ggibson
Well-known member
First test roll of Tri-X 400 through my Malefic 6x17, out on the slopes of Mt. Diablo. I'm using a Nikkor 90/8 lens.
First 6x17 by Graham Gibson, on Flickr
First 6x17 by Graham Gibson, on Flickr
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More and more film fun with something other than a Leica M
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ggibson
Well-known member
Thanks, Godfrey! Working with this camera is certainly a learning experience. I had some issues with this film rolling up evenly, and ended up with it curling inside the camera. It was minor in the first couple exposures, and in the image above I had enough to work with to crop it out. This next one though, it extends too much into the central region of the campsite so I published it as-is. Kind of funky, the stuff you only get with analogStunning landscape, Graham!
Campsite with a bend in space-time by Graham Gibson, on Flickr
I have had little time to shoot recently, hope to have some more opportunities to shoot this 6x17. It's tough, as the field of view is quite wide and with only 4 shots per roll, I don't like wasting it. I already loaded my next roll of Ilford Delta 100 to incentivize myself. I like Tri-X 400 a lot for portraits, but I want something more fine-grain for landscapes that I'll be shooting with this camera.
ggibson
Well-known member
Yes, I will take more care with that for this next roll. The film is advanced using a knob that turns the take up spool while viewing the frame number through a window. There is a similar knob on the left that can roll the film roll side--I'll use both in tandem to hopefully keep the film taught.
bensonga
Well-known member
From an annual "Show and Shine" car show here in Anchorage, August 2019. This is from the first roll of film I put through a Nikon F4s I had recently acquired. Finally got around to sending the film off to Dwayne's Photo for development and scanning.
Gary
Gary
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pegelli
Well-known member
Great F4 shots on Provia Gary, especially the reds are spectacular (I mean the photo's and not the car, even though that's very nice as well)
Most of my film stuff is B&W, so no vibrant reds in this post.
Here's three "reflections" in Antwerp, All OM4T + Tokina 35-70/2.8, FP4+, developed in 1-shot 1:1 diluted Microphen to iso 200, scanned in negative form on an Epson V700 creating a 16 bit TIFF and then converted to a positive by the Negative Lab Pro plugin in Lightroom.
Bonapartedok
Grain silo on the Asiadok
Idle river cruisers waiting for better times
Most of my film stuff is B&W, so no vibrant reds in this post.
Here's three "reflections" in Antwerp, All OM4T + Tokina 35-70/2.8, FP4+, developed in 1-shot 1:1 diluted Microphen to iso 200, scanned in negative form on an Epson V700 creating a 16 bit TIFF and then converted to a positive by the Negative Lab Pro plugin in Lightroom.
Bonapartedok
Grain silo on the Asiadok
Idle river cruisers waiting for better times
JoelM
Well-known member
Ah, nice. Makes me miss my 66 GT350 that I sold back in the early 80s.From an annual "Show and Shine" car show here in Anchorage, August 2019. This is from the first roll of film I put through a Nikon F4s I had recently acquired. Finally got around to sending the film off to Dwayne's Photo for development and scanning.
Gary
Joel
Great contrast! I was curious about using the V700. Can't you convert a negative to a positive using the media tab in Epson?Great F4 shots on Provia Gary, especially the reds are spectacular (I mean the photo's and not the car, even though that's very nice as well)
Most of my film stuff is B&W, so no vibrant reds in this post.
Here's three "reflections" in Antwerp, All OM4T + Tokina 35-70/2.8, FP4+, developed in 1-shot 1:1 diluted Microphen to iso 200, scanned in negative form on an Epson V700 creating a 16 bit TIFF and then converted to a positive by the Negative Lab Pro plugin in Lightroom.
Bonapartedok
Grain silo on the Asiadok
Idle river cruisers waiting for better times
pegelli
Well-known member
Thanks jd, and yes, you can also scan towards a positive in the Epson software however the controls aren't as precise and good as the combination of Negative Lab Pro and Lightroom. It takes much less work this way to get to the rendering as I like it. Only thing is that all the controls in lightroom work "backwards" except for contrast and clarity. However if you really missed the mark in Negative Lab Pro you can also go back to those controls as well in a fully non destructive fashion, just like lightroom it's just a series of commands and doesn't change anything to the original file.
