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The 2020/21 film challenge - Signup (and outtakes)

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Bob J View Drop Down
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Post Options Post Options   Quote Bob J Quote  Post ReplyReply Direct Link To This Post Posted: 05 October 2020 at 16:15
Originally posted by Howard_S Howard_S wrote:



Will light leak around the ground glass when the mirror is up?


Looking at the negatives hung up as they dry out you may well have a point! However, There is a chance that I might get something out of it, although I might need to do it as one third of the whole roll of 36, rather than half-and-half...
 



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Post Options Post Options   Quote waldo_posth Quote  Post ReplyReply Direct Link To This Post Posted: 05 October 2020 at 17:53
Here are two outtakes from the beginning of an Adox CHS 25 film - unfortunately later on the camera's battery of the light meter failed and produced a large number of underexposed images - probably due to early exhaustion.

#1 Copper beech



#2 Arcade (Charlottenhof Castle) - @ F/1.4


Leica M5 with 7Artisans F/1.4 28mm for Leica-M
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Bob J View Drop Down
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Post Options Post Options   Quote Bob J Quote  Post ReplyReply Direct Link To This Post Posted: 08 October 2020 at 13:36
I've just been preparing my next film which was taken on my Dynax 5.

Here's the strange thing, when I was looking up the frames to put in the labels, the last frame is frame 37.

Now - the Dynax 5 is set to rewind automatically after 36 shots, so I'm puzzled as to how it has given me 37... There was a theory that if the DX coding on the film canister showed that it was a 40 exposure film the DX cameras might squeeze out more until the film resistance caused a rewind, but the roll of Agfa APX 400 I was using is DX coded for 36 exposures...
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Post Options Post Options   Quote MiPr Quote  Post ReplyReply Direct Link To This Post Posted: 13 October 2020 at 19:03
Yo! Film challenge, And did not miss it ;) and I was thinking about de-dusting my 800si. Ha!
I'm noise-blind. And noise-about-noise-deaf too ... |   BTW, Dyxum Weekly Exhibitions don't grow on trees ...
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Bob J View Drop Down
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Post Options Post Options   Quote Bob J Quote  Post ReplyReply Direct Link To This Post Posted: 13 October 2020 at 19:09
Originally posted by MiPr MiPr wrote:

Yo! Film challenge, And did not miss it ;) and I was thinking about de-dusting my 800si. Ha!


The 800si! King of the 'slightly visually challenged' SLRs!
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Post Options Post Options   Quote bonneville Quote  Post ReplyReply Direct Link To This Post Posted: 18 October 2020 at 16:42

After my near disaster developing my first roll from the Dynax 9 I have outtakes to share. These were close to the end of the roll when I must have let some light in trying to get the scissors back in the darkbag! I have tried to salvage something in post in Affinity Photo.

Roll #2: Minolta Dynax 9 with Minolta AF 28-135 - FP4plus

2.outtake1


2.outtake2


2.outtake3


I learnt a lesson or two with this roll!

 



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Post Options Post Options   Quote pegelli Quote  Post ReplyReply Direct Link To This Post Posted: 28 October 2020 at 15:51
Some more colour results from my experiment with Porta 160 in my Minolta 505 si super. The 12 keepers were posted here, but those were based on low resolution lab scans (about 1.5 MP). I have now scanned the whole film on my Epson V700 to about 7 MP and then "inverted" by the Negative Lab Pro plug-in in Lightroom.

Porta 13: Oosterschelde dam

Minolta 50/1.4


Porta 14: Sulphur fungus on a dead tree stump

Minolta 35/2


Porta 15: Dynamic range test (it's much harder/impossible to extract a lot of shadow detail from film)



Porta 16: WW2 bunker (on the site of a pre WW1 redoubt)

Minolta 70-210/4 (beercan)


Porta 17: Small flowers

Minolta 100/2.8 macro D


Porta 18: Dahlia

Minolta 100/2.8 macro D


Porta 19: Fort Flemalle, people inlet

Minolta 17-35/2.8-4 D


Porta 20: Fort Flemalle, air inlet

Minolta 17-35/2.8-4 D
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Post Options Post Options   Quote eddyizm Quote  Post ReplyReply Direct Link To This Post Posted: 03 May 2021 at 19:18
Originally posted by Howard_S Howard_S wrote:

I've been doing my first tests with the Pixl-Latr as the basis for scanning with my A7 III and a macro lens.

Brian (@bonneville) pointed me towards using a light table, being quite a bit brighter than an iPad.



You can see here that the Pixl-Latr can work with 35mm film, but I suspect it will be better for me when I get to 120 roll film. It's quite fiddly to use - the film slips easily and it's a painstaking process putting the negative in, aligning the device and light table to the camera.




As I don't have a camera stand I can stack light table (pane?) & Pixl-Latr vertically between a book and my now redundant iPad and shoot horizontally. The A4 light table and Pixl-Latr are too wide to fit between the legs of my tripod if I shoot downwards with my macro lens (Sigma 70mm F2.8 Art) - there isn't much distance between negative and lens!

