View allAll Photos Tagged ISO3,
26-Jun-2023 16:45 - Rollei 80S @ EI 50 (ISO 3 for IR72)
Prewash 4 min (necessary for Rollei films)
Developed in Rodinal 1:50 (12ml +600) : 10 mins @ 20C
Kodak Agitation (30 sec + 2 inversions every 30 sec)
Two "stop" washes in water, 1 minute each
Ilford Rapid Fix : 4 mins
10 Minutes washing with several water changes
2 mins Ilford Ilfotol (1.5ml + 600ml)
Bronica SQAi + 40mm
Highlight = 17
Shadow = 13
Midpoint = 15
Filters : IR72
Final LV=15 (ISO3)
1/4sec @ f11
Paper negative
Self-made film holder still lets in light.
But the effect of it makes the picture almost picturesque.
The thin strip of light only hits the elevations in the paper.
Linhof color 5x7 (by adapter from 4x5), Computar Symmetrigon 150mm. one second exposure in the wind.
Fomaspeed 311 with yellow filter and exposed at ISO3.
26-Jun-2023 14:50 - Rollei 80S @ EI 50 (ISO 3 for IR72)
Prewash 4 min (necessary for Rollei films)
Developed in Rodinal 1:50 (12ml +600) : 10 mins @ 20C
Kodak Agitation (30 sec + 2 inversions every 30 sec)
Two "stop" washes in water, 1 minute each
Ilford Rapid Fix : 4 mins
10 Minutes washing with several water changes
2 mins Ilford Ilfotol (1.5ml + 600ml)
Bronica SQAi + 65mm
Highlight = 18
Shadow = 13
Midpoint = 15
Filters : IR72
Final LV=15 (ISO3)
1/8sec @ f11
Last sheet from this first box of Harman Direct Positive Paper
Agfa Standard model 208 Plate Camera 9x12
Agfa Doppel Anastigmat 13.5cm f/4.5
Yellow filter
Harman DPP (rated ISO3)
Preflashed in-camera at EV -2&2/3 stop
Exposed for highlights generally; metered sky at +1 and extended time 1/2 stop to compensate for fading light during exposure. Shadows were anything between approx. EV -2 to -3; difficult to read.
6 minutes at f/8
Paper developed by inspection in Caffenol Delta modified: 30g/L sodium carbonate
Selenium toned 1+19 5'00"
My first foray into large format...
Direct Positive
MPP Micro Technical VII 4x5
Schneider Kreuznach Angulon 90mm f/6.8
Yellow filter
f/22 4'00" extended to 14'00"
Metered for highlights and adjusted during exposure for fading light, paying attention to maintaining foreground at -2.
Harman Direct Positive paper (ISO3)
Developed in Caffenol Delta modified - 30g/L Sodium Carb.
20C 4'30" (200ml; sheet 1 of 4)
Selenium toned (Bellini) 1+30 3'30" ~20C
This is my first outing with the 4x5. It was late, the sun already below the landscape when I arrived but I was determined to get one exposure that day with the new camera.
Quite a few mistakes/difficulties - I forgot to pre-flash the paper. Framing the shot in relative darkness was a bit of a guess. I then forgot to drop the bed before making the exposure with the 90mm, so the rails are just in shot (though far less intrusive than I expected actually). It was rapidly getting dark so I had to keep extending the time whilst taking the picture to compensate for the fading light - almost 3 stops during the exposure - I just tried to keep the foreground/shadows exposed at around -2, checking the light meter as it went. 4 minutes turned into 14 minutes by the end.
With about 3 stops of latitude available in the paper (usually with pre-flashing), quite fortunate to get an image out of this I think.
Direct Positive
MPP Micro Technical VII 4x5
Bausch & Lomb Rapid Rectilinear ~120mm f/8
(adapted from a Kodak No.3 Model G c1918)
Yellow filter
f/22 1min
Harman Direct Positive paper (ISO3)
Pre-flashed in camera, EV -3.
Metered bridge midtones at EV -1.
Developed in Caffenol Delta modified:
30g/L Sodium Carb.
12'00" 19.5C (200ml; sheet 4 of 4)
Selenium toned (Bellini Seltone)
1+30 3'00" ~20C
5x7 Harman Direct Positive Paper
Preflashed and exposed at ISO3
Linhof color with adapter and Leitz EPIS 400mm f4.
I always develop the paper complete.
The edges from the film holder goes black, and I know the development is good. This way, I only need to control the preflash and exposure.
I control exposure to get the right Highligt and preflash to control the shadows. Ligth source is also important as always.
fotoman 45PS 4x5 large format, fujinon 150mm lens + B+W 110 10-stop neutral density filter. film: kodak vericolor ID/copy film (expired 1990) - a very slow emulsion, about ISO 3. exposure 8min @ f/45, cross-processed in E6 chemistry with a +3 stop push. lab: the icon, los angeles, ca. scan: epson V750. exif tags: filmtagger.
Direct Positive
MPP Micro Technical VII 4x5
Bausch & Lomb Rapid Rectilinear ~125mm f/8
(adapted from a Kodak No.3 Model G c1918)
Yellow filter
f/32 30sec
Harman Direct Positive paper (ISO3)
Pre-flashed in camera, EV -3.
Reflective metered scene; tree bark at -1 where indirectly lit (but not full shadow).
Developed in Caffenol Delta modified - 30g/L Sodium Carb.
8'00" 18C (200ml; sheet 3 of 4)
Selenium toned (Bellini Seltone)
1+30 1'30" ~20C
Shot in bright sunlight. Hasselblad Super Wide camera with Film Washi E printed circuit film. Sensitive to blue and red but not to green. ISO 3
Thomaston, Georgia
Lets talk about NoColorStudio. Like Film Washi, Nocolorstudio is a one man ("band") company that buys unique and experimental films. Cuts them, and hand roll em into 120 roll and 35mm canisters. Lithuanian brand run by Arnas Spakauskas. He also sells a few other films, named by numbers (NO) no.10, 12, 25 and 50. This is the NO.5 (ISO 5). The film was originally used to store archival documents which could be viewed with the aid of special machines found in libraries. It is an old orthochromatic Kodak emulsion not easily available in the wider world.
As you probably see, this is a high contrast film (yeah, a very HIGH contrast film). This was my first time shooting this stuff, so I had little to no idea what to expect (very little information online exept from the NoColorStudio website). Note; this film is only sensitive to blue light (with some yellow and greens... barely). Experimental indeed. I shot these photos at ISO 3. It was a challange for sure. Narrow exposure latitude, serious deep blacks etc. But crazy fun when I saw the information in the negatives. Have you shot this film? What did you think?
Location; Storwartz mine, Røros, Norway
Mamiya 7ii
Mamiya N 43mm f/4.5 L
NoColorStudio Experimental No.5 High Contrast @ISO3
120 film (medium format)
Adox D-76 (stock 7 mins)
Moersch Alkaline Fixer (4mins)
Epson V850
Negative Lab Pro
Lightroom
26-Jun-2023 15:04 - Rollei 80S @ EI 50 (ISO 3 for IR72)
Prewash 4 min (necessary for Rollei films)
Developed in Rodinal 1:50 (12ml +600) : 10 mins @ 20C
Kodak Agitation (30 sec + 2 inversions every 30 sec)
Two "stop" washes in water, 1 minute each
Ilford Rapid Fix : 4 mins
10 Minutes washing with several water changes
2 mins Ilford Ilfotol (1.5ml + 600ml)
Bronica SQAi + 65mm
Highlight = 16
Shadow = 12
Midpoint = 14
Filters : IR72
Final LV=14 (ISO3)
1/4sec @ f11
Kodak Graphic Arts Film. Kodalith Ortho Type 3 6556. Dated 1960 Rated 3 ISO Rodinal 1+25. V850
Film from Neil at RS Photographic in the West Midlands. Great place to spend some time if your local. Quite old and the box a bit beaten up so wasn't sure what would happen. Need to play around with developer options but I'm pretty sure it needs about ISO3. Expect more I've also got some other old sheet films to experiment with.
Printed circuit film optimized for red laser light, no green sensivity, ISO 3.
Hasselblad Super Wide, Biogon 38mm f/4.5. 1/25 at f/4.5
Griffin, Georgia
Blue Winter Berries - Canon EOS Rebel G, Lensbaby Sol 45 f/3.5 lens, Film Photography Project Blue Ultra ISO 3 color negative film.
This is the Nankeen Night Heron or sometimes called the Rufous Night Heron, (Nycticorax caledonicus).
The Nankeen Night Heron is a stocky heron with rich cinnamon upperparts, white buff underparts and a black crown, and yellow legs and feet. The head is large, the neck short and the legs relatively short. During breeding the back of the head bears three white plumes. The bill is dark olive-green, and the eyes are yellow.
Nikon 200-500mm lens at 400mm, f.5.6, 1/2,000 second, ISO3,200.
Explored.
Direct Positive
MPP Micro Technical VII 4x5
Bausch & Lomb Rapid Rectilinear ~125mm f/8
(adapted from a Kodak No.3 Model G c1918)
Yellow filter
f/32 15sec
Harman Direct Positive paper (ISO3)
Pre-flashed in camera, EV -3.
Metered foreground shadow -2, distant highlights +1.5
Developed in Caffenol Delta modified - 30g/L Sodium Carb.
6'00" 19C (200ml; sheet 2 of 4)
Selenium toned (Bellini Seltone)
1+30 3'00" ~20C
Direct Positive
MPP Micro Technical VII 4x5
Bausch & Lomb Rapid Rectilinear ~120mm f/8
(adapted from a Kodak No.3 Model G c1918)
Yellow filter
Rear swing
f/11 8sec
Harman Direct Positive paper (ISO3)
Pre-flashed in camera, EV -2.5.
Metered for lit edge of stone facing camera. Shadow side @ -2. Tree bark (indirectly lit) @ -1.
Developed in Caffenol Delta modified: 30g/L Sodium Carb.
11'00" 21.5C
Selenium toned (Bellini Seltone)
1+19 6'40" ~21C
I took this positive as a thank you to a local artist/sculptor whose work is the subject of the image. He runs an antique shop and has kindly set aside a nice Voigtlander 6x9 folder for me to collect tomorrow!
Generally, I've made sure to shoot direct positives in overcast or subdued light in attempt to limit the dynamic range of the scene to the paper's latitude. By contrast, this scene was back-lit at closing of a fine sunny day so I decided to preflash the paper at -2.5 stops instead of -3 (or -4) to prevent the shadows appearing too dark. I also shot the lens just one stop from wide open at f11 to try and help soften the contrast - before setting out to take the picture, I came across an image posted by flickr member 'Conspiracy of Cartographers' which included this nugget of info. He stated that he'd shot his scene at various apertures, electing to publish the open aperture version as the smaller apertures made that particular image look too hard and I wondered if I could use the same effect to my advantage on the contrasty paper. I compensated for the shallow DOF with rear swing to get the line of trees in focus.
It is a touch overexposed if anything; I didn't really compensate for the increased pre-exposure in the paper (or knew just how much that would affect the highlights) but then I forgot to compensate for the yellow filter too so, thankfully, those two factors seem to have cancelled themselves out. With the extended preflashing, I do think this image is more balanced overall than some I've taken previously despite the range in the scene; it did take a lot of developing to bring the density in, however. I had to pull it out after 11 minutes because it appeared the highlights were beginning to fog, so this is about as much density as I could develop without taking the edge off.
I also like the vignetting to add a central focus and I think it gives the impression of there being more depth to the shadows than there really is - This was achieved by preflashing the paper in-camera against a sheet of mount board at f11 and making use of the light falloff at the edges, rather than stopping the lens down further for an even pre-exposure.
I was really happy with how this came out but felt I let the toning go too far. It's taken on a bit of a vibe that detracted from the stonework I was attempting to showcase, however; viewing the print on ivory backing paper seems to have subdued the red hue a little and I'm quite pleased with the end result. Lessons learned for next time.
Washi E printed circuit board film, no green sensivity and IOS 3.
Hasselblad Super Wide, 38mm Biogon 4.5 lens.
Thomaston, Georgia
Hyons Wood, Walker Titan SF with Rodenstock Sironar N 150mm, 10 seconds @ f32, Bergger Print Film (ISO 3) in HC110 @ 1+63 for 10min 30sec @ 20C, Scanned on Epson V700
Hyons Wood, Walker Titan SF with Rodenstock Sironar N 150mm, 30 seconds @ f32, Bergger Print Film (ISO 3) in HC110 @ 1+63 for 10min 30sec @ 20C, Scanned on Epson V700
Swing and Snow - Canon EOS Rebel G, Lensbaby Sol 45 f/3.5 lens, Film Photography Project Blue Ultra ISO 3 color negative film.
From thedailylumenbox.blog Film Photography Project Blue Ultra shot with 27mm Lumenbox lens on Canon IVSb2.
A shot from the Glen in Uralla last night. This is shooting back across town to get the Milkyway in. This is part of what was originaly approx 8 sculptures to be placed there. So far only 2 set up
D750 14-24mm f2.8, 15 sec exp, 3200 iso3 shot panorama stitched in PS
Best viewed full screen. Cheers
fotoman 45PS 4x5 large format, fujinon 150mm lens. film: kodak vericolor ID/copy film (expired 1990) - a very slow emulsion, about ISO 3. exposure 30sec @ f/32, cross-processed in E-6 with a +2 stop push. lab: the icon, los angeles, ca. scan: epson V750. exif tags: filmtagger.
Shot in bright daylight on Washi E printed circuit film in a Hasselblad Super Wide (1958), Biogon 38mm f/4.5 lens.
Lets talk about NoColorStudio. Like Film Washi, Nocolorstudio is a one man ("band") company that buys unique and experimental films. Cuts them, and hand roll em into 120 roll and 35mm canisters. Lithuanian brand run by Arnas Spakauskas. He also sells a few other films, named by numbers (NO) no.10, 12, 25 and 50. This is the NO.5 (ISO 5). The film was originally used to store archival documents which could be viewed with the aid of special machines found in libraries. It is an old orthochromatic Kodak emulsion not easily available in the wider world.
As you probably see, this is a high contrast film (yeah, a very HIGH contrast film). This was my first time shooting this stuff, so I had little to no idea what to expect (very little information online exept from the NoColorStudio website). Note; this film is only sensitive to blue light (with some yellow and greens... barely). Experimental indeed. I shot these photos at ISO 3. It was a challange for sure. Narrow exposure latitude, serious deep blacks etc. But crazy fun when I saw the information in the negatives. Have you shot this film? What did you think?
Location; Storwartz mine, Røros, Norway
Mamiya 7ii
Mamiya N 80mm f4 L
NoColorStudio Experimental No.5 High Contrast @ISO3
120 film (medium format)
Adox D-76 (stock 7 mins)
Moersch Alkaline Fixer (4mins)
Epson V850
Negative Lab Pro
Lightroom