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Moose22

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Excellent Jim. Weird light and those great reflections in the foreground.

You're making me want to pull out my tripod and ND filters.
 

Jon Buffington

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From early this spring, overlooking a farm down in the hollow. Middle, TN. Kentmere 400, Minolta xk and either the md24-35/3.5 or the 35-70/3.5. d76, pakon scan
 

pentaxpete

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Felixstowe Suffolk England on a Grey Horrible day for photography ! 1978 Hasselblad 500CM 2017 dated ILFORD XP2 400 super
 

pentaxpete

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foc -- yes - so many Hospital Appointments and it looks like I will have to have Dialysis for my Kidney Function soon !
 

runswithsizzers

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pentaxpete said:
Felixstowe Suffolk England on a Grey Horrible day for photography ! 1978 Hasselblad 500CM 2017 dated ILFORD XP2 400 super
Click to expand...
I just loaded a roll of XP2 Super in my Pentax KX. Do you recommend metering at 400 -- or do you usually choose some other EI?

Mostly, I will depend on the camera meter reading, but in tricky light I will probably check the exposure with an incident reading from my Sekonic L-308.
 

MattKing

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If you are uncertain, it is worthwhile remembering that with XP2 Super, unlike standard black and white film, and within reason, over-exposure will yield more dense negatives and finer grain.
 

chuckroast

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Kenai River, Alaska a few weeks ago:



  • Agfapan APX 100 9x6 taken with a Fuji GW690II
  • Semistand processed for 60mins in Pyrocat-HD 1.5:1:200
  • Split VC printed on a Fomabom Variant 111 VC FB
  • Scan of silver print
I cannot recall for certain, but some in this series were shot through a #29 red filter, and this may have been one of them.
 

Donald Qualls

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runswithsizzers said:
Do you recommend metering at 400 -- or do you usually choose some other EI?
Click to expand...

I've shot XP2 Super at EI from 100 to 1600, and these days usually land on EI 800 -- but I develop with silver retention (aka bleach bypass) to leave the silver image mingled with the dye image. If you're sending it out to develop, I agree and EI 200 will give finer grain without making the automated printing machines unhappy. If you or your lab can push or pull and can do bleach bypass on the pushes, you can go from EI 50 to 3200 with pretty good results.
 

Nokton48

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Fallingwater 2 by Nokton48, on Flickr

An Architectural SHRINE.

Have traveled to Falling Water twice. First time with Nikons, 24PC, 28PC, 35PC, K25 & Velvia50. Also some Technical Pan film.
Second time 4x5 Sinar. Tom Abrahamson said to me "You should have used an 8x10!" LOL
Miss TomA and his wonderful humor.

Sinar Norma
4x5 Efke PL100 developed in PMK Pyro+

BTW there WERE tripod holes around the site..........
 
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Stephen Benskin

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Anon Ymous said:
Very nice. Out of curiosity, how many hours did it take you to get to this result?
Click to expand...

Not exactly sure what you are asking, but I’ll give it a shot.

The image breaks down into two parts: the ground and sky. Most of the work had been to find the right balance between the two. My first inclination on most images is to go toward the dramatic. With time I will walk it back a little. To the best of my recollection, the work on this image probably falls into three stages. First as a work print to explore the possibilities, then as a finished print (it was part of a print offer in Photo Techniques Magazine). Recently, I've been revisiting and reworking images, trying to keep the mood while applying a more subtle approach. Time wise, I worked on it a few hours in the second stage, fiddling with it off and on over time in the first, and it took about 30 minutes revisiting it. The revision stage is actually more like playing than a serious effort at refinishing.
 
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