Godfrey
Well-known member
A walk at Byxbee Park with the Hasselblad, shooting a roll of Washi-120 W (orthochromatic emulsion on washi rice paper backing).
Pole Farm - Byxbee Park, Palo Alto 2020
Hasselblad 500CM + Makro-Planar CF 120mm f/4 T*
Washi-120 W film :: ISO 6 @ f/5.6 @ 1/4 sec
Transmission Scan
Comments always appreciated.
enjoy! G
Pole Farm - Byxbee Park, Palo Alto 2020
Hasselblad 500CM + Makro-Planar CF 120mm f/4 T*
Washi-120 W film :: ISO 6 @ f/5.6 @ 1/4 sec
Transmission Scan
Comments always appreciated.
enjoy! G
Love this photo! I'm starting to lean towards the "Fine Art" aspect of photography and this really appeals to me. This should be on a gallery wall with a price to match. Nicely done!A walk at Byxbee Park with the Hasselblad, shooting a roll of Washi-120 W (orthochromatic emulsion on washi rice paper backing).
Pole Farm - Byxbee Park, Palo Alto 2020
Hasselblad 500CM + Makro-Planar CF 120mm f/4 T*
Washi-120 W film :: ISO 6 @ f/5.6 @ 1/4 sec
Transmission Scan
Comments always appreciated.
enjoy! G
How do you develop this film and what's a transmission scan?
Godfrey
Well-known member
Thank you!
Washi-120 "W" is produced by Film Washi (https://filmwashi.com/en/) along with a few other interesting films. There are several different ways to process it, chemistry-wise, and the one they recommend uses a paper developer that is mostly unavailable in the USA. So I use Ilford Multigrade Paper Developer, mixed 1:9, for about 4 minutes or so. That nets a ISO rating of between 3 and 6.
The film is essentially very thin rice paper and has no structural rigidity when wet, so they recommend open tray development. I don't have a darkroom so that's impossible for me; I use a 1950s type Kodacraft 120 developing tank with the "lasagna" plastic strip to process it in ... the plastic keeps the paper from folding into a useless little ball. I made a couple of toothpick reinforcements to keep it spread flat for drying in my usual hanging setup in the shower booth. d
A transmission scan is the standard way of scanning or printing a negative: Shine a light through the negative and record it on the opposite side. Because it is thin rice paper, this reveals the structure of the paper... all the fibers, etc. The other way to scan these negatives, because they are essentially negative images on very thin paper when dry, is to use reflected light in a flat bed scanner. This poses a completely different look and feel since you're recording the image along with the reflected paper surface. I'll be posting some examples in a little bit.
Fun stuff. I bought about a dozen and a half rolls of Washi 120 back in 2015 and have been slowly consuming it. I'm going to order another dozen or two. It's really fun, if a bit tricky to deal with. And I love the way the images feel.
G
Washi-120 "W" is produced by Film Washi (https://filmwashi.com/en/) along with a few other interesting films. There are several different ways to process it, chemistry-wise, and the one they recommend uses a paper developer that is mostly unavailable in the USA. So I use Ilford Multigrade Paper Developer, mixed 1:9, for about 4 minutes or so. That nets a ISO rating of between 3 and 6.
The film is essentially very thin rice paper and has no structural rigidity when wet, so they recommend open tray development. I don't have a darkroom so that's impossible for me; I use a 1950s type Kodacraft 120 developing tank with the "lasagna" plastic strip to process it in ... the plastic keeps the paper from folding into a useless little ball. I made a couple of toothpick reinforcements to keep it spread flat for drying in my usual hanging setup in the shower booth. d
A transmission scan is the standard way of scanning or printing a negative: Shine a light through the negative and record it on the opposite side. Because it is thin rice paper, this reveals the structure of the paper... all the fibers, etc. The other way to scan these negatives, because they are essentially negative images on very thin paper when dry, is to use reflected light in a flat bed scanner. This poses a completely different look and feel since you're recording the image along with the reflected paper surface. I'll be posting some examples in a little bit.
Fun stuff. I bought about a dozen and a half rolls of Washi 120 back in 2015 and have been slowly consuming it. I'm going to order another dozen or two. It's really fun, if a bit tricky to deal with. And I love the way the images feel.
G
