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© Jeff R. Clow
One of the reasons I upgraded to a Nikon D200 is for better performance and less noise at higher ISO settings. This particular photo was taken at 1600 ISO which is about as high an ISO setting as I have ever shot with any of my cameras....
This was handheld and the shot was taken in a low light moment in our garden with a Nikkor 18-200mmVR lens coupled with a Canon 500D closeup filter. The filter - which fits Nikon and Canon lenses - does a nice job of bringing the details up close and personal. In reality the center of this flower is about the size of a man's fingernail.
At the larger size you can see some noise evident but the details (including the pollen on the stamen) still come through nicely:
Taken 60 miles away at lens max of 105mm then cropped considerably. Location is a freeway overpass with a wide shoulder, saw the mountain and drove to next exit and turned around and came back :)
Canon EOS 5D Mark III
EF24-105mm f/4L IS USM
1/800 sec @ f/4.0
ISO 50
Focal Length 105mm
Post processed in Lightroom, Topaz Adjust, Topaz DeNoise.
Video de l'édition 2015
www.youtube.com/watch?v=122UskNnWqQ
Nikon D90
50mm 1,8 AFD (75mm DX)
iso 2000
F/3,2
1/3 de Seconde
According To The Alchemy Machine
Rail cars shot at EI/ ISO 25 and f/22 to demonstrate motion. Reversal experiment. Cars moving right to left and I swept left to right...
17 year old, expired, vintage, Eastman Kodak 5245 EXR 50D motion picture film shot at EI/ ISO 25. Usually an ECN-2 process film, I haven’t been completely happy with the results of the negatives. So, I decided to try my hand at color reversal with ECN-2 film. There is a lot of mythology about reversing ECN-2 film and not a lot written by those who do it/have done it. I am naïve enough to believe that any film can be reversed. I still think that.
My first attempt at reversing EXR 5245 resulted in great negatives coming out of the first developer and blank negatives coming out of the final wash!?! I have heard of this happening. My immediate theory was something is interfering with the second developer leaving only the first developer (B&W) results which were washed away in the bleach. Or the color developer is dead. Some internet sleuthing deduced that another possibility was that the film was not exposed enough. The film should be overexposed a stop or two (this is controversial), and it should be overdeveloped in the first developer – use a paper developer at fuller strength and overdeveloped in the color developer. I was already using a pretty strong developer from The British Journal of Photography from the 1960s. But not as high a dose, at longer times.
Essentially: BJP Universal Paper Developer
3.2 grams Metol
12.5 grams Hydroquinone
56 grams sodium sulfite
63 grams sodium carbonate anhyd
2 grams potassium bromide
water to 1 liter.
Normal use with film is 1:4 dilution 2 to 4 minutes at 68 degrees F
The first failed development I used this at 1:5 for 5 minutes at 70 degrees F.
The color developer is RA-4 color print developer. In this case it is Fuji EC RA 108 P1-R developer replenisher. I use it concentrated and I usually can dilute it anywhere from 1:14 to 1:29 for negative films. RA-4 developer and E-6 developer are the closest to the native ECN-2 process with their Kodak CD-3 color developing agent. I did not think of it at the time, but process E-6 times might have been better.
The initial process looked like this:
Remjet Prebath (1 minute)
Rinse (4 x )
1st developer (300ml) 80 degrees F for 7 minutes
Stop bath 30 seconds
Wash 3 minute
Remjet removal however
Reexpose 2 minutes
Color Developer (300ml) 6 minutes at 105 degrees F
Wash 3 minutes
Color Bleach 5 minutes
Wash 3 minutes
Color Fix 5 minutes
Wash 5 minutes + fotoflow
Hang to dry
These results are from the second attempt. I extended time, temperature, and dilution for the first developer – 75ml developer to 225 ml of water (1 part dev to 3 parts water), at 80 degrees for 7 minutes. This produced heavy B&W negatives. I forgot to put some potassium thiocyanate in. I also forgot to ensure the pH of the color developer was around 10.59.
Color developer was about 1 part developer concentrate to 11 parts water (25 ml of developer concentrate) at 105 degrees F for 6 minutes (doubling the original ECN-2 development times). Stop is sodium bisulfite bath. Bleach and fix times were extended from ECN-2 times to 5 minutes each.
Results are here. The “slides” were a little dark but they scanned nicely. I eventually scanned them at 48 bit RGB at 4800 DPI. Is that overkill? I dunno, they look like slides, however the dust becomes like coal chunks. More to care for….
Remember if you use this process that I have only tested it once, so far, on well expired, overexposed 50D a couple of generations old. I have no other experience yet, hopefully tonight….
Bronica SQ-A Camera
Bronica 50mm f3.5 Lens
Fuji Neopan Acros 100ASA Film
Rodinal R09 Developer
Ilford Rapid Fixer
Development details on FilmDev
First time using filters on this lens, and it vignetted when I had the UV and red filters on. :(
BTW, that's a glacier!
The original Diamond Corrugation was invented independently by Ilan Garibi and Andrea Russo (who used the name Triangùli in speculo).
