royfisher

Nikon D200, 2019

Nikkor 180/2.8 AIS on Nikon D3

TTArtisan 100/2.8 on Sony A7II

Summer-flowering vine (taken yesterday) Nikkor 180/2.8 AIS, PN-11 extension tube, Nikon D3

TTArtisan 100/2.8 triplet on Nikon D3

TTArtisan 100/2.8 triplet on Nikon D3.

Have a Nice Day Nikkor 180/2.8 AIS on Nikon D3.

Nikkor 180/2.8 AIS on Nikon D3.

Nikkor 200/4 AI on Nikon D3.

4 in. Goerz RD Artar (c. 1954) on Nikon D3.

From Kodachrome 25.

Nikon D3, Tokina ATX 90/2.5

150mm Apo-Ronar on Nikon D3

That's a software problem. It's doing a mediocre job of calculating the rotated pixels. It's possible that when exporting the image (to a JPEG, for example), the software might do more accurate (slower) calculations and the image would look as expected. There's a lot of better software available these days, though. If the file were bad, there would be areas of noise, the file just wouldn't load at all, or the software would present an error message or maybe lock up. I still have good files on 5.25" floppy disks from the mid-1980s! (Not recommending this, though.)

Driffield wrote an article* that was published in 1903 (more than three decades before Photography Today) in which he describes exposing for the darker values and adjusting development to accommodate the lighter ones. There aren't any catchy phrases in this article; nonetheless, a version of "expose for the shadows and develop for the high values" is expressed: "[T]he deepest shadow of a correctly-exposed negative is necessarily represented by a certain deposit of silver." "The development factor [...] for an interior requires to be less than that for an open landscape, in order to adapt their respective light-intensities to the range of the paper upon which the print is to be made." * Vero C. Driffield. "The Hurter and Driffield System," The Photo-Miniature, Vol. V., No. 56, November, 1903. Reprinted in The Photographic Researches of Ferdinand Hurter & Vero C. Driffield, Royal Photographic Society of Great Britain, 1920, pages 306, 314, and 301 (below). Adams quotes a line from this article in the front matter of The Print (1950): "The photographer who combines scientific method with artistic skill is in the best possible position to produce good work."

Abelia x grandiflora. Nikon D3, Tokina ATX 90/2.5.

It took three hands to count all of them.

Nikon D3, Nikkor 200/4 AI