.7, hand-held with a Graflex Anniversary Speed Graphic.