Here's the result: the source is Kodak Gold 200, outdated; captured in RAW in the camera; inverted in Photoshop and auto adjusted there; converted to TIFF (23 MP) and further adjusted in Lightroom using the LR Modern 04 profile.



Snappy Snaps processed the original film and scanned the negatives (all 36 of them) in around 30 mins. Worth the few pounds!



The 6MP JPG was post-processed with no special profile, but I did use gradients to lighten the shadows and bring out the clouds.

I would not enjoy the prospect of digitising 24 or 36 exposures using this method, but I think it'll make a difference for medium format film. And if I ever get to make 5x4 negatives, I'm sorted!





Outstanding ! I'm looking at getting a lightpad to do the very same thing but it sure seems tedious.

What is Snappy Snaps? Just googled Pixl-Latr which seems great too. I'm struggling right now with my old epson scanner so looking at other options.
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Post Options Post Options   Quote Howard_S Quote  Post ReplyReply Direct Link To This Post Posted: 03 May 2021 at 19:44
Snappy Snaps is a High Street shop here in Britain that does on the spot film and digital photo processing.

They usually have Fuji film processors and for around £10 they offer processing, scanning, and digital delivery. When I went in they did the job in just over 35 mins and I knew it was done when I got a WeTransfer notification on my phone!

I haven't used the Pixl-Latr since I did the photo you quoted here. It might come in useful when I next get to put a film through my Autocord. Tedious is the worf when you're handling 35mm film or smaller, but for one-offs and medium format I think it has its place.
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Post Options Post Options   Quote eddyizm Quote  Post ReplyReply Direct Link To This Post Posted: 04 May 2021 at 01:54
Originally posted by Howard_S Howard_S wrote:

Snappy Snaps is a High Street shop here in Britain that does on the spot film and digital photo processing.

They usually have Fuji film processors and for around £10 they offer processing, scanning, and digital delivery. When I went in they did the job in just over 35 mins and I knew it was done when I got a WeTransfer notification on my phone!

I haven't used the Pixl-Latr since I did the photo you quoted here. It might come in useful when I next get to put a film through my Autocord. Tedious is the worf when you're handling 35mm film or smaller, but for one-offs and medium format I think it has its place.


ah ! I looked up that product and it looks like its UK based. Considering that option. Thanks for the info!
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Post Options Post Options   Quote bonneville Quote  Post ReplyReply Direct Link To This Post Posted: 04 May 2021 at 14:01
Look who has come to stay







You don't see many of these little fellas, and amazingly it was only for the Japanese market and cost less than the all black one when new! This one is mint and will host my next roll of HP5plus

Edit: it differs from the black one in that it does not have an exposure lock capacity.

Edited by bonneville - 04 May 2021 at 14:06
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Post Options Post Options   Quote Howard_S Quote  Post ReplyReply Direct Link To This Post Posted: 04 May 2021 at 15:06
Excellent. Easy to do stereo as you can always tell which camera is which ...

(I had two black ones, and one has '3' painted on the back.)
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Post Options Post Options   Quote bonneville Quote  Post ReplyReply Direct Link To This Post Posted: 04 May 2021 at 15:40
Originally posted by Howard_S Howard_S wrote:

Excellent. Easy to do stereo as you can always tell which camera is which ...

I hadn't considered the stereo option, until now. I only have two MD lenses though, a 50 f1.7 and a 70-210 f4 that has never been out of its original box. I bought it as a job lot, with the motordrive 1 and the black X700, years ago from a private seller in Bedford who had bought them all new but lost interest before he started in photography as it was "too difficult". Can't remember how much I paid but it wasn't much and my only camera at the time was the a100.

I suppose another 50 1.7 is the obvious route. I already have a grip and cross bar large enough for both x-700 cameras that will mount on a tripod. I cannot find a Minolta specific double shutter release cable online but the Pentacon model seems to have the same screw thread. What do you think? Then it is a simple matter of shooting, developing the two films (remembering which is left and which is right ), digitising the negatives and processing the pairs of images before firing up the windows pc and doing magic with SPM. What could possibly go wrong?

Good idea though Howard. Thank you.
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Post Options Post Options   Quote Howard_S Quote  Post ReplyReply Direct Link To This Post Posted: 04 May 2021 at 17:13
I'm looking at the remote shutter release socket, but I have never used that. The official Minolta release cord looks like this



Far be it from me to set you off down a rabbit hole, but according to the X-700 manual

WIRELESS CONTROLLER IR-1 SET
The IR-1 infrared transmitter/receiver set lets you trigger the X-700 from up to 60m (about 200 ft.) away for remote-controlled single-frame exposures, continuous sequences, or time exposures. When used with extra receivers, the three-channel transmitter   enables    independent operation   of   up   to   three   cameras   or   groups   of cameras, or simultaneous operation of an unlimited number of cameras.


Where you would find one transmitter and two receivers, I don't know.

I think all-in-all it might be easier to use one camera and take sequential photos (cha-cha method) and then get SPM to work on that.
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