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Fun with MF images 2024
- Thread starter MGrayson
- Start date
f6cvalkyrie
Well-known member
While SWMBO went shopping, I had a moment to shoot these ventilation pipes on the roof of the shopping center ...
Stay safe,
Rafael
Phase One DF - IQ140 - Mamiya 300/4 APO
Stay safe,
Rafael
Phase One DF - IQ140 - Mamiya 300/4 APO
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tenmangu81
Well-known member
Nice picture. I've seen that it's at 1/80, so I guess it's with a tripod, isn't it ?While SWMBO went shopping, I had a moment to shoot these ventilation pipes on the roof of the shopping center ...
Stay safe,
Rafael
Phase One DF - IQ140 - Mamiya 300/4 APO
tenmangu81
Well-known member
Following the series by Stanley 
Hasselblad X1D II
XCD90 f/3.2
Hasselblad X1D II
XCD90 f/3.2
f6cvalkyrie
Well-known member
Oh yes, I very rarely shoot the Phase One camera without a tripod ...
MGrayson
Subscriber and Workshop Member
Two shot pano of nice enough tree with X2D, XCD 28P @ f/9.5. But it's a great example of "inverse looming". You know those old architectural shots where the top of the building looks distorted, enlarged, and like it's going to fall on you because it isn't foreshortened by perspective? We'll do that to the base of a tree.
This is the normal vertical sensor shot. The tree actually looks pretty typical, even though it's being seen through a very wide angle lens - essentially a 21mm shift.
But if we center on the upper half of the tree and correct around that, we get a really interesting view. See the looming of the base and buildings?
These are both "correct", but have very different feels. I kind of like the second one.
Sigh, if it's not a cat, it's a lecture. Honest photos. Any day now. Really.
Matt
Ok. This counts. Sunset reflection. X2D, Mamiya 645 300/5.6 ULD @f/8. Underexposed 2 stops to keep the windows from blowing out.
That noisy pattern right in front of the windows is actually the foreground foliage which is in focus. I tried it both ways, and found the buildings weren't nearly as interesting as the branches. Here's a crop (a 2000mm lens would have gotten just about this. I had an 8" Schmidt-Cassegrain once...)
This is the normal vertical sensor shot. The tree actually looks pretty typical, even though it's being seen through a very wide angle lens - essentially a 21mm shift.
But if we center on the upper half of the tree and correct around that, we get a really interesting view. See the looming of the base and buildings?
These are both "correct", but have very different feels. I kind of like the second one.
Sigh, if it's not a cat, it's a lecture. Honest photos. Any day now. Really.
Matt
Ok. This counts. Sunset reflection. X2D, Mamiya 645 300/5.6 ULD @f/8. Underexposed 2 stops to keep the windows from blowing out.
That noisy pattern right in front of the windows is actually the foreground foliage which is in focus. I tried it both ways, and found the buildings weren't nearly as interesting as the branches. Here's a crop (a 2000mm lens would have gotten just about this. I had an 8" Schmidt-Cassegrain once...)
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lookbook
Well-known member
... that's why we love Mr Grayson. Really!
MGrayson
Subscriber and Workshop Member
Thank you! I will try (unsuccessfully) not to let it it go to my head.
f6cvalkyrie
Well-known member
I am still trying to get consistent results with the Mamiya SF 145/4 while we have lots of flowers in the gardens ...
Keeper rate is slowly going up ... the good thing with digital photography is the speed of seeing the results of what your doing : shoot two shots, go to the "darkroom" en check cq edit on the computer, go back to the garden and correct if necessary ... all in say 5 minutes ...
I really wonder how photographers did that in analog days ... between shooting and seeing the results were easily several days ...
Anyway, here's one I shot today ...
Stay safe,
Rafael
Phase One DF - IQ140 - Mamiya 145/4 Soft Focus C
Keeper rate is slowly going up ... the good thing with digital photography is the speed of seeing the results of what your doing : shoot two shots, go to the "darkroom" en check cq edit on the computer, go back to the garden and correct if necessary ... all in say 5 minutes ...
I really wonder how photographers did that in analog days ... between shooting and seeing the results were easily several days ...
Anyway, here's one I shot today ...
Stay safe,
Rafael
Phase One DF - IQ140 - Mamiya 145/4 Soft Focus C
alistairsimmons
Well-known member
Sheep skull found alongside the River Dee while fishing in North Wales. Boiled, bleached, and then focus stacked with the GFX 100S.
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tenmangu81
Well-known member
This is an other story, and I don't know where to post it, here or in the thread "Printing and Output". Well, now it's here !
The story is that I discovered on a website a chemical printing process implemented by the Fresson family (in France), first for black and white in 1899, then for colour from the middle of the last century. This legacy chemical process is unique in the world (I think) and I find it wonderful, at least for some suitable images. It was used by many first rank photographers, such as Martine Frank, Frank Horvat, Lucien Clergue, and is still used by Sarah Moon, Bernard Plossu....
Below is an example of this "Fresson process", through a picture taken by Bernard Plossu in Giverny (home of Claude Monet after his fifties).
I made the picture below yesterday evening (Hassy X1D II + XCD90 f/3.2), in the little harbour of Playa San Juan (Tenerife, Canary Islands, Spain). I have tried to recover the "Fresson" feeling, but I think I am still far from that. It illustrates perfectly the difference between the digital photography processed by an "amateur" and the legacy handwork developed for more than a century by a profesional workshop providing its "know how" and services to the best photographers.
Thoughts ?
The story is that I discovered on a website a chemical printing process implemented by the Fresson family (in France), first for black and white in 1899, then for colour from the middle of the last century. This legacy chemical process is unique in the world (I think) and I find it wonderful, at least for some suitable images. It was used by many first rank photographers, such as Martine Frank, Frank Horvat, Lucien Clergue, and is still used by Sarah Moon, Bernard Plossu....
Below is an example of this "Fresson process", through a picture taken by Bernard Plossu in Giverny (home of Claude Monet after his fifties).
I made the picture below yesterday evening (Hassy X1D II + XCD90 f/3.2), in the little harbour of Playa San Juan (Tenerife, Canary Islands, Spain). I have tried to recover the "Fresson" feeling, but I think I am still far from that. It illustrates perfectly the difference between the digital photography processed by an "amateur" and the legacy handwork developed for more than a century by a profesional workshop providing its "know how" and services to the best photographers.
Thoughts ?
MGrayson
Subscriber and Workshop Member
You have much more detail at smaller scales in your image than in the Plossu. I think the stippling, which looks great on the sky, rocks, and water, is a bit coarse for the boats - giving them an OOF feel rather than a textured one. It's very interesting!
Matt
From what I have seen and learned about the Fresson process, the results can vary depending on many factors. And much of it is a closely-held secret by the family. However, the prints all seem to have a dreamy, moody quality which may not be appropriate for the digital example shown. Maybe the effort to reproduce the look should be applied to a more appropriate subject.
lookbook
Well-known member
... i think the attempt is going in the right direction,
but try it with a motif that has larger areas, is not so small-scale and has a more diffuse lighting mood ...