Schelde meersen te Gentbrugge, Flanders, Belgium.
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Hasselblad 500C/M + Distagon C 50mm T* on Ilford HP5+ at box speed in FX-55 for 16min at 21°C, dry scanned on Epson 750.
Pleasant colors and picture.
On the banks of the tide sensitive part of the river Schelde (L'Escaut) near Sint-Amands, Flanders, Belgium.
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Linhof Technorama 617S and K2 filter on Ilford HP5+ in E-76 1+1
Way to really show off Provia. Great use of color and nice composition. I like this.
Mamiya 7ii, Acros 100, orange filter, 2 stop ND gradView attachment 327467
I was given a cassette of ROLLEI RETRO 400S which I found out is an 'Aerial Survey film', contrasty and with extended RED Sensitivity so I experimented with different developers. First cut length in my Home-Made FX-37 diluted 1+9 showed lack of shadow details and high highlight contrast so I mixed some DIAFINE 2-Bath to a Formula in my notes and gave 5 mins in each -- I got 400ASA and better negs. I also tried a YELLOW and RED Filter CAMERA : CHINON CG-5 + 50mm f1.9 auto-Chinon lens
NO FILTER
ROLLEI RETRO 400S Test 04 No Filter by Peter Elgar, on Flickr
YELLOW FILTER
ROLLEI RETRO 400S Test 05 Yellow Filter by Peter Elgar, on Flickr
RED FILTER
ROLLEI RETRO 400S Test 06 Red Filter by Peter Elgar, on Flickr
ROLLEI RETRO 400S Test 08 Red Filter by Peter Elgar, on Flickr
This is a nice picture. It gets my eye to move around to take it all in. The good thing about it is that you could also crop it into a few other nice closeups as well.
On the way to the Pierre Percé, Précy-Le-Moult, Yonne, France
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Hasselblad 500 C/M with Planar 80mm + orange filter on Bergger Pancro 400 in Berspeed 1+1, dry scanned on Epson 750.
I have to shoot on 400ASA film, even in plain daylight, and when using a (orange-) filter which is 'eating' stops, as my hands aren't that stable anymore after a health issue, the weight of a Hasselblad isn't sufficient to compensate, and a tripod is too cumbersome to lug around...
The image was 'prepared' in LRC: a little sharpening and no noise reduction nor added grain structure, and no interfering in the contrast, just 'opening' the shadows a little and somewhat reducing the highlights.
Still to grainy for a 400ASA film/developer combination, but an interesting tonality, for a contre-jour anyway...
On the other hand, grain, and emulsion structure, are so inherent with the kind of film is used, that it is questionable to try to 'hide' it as it is part of the message...
But I will no more shoot Bergger...
Sorry to hear about the health issue. I have trouble with my right arm and now almost always use a monopod, even in full daylight.
If you use a monopod, it is useful to have a ballhead or something similar on it.
That permits having the camera vertical, while the monopod is angled to put the camera back into your centre chest (WLF) or forehead (eye level finder).
Essentially it helps you make a tripod out of the monopod and your legs.
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