Discussion in 'Medium Format' started by Ricochetrider, May 8, 2020.
Bronica s2a 75mm 2.8 nikkor w/# 4 close up lens Ektar 100
Fuji GX617, 90mm, Kodak Portra:
Fuji GX617, 90mm, Kodak Portra:
amiya 645 DF+ 120mm T/S, Phase One P45. Lens tilted down:
7-23. From my files of Yester Year...2014. Agfa Isolette 2. Aloha, Bill
No idea why this came out so tiny, but here's the full sized version, along with a 2nd shot of the car
Fuji GX617, 180mm, Kodak Portra:
I've shot a lot of portraits with medium format, mostly black and white. This one with the Yashicamat
Toorongo Narrows (I & II)
on the Toorongo River, Noojee, Victoria, Australia. June 2019
Pentax 67 + RVP50 w/ KSM-CPOL (@+0.6). SMC-Pentax 67 45mm f4, multispot metered (MWA w/+2.0 FF and +0.5 baseline shift)
Printed 12x16" Kodak Endura Professional metallic. Ed. 1 MGCF, sold to Singapore priv. col.
( I )
Lete's pause here and see how the same pretty scene looks in "Pro" mode on my phone. What you reckon? True dinks, it looks very ... bland, on first sight, but then, all things change (a lot!) when you bring out a proper camera under proper pro control!!
On Blanket Bay, Evening
Great Otway National Park, Victoria. October 2018
ZeroImage 69 multiformat pinhole camera; Provia 100F, multispot metered with extended exposure shift (2 minutes).
Printed 20x20cm Kodak Endura Professional metallic. In priv. col.
Loneliness of a long-living plum-tree
Dog Rocks, Batesford, Victoria, Australia.
Pentax 67 + RVP50 w/ 90mm f2.8 UV(0) multispot MWA metered.
Printed 12x16" Kodak Endura Professional metallic. In priv. col.
This very old, weather-beaten prickly plum is the sole remaining tree standing where once a granite quarry
was worked very close by. It stands on an isolated high granite plateau, surrounded by modern
new homes, so this is not a 'wilderness' shot, but I've tried to make it so! I had to get down low
and dirty so as not to include distant HV power lines, TV antennas and wandering stock behind the rocks!
Mamiya RB67 Pro SD 180mm Tri-X
Rolleiflex K4B (75mm f3.5 Tessar with yellow filter); HP5+ in D76.
House of Midnight Oil
Burra, South Australia.
Pentax 67 + RVP50 w/ 165mmLS multispot MWA metered.
In priv. col.
'The House of Midnight Oil' is an 1864 settler's ruin 4km outside the old copper and tin mining town
of Burra in South Australia. A heavily stylised and distorted image of this ruin featured on
Midnight Oil's 1987 album, Diesel and Dust. The ruin is on the bucket list of many international travellers
passing through South Australia.
These are crazy cool shots. Really nice. Too bad drum scans have fallen out of vogue because all the photos I've even seen that were drum scanned look SO great.
I'd actually LOVE to have a drum scanner and learn how to use it well.
Again, from the Yester Year files. Aloha, Bill Mamiya C330 & 85mm
Thanks for your comment. It is a beautiful place and almost like it was made to be photographed
The prints themselves are far and above way better to look at than the scans, which are not optimised for web viewing (only print production). I think the drum scan ship has sailed. Realistically, we have only 5-6 more years of productive use of drum scanners of any persuasion, as spare parts, so critical to their continuing reliable operation and upkeep, are becoming harder to find. By the time they go the way of the dodo, I will have fully retired and wouldn't care too much (photography will not feature in my retirement!)
one of my "sheltering in place" photos from the past few months of shooting around the house. Kodak Ektar 100, Hassy 500cm, probably the 80mm Planar lens
Mamiya 7II, 43mm, Fuji 160NS:
Mamiya 7II, 43mm, Kodak Portra:
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