I thought I’d make an iso-area version since I haven’t seen anyone publish such a modification yet despite its obviousness. Just like many other iso-area designs, this one also has the nice property of not rolling up: since both sides are same (iso-area), there is no tension difference between the two.
OK, I normally never shoot any camera over ISO 1600, but on this day, December 23rd, I was preparing to call it a night, and opened my back door to let the dogs back in. Just then, my eye caught a glimpse of something sitting on one of the lilac bushes--it's winter in the Yukon so naturally, there were no leaves on the bush, and anything unusual sticks out like a sore thumb. Looking closer, I realised that perched on a branch was a little owl. It was barely five feet from where I was standing on the back porch.
Anyway, I was sure it would fly off when it saw me, but it just looked at me and then kept right on sitting. I wandered back inside and picked up my Canon EOS R, along with one of the fastest Canon lenses I own, an old EF 85mm f/1.8. I quickly mounted it to the body with the Canon EF-EOS R Mount Adapter. Then I cranked the camera’s ISO all the way to 12,800. I know, that's insane, but it was basically pitch black outside except for a little light coming from a single bulb beside my door.
With the camera prepped, I went back outside, Sure enough, the little owl was still there. He still made no moves to fly, but just swivelled his head around to look at me. I walked to within 5 feet of the owl, and took this photo. The lens was set wide open at f/1.8, and I slowed the shutter down to 1/60th of a second. There is no IS on the R and the old EF lens isn't stabilised either so 1/60th was about as slow as I could go.
After taking three or four shots in succession, I came back in the house and processed this image from raw with DxO Photolab 4.1.1, using the DeepPrime noise reduction algorithm. Here is the result. You know, for a photo taken in pitch black at ISO 12,500, it's not all that bad, and what an amazing experience! This is the second time this winter that I’ve been treated to an appearance by one of these little Boreal Owls, and pn both occasions I was able to come away with a very cool photo. To see the other photo, taken in daytime with my Olymus OM-D E-M1, surf back a few weeks in my photostream. I don’t think you’ll be disappointed.
When we are more people sharing a model, I like to lurk around and take some shots with high ISO. I think the color noise makes a nice corny feeling, especially in B&W. This one I kept in colour, though.
In this case I realy like the expression on the models face.
Custom settings: ISO Speed: 400
Self Timer: 2 s
Exposure Bias: -1 EV
Contrast:+ 2
Saturation: +2
Sharpness: +2
Camera ISO: 400
Metering Mode: Spot
Camera:Canon PowerShot SX1 IS
Exposure: sec (1/15)
Aperture: f/4.5
Focal Length: 5 mm
auto bracket : EV [ -1, 0. +1 ]
AEB - Belichtungsreihe
Serie:
hier unterbelichtet um eine Stufe
img_0047
define: auto bracketing:
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Bracketing is a technique used to take a series of images of the same scene at a variety of different exposures that "bracket" the metered exposure (or manual exposure). "Auto" simply means the camera will automatically take these exposures as a burst of 2, 3 or 5 frames with exposure settings of anything between 0.3 and 2.0 EV difference. This can be useful if you're not sure exactly how the shot will turn out or are worried that the scene has a dynamic range which is wider than the camera can capture. On a digital camera this can also be used to combine under- and overexposed images together to produce an image that could only have been taken if the camera had the same dynamic range as the scene, as shown in the example below. More about this in the tonal range topic.
more:
When setting up for bracketing you can usually select the number of frames to be taken (typically 2, 3 or 5), the exposure setting and the order in which to take the shots (eg. 0,-,+ or -,0,+ etc.). It is important to note that the values are exposure compensation values.
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Experiments With Film - 7 (of 10) - Nikon F90X with Sun DC-1 MC 35-200mm F3.8-5.3 Macro Zoom & Fuji ISO 400 35mm Film & Polarizer - Photographer Russell McNeil PhD (Physics) lives on Vancouver Island, where he works as a writer.
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With ISO 50 film you inevitably find yourself shooting with the diaphragm rather wide open and therefore a limited DoF, which can lead to strange effects, such as here: distinctive bubble bokeh.
Silbersalz35 is a German startup that offers Kodak cine film re-packaged in standard 35 mm film cartridges plus development and high resolution scans. Their film is sold in packs of four cartridges.
I tried them once last winter, at the time with four rolls of their 500T tungsten balanced high ISO film.
This time I ordered a pack of four different rolls. This is the ISO 50 daylight balanced fine grain fim. Silbersalz 35 now comes in DX coded cartridges. The DX code would automatically set an overexposure by one stop, but I overrode that and exposed it at ISO 50.
I used the Zeiss Ikon Contarex with a Planar 50 lens for this roll.
I have created a Flickr group for photos shot with the Zeiss Ikon Contarex.
Camera: Zeiss Ikon Contarex (built in 1965-1966)
Lens: Carl Zeiss Planar 1:2 50mm Contarex Mount
Silbersalz35 50D colour cine film
Developed and scanned by silbersalz35.com