View allAll Photos Tagged F32
Near Yarncliffe Lodge, Hope Valley, Derbyshire.
Linhof Technikardan S45
Rodenstock Grandagon-N 4.5/90
E82/112 center filter
2mm front fall
2° rear backward tilt
f32
1/2 second
Kodak Portra 400
Gitzo GT3532LS
Arca-Swiss Z1
Lab developed
Digitised with DSLR using 9-shot stitch
Note: my images are processed to appear correct on a calibrated, professional grade colour-accurate monitor set to Adobe RGB output / 6500 K temperature / gamma 2.2. Many consumer grade screens (particularly mobile phone screens) at default settings will display these images with too much saturation and contrast, so please bear this in mind when viewing on such devices.
(Best viewed fullscreen in the lightbox)
La Verne Car Show
Custom Built from Scratch
www.motortrend.com/features/0801sr-dennis-decampos-f32-ro...
Oak Branch (Hyons Wood). Toyo 45a with Nikkor 210mm, 5 sec @ f32, Ilford FP4+ in Ultrafin @ 1+10 for 8 min @ 20C
Moskva 5
Industar-24 105mm, f3.5-f32
Ilford Pan F 50
Kodak HC-110
Epson V550
I've said it before but, I really like the Moskva a lot.
Nice thing about old folders is the ability to get an easy double exposure. Flipping the City isn't exactly cutting edge creatively, but I did like the cars going by...I think it added just enough to make the image interesting.
Toulouse coucher de Soleil depuis les toits - La Grave, les Jacobins et le Donjon du Capitole. Sunset from the top
Toyo 45a with Rodenstock 150mm and Horseman 6x12 back, 1 sec @ f32, Ilford Pan F+ in HC110f @ 1+79 for 9 min 30 sec @20C
A false flower beetle (Anaspis sp.) on a wood anemone (Anemone nemorosa) with pollen having ended up in all sorts of places.
Part 1 with it moving closer to the edge of the petal here: www.flickr.com/photos/tinyturtle/33616057288/
Selasphorus platycercus
ORDER: Caprimulgiformes
FAMILY: Trochilidae
Colorado Springs, CO
www.allaboutbirds.org/guide/Broad-tailed_Hummingbird/over...
Fallen Tree and Echo, Hyons Wood, Walker Titan SF with Rodenstock 150mm Lens, 1 Sec @ f32, Hp5+ in Ultrafin
This happend mid to end of October, right on my freakin' balcony, ..and has a few question marks around it!
First, I can't even recall why I was up at that time, there was zero intent to catch a sunrise, and it didn't even look like it at all, it was all grey and dark, ..until the clouds opened up just enough for our space heater to shine through.
Since this was a matter of minutes or seconds really, I grabbed the next camera body with whatever was attached to it; luckily it was my beloved 180mm AI-S prime on the D7200 (DX), just what was needed.
What about the strange panoramic format? It's not a panorama or cropped that way. How I messed up here is not clear to me either, but I figure it had something to do with the mode the live view was in.
I usually shoot using the viewfinder whenever I can, cause that's what I like and do, but it's not a good idea to shoot directly into the sun with effectively 270mm at f/2.8 (mechanical coupling), at least if you care about your eyesight.
So I stopped all the way down to f/32, to perhaps handle the light as is and / or create a sunstar or something and switched to live view.
It was clearly a pretty rushed situation, so I didn't expect much or anything really, cartainly not such a smooth and colorful halo arouond the sun, or that the crow decided to be in the frame. The light was great and golden, but the camera for sure put it's own spin on the whole scene; the format, ISO800 with 1/5000sec ..what?, the color palette resp. white balance in general etc., so I basically left it as it is.
Nikon D7200 (APS-C crop sensor / DX)
NIKKOR*ED 180mm f/2.8 AI-S prime
ISO800, 180mm, f/32, 1/5000s (-1 EV)
(thus 270mm full frame equivalent)
single image, handheld, hastily..
Bolehill Quarry, The Peak District, Derbyshire.
Linhof Technikardan S45
Schneider-Kreuznach Super-Symmar 5.6/110 XL
20mm front fall
1° front left swing
f32
2 seconds
Fuji Acros 100 (EI 50)
Gitzo GT3532LS
Arca-Swiss Z1
Self developed in Pyrocat-HD 1:1:100 at 22 °C for 14 mins (minimal agitation) using a modified Paterson Orbital
Digitised using 16-shot pixel-shift capture
Toned
Best viewed fullscreen in the lightbox (Press L + F11)
Venus 15mm F4 1:1 wide angle macro lens. Taken with a 70D on tripod. Natural light. Good sharpness even at F32! I will post link to other FULL RES shots at F11, F16, and F22 in comments.
F22 shot: farm4.staticflickr.com/3835/19438027586_3a2701a971_o.jpg
F16 shot: farm1.staticflickr.com/544/19464182965_98d63026e7_o.jpg
F11 shot:
Close up usually limits on depth of field because of the short distance between the lens and the subject.
Suppose you do not want to use F22, F32 or F64 to maximize your depth of field for the sake of composition. Where will you put the focus point on this flower close up?
I use manual focusing most of time in macro shooting and I believe you can see where is my focal point in the shot.
I would like to see the choice from you. Please add a note in the picture to indicate your choice of focus point. Much appreciated.
Happy Tuesday!
Bretagne near Menhirs de Kerfland, Plomeur
Intrepid 4x5
Portra 160
Schneider-Kreuznach Symmar 150mm/f5.6
@ f32/16s
Epson Scan
Negative Lab Pro v2.2.0
The muted colors - flickr's way of applying a sharpening layer. I only did a minor crop.
Nikon D300 Shutter: (1/60) at f/3.2. ISO 200. Lens: AF-S VR Micro-NIKKOR 105mm f/2.8G IF-ED.
Strobist info: SB-600 fired using SU800. Manual Power at 1/60. Diffused using Gary Fong - Whale Tail
Processing None.
Graflex Pacemaker Crown Graphic
Date: 16-01-2015
Time: 7:15
Lens: Schneider Kreuznach 90mm f8 Super Angulon
Aperture: f32
Shutter: 1/4
Film: Fuji Pro 160NS
This is a somewhat recent shot. How surprising is that? It is also the first shot I'm posting taken using my new Grafmatic back that my wife kindly bought me for Christmas. For those who don't know this is a film back that holds six sheets of film and allows you to quickly cycle through them. Very cool.
This was taken the morning after nearly killing my truck on the way in. Ruptured oil line and brake lines. On top of that an almost sleepless cold damp night. I set out in low spirits but the unexpected sights that morning soon turned my mood around. This was shot number 5 out of 6 from the Grafmatic. Also my first time shooting the lovely Fuji Pro 160S emulsion in large format.