View allAll Photos Tagged 2.8
70-125mm f/2.8 ELMO @ f/2.8 (fixed, wide open)
This is a projector lens I adapted to use it on my Nikon camera. Although technically it is a zoom lens, the lens is terrible at the wide end so I treat it like a prime lens set to 125mm only with a set screw.
Assif Melloul valley, central High Atlas mountains
Pentax MX, smc Pentax-M 1:2.8 100mm, Ilford HP5 film/ID-11 1+3 developer
Great Western 2884 Class 2-8-0 3802 takes water at the tank north of the station at Loughborough. It's only when you stand back do you get an idea how massive these engines are.
Churchward introduced the 2800 Class in 1903 - the first 2-8-0 locos in the UK - and further members were built by Collett in 1938-41 with minor modifications as the 2884 Class. The most obvious difference is the side window cab. The class lasted in service until 1965 and 3802 was one of the last being withdrawn in August from Bristol Barrow Road shed.
3802 is currently paired with a 4,000 gallon Collett tender instead of the usual 3,500 gallon Churchward tender. This seems to upset some people but I think it looks fine and it does give a bit more protection to the crew when running tender-first.
Nikon F3, Nikkor 35/2.8 AI, Arista EDU 100@800, push +3 development, HC-110/dil. B, 15min. Negative digitized with Nikon D700, AF Micro-Nikkor 60/2.8 D, ES-2, CS-LITE
LMS 2-8-0 Class 7F No 53806 (aka No 53809) approaches Swanwick Junction from Butterley Station and passing under the signal gantry with a lengthy mixed goods working from Hammersmith to Ironville at the Midland Railway Centre.
This was a charter event organised by Freight Train Productions (FTP) on 15th February 1993.
Copyright Photograph Robin Stewart-Smith - All Rights Reserved
Pentacon Six TL w/ Carl Zeiss Jena Biometar 120mm f/2.8 and Ilford FP4+ @ EI 400/500 (Kodak Xtol 1:0, Ilford rapid fixer). f/4, 1/250s. Epson V600 and EpsonScan @ 4800 dpi, downsized to 2400 dpi. Retouched and cropped.
I set the meter on the camera to 400 but developed as 500. Crushing the lighlights is rarely something you have to worry about when you're pushing film, so some extra time will just bring out whatever there is on the shadows.
I really like how FP4+ handles a 2 stop push. Sure it's contrasty, but it's not like Tri-X at 1600. But it really helps having dull and soft light.
The location was the water treatment plant in Lund, because my buddy Diane from Munich wanted to shoot something near the water in my landlocked city, Lund.
Model: Caroline Wollberg (Sweden Models Agency)
Olympus OM-1 w M.Zuiko 12-40/2.8 Pro
ISO200 f/2.8 12mm -3 and 0ev
Two frames raw developed in DxO PhotoLab 8, stacked in Affinity Photo 2, Blended in ON1 PhotoRaw 2025, colour graded in Nik 7 Color Efex and finished off back in PhotoLab.
Shell Cove Marina, Shellhabour, NSW
It was today morning, is really sweet see this wen we wake up...
Did listening "Andy Mckee" (album "art of motion"), but I guess this look more like "A Fine Frenzy".
300mm 2.8 L
i tend to really love going around with my 300mm, it's heavy like crazy, but when i see what it's capable of, it helps me make a choice. the Leica x1 has been staying at home these last days. but it's temporary, like everything else in photography right?
i haven't been tempted by any new lenses lately. but i am slowly becoming tempted by the canon 200mm 2.8 L. true it's not having IS so i'm still wondering if it can replace the 300mm at times. but it's probably the lens that will give me the most similar results, without the weight...
sorry about the noise in this one. i forgot to have a pass done in Camera RaW. and then it was too late as i had processed a lot of tiny bits here and there as well as the balance, all on the initial shot with noise. when i tried to reobtain the same results on the noise free shot, i failed... and failed again, at getting the exact same processing and atmosphere.
-30sec exposure at f/2.8 with headlight and small flashlight used to paint the tufas.
-We had to leave soon after this because of a pack of coyotes!!! That's right, be prepare to run for your life (at least John did) because of wild animals if you do night photography in the wilderness.
-Night photography also aided by near full-moon but at least the Dipper is still visible
I've been meaning to upload a building/sea with a dramatic sky kind of shot, but summer's tend to be so unexciting when it comes to new sky material.
It's also a shame to be visiting all these new abandoned places, and not having either the time or computing power to bring them to life the way they deserve.
But, I'm terribly proud of this shot. I think it evokes an emotion, and would love this as an a0 canvas print.
View the sucker big 'n black, here.
info: 100mm 2.8 Macro 1/250, 430EX held above
vintage suitcase
Taken 23 march 2023
Hasselblad 500 c/m
Hasselblad Planar Zeiss 80mm/2.8
Cinestill 800T
Visita il mio sito web natura 2.8
Cercalo su google o a questo link:
photoenatura.wix.com/gianluca-mariani
Grazie di cuore a tutti coloro che apprezzeranno questo scatto.
Tutte le mie immagini sono coperte da copyright e non possono essere usate in alcun modo senza il consenso dell'autore.
Yard macro.
Panasonic G9 with Laowa 50mm F/2.8 2X macro and diffused Godox TT350o flash.
No AI was used in the creation or post-processing of this photo - nor for any of my other photos posted here on Flickr.
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P1093942_RCrEtc3
This photo was taken from the edge of Atlin Lake which is the largest natural lake in British Columbia and a part of what we in Yukon refer to as the "southern lakes," Atlin, Tagish, and Marsh being the three that come immediately to mind. All are large impressive wilderness lakes bordered by mountains, and hills. All are large enough to contain many islands both big and small. I took this photo looking across Atlin Lake towards, Atlin Mountain. What you can see here is just a very small part of a much bigger body of water that stretches for many miles to both the right and left--too far to see either end.
This photo was taken with the Olympus OM-D E-M1 and M.Zuiko 12-40mm f/2.8 Pro. Raw conversion and post processing were performed in DxO PhotoLab 5.3.
Nikon D700 + Zenitar 16mm 2.8 fisheye - Explored on May, 2013
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