Film Camera Week for August 3

Greetings everyone and welcome to our new thread. Post as many images as you like from your film camera. I'll start with some shots from a roll of Plus-X that I processed yesterday. Camera was Maxxum 8000i with Maxxum 50mm f2.8 Macro.

Granddaughter Lilly, f 2.8 on aperture priority, by window light

As I mentioned in another thread, I like the 50mm macro as an overall lens when I don't need the speed of an f 1.7 or 1.4 lens.

James and Lilly

Outside new fast food restaurant

mostly empty parking lot

Later in the weekend I'll have some film from the Olympus OM-1.

Looking forward to seeing everyone's images.

I've recently sold off a number of surplus cameras and lenses, among them a Fujica AZ-1. It's a good user SLR but not a model I was particularly attached to, and I already have a nice ST 801.

On my last roll with the AZ-1 I took a few test shots with two Russian mirror lenses, a MC ZM-7K 300/5.6 and a MC Rubinar 500/8 Macro. The Fujica's bright screen allows using the split-image focusing aid even at f/8, and the aperture-priority AE makes this setup fully automatic. Film was Kodak ColorPlus 200.

1) 500/8

Hummingbird

2) 300/5.6

Flower Box

3) 500/8

Red Corvette

4) 300/5.6

Gallery

That's a nice portrait of young Lilly, Mike! I'll post a few shots from a trial load of Kentmere 100 through a newly-CLA's Konica Autoreflex T with the 57mm Hexanon AR f/1.4 lens. I've posted a pic of the camera over on the "What camera..." thread; there's not much art in these images but I think they serve to demonstrate the fine qualities of this lens. I'll post some more in the weekend if the weather is kind... The developer was the usual PMK Pyro and the film was scanned on an Epson V700 photo using Silverfast SE software.

North Wall

Alone

Wickerwork

Pashleys

Corner Cafe

That's a nice portrait of young Lilly, Mike! I'll post a few shots from a trial load of Kentmere 100 through a newly-CLA's Konica Autoreflex T with the 57mm Hexanon AR f/1.4 lens. I've posted a pic of the camera over on the "What camera..." thread; there's not much art in these images but I think they serve to demonstrate the fine qualities of this lens. I'll post some more in the weekend if the weather is kind... The developer was the usual PMK Pyro and the film was scanned on an Epson V700 photo using Silverfast SE software.

So, these seem to have been shot in broad daylight, but you still manage to drag that exquisite tonality out of them. How do you do that? Is it low contrast and underexposure?

I have a T with a 40mm lens that I've been wanting to try out, but it's been too darn hot. I've read that the 40 is extremely sharp. I hope my technique is up to the challenge.

davecaz said:

So, these seem to have been shot in broad daylight, but you still manage to drag that exquisite tonality out of them. How do you do that? Is it low contrast and underexposure?

I don't know about the "exquisite" classification, but I guess it's just a combination of exposure, film and development that governs the tonality. I suspect that limiting one's selection of film and developers down to two or three of each and thus building up a familiarity might have something to do with it; the staining developers seem to suite my style, and I can make subtle alterations in the processing to suit the conditions under which the films were shot. I usually select a film I think might suit the prevailing conditions and load only about 20 shots per cassette, and make sure I finish the film or films before returning home. I've yet to find a 400 ISO film I'm happy with in 35mm format...

I'm sure your technique will be up to the challenge!

Rick- what characteristics are you looking for in an ISO 400 film? Bill might have a good suggestion for the Xtreme 400. I did try a roll of it in Kentmere packaging a while back, but I processed in HC110 so my results are not directly comparable to other ISO 400 films developed in PMK Pyro. I did find, since I've used a fair amount of the Kentmere 100 that the 400 (based on my limited experience) has similar tones. Again, that might vary in PMK. Here in the southern USA the Kentmere film is slightly less expensive than the Ultrafine Extreme. I've got about half of a bulk roll left of the 100 and find it to be a good film and the low price is an added perk.

My favorite ISO 400 films (at least in HC110) listed in order starting with my favorite are Tri-X, HP5+, TMAX 400, Delta 400, Foma 400 and (again limited experience) Kentmere 400. I have not tried the Bergger 400 yet. Of my list I find the difference between Tri-X and HP5+ to be small enough that I would happily use either one.

In the in between area of ISO 400 and ISO 100 films I like the Eastman 5222 (aka Double X) film which is listed as an ISO 250 film.

My limited experience with Kentmere 400:

Pentax ZX-7 with Sigma 28-80. Processed in HC110 dilution H

Mike Gammill said:

Rick- what characteristics are you looking for in an ISO 400 film?

Thanks for the suggestions, Mike. Ideally, I'd like Pan F 50 with an ISO rating of 400! Under most situations I like as little grain as possible, especially with negatives to be scanned rather than printed. I find excessive grain in large mid-tone areas unpleasant, especially in areas of sky and clouds where grain can disturb the delicate transitions of tone. Scanning tends to accentuate this effect and I tend to get more "muddy" effects with the higher speed films. I get away with it in the larger formats as the degree of magnification is not as great, I guess, and I tend to overexpose and under-develop slightly with 120 film. Really, I use the higher speed films only because the medium format cameras are more difficult to hand-hold at lower shutter speeds, and I don't find the higher speed films so much of a necessity with 35mm as the cameras are more forgiving in this respect.

It seems the only thing a kid can do in the street anymore is walk with his head down, nose into a cell phone....

You guys are drawing me into the black and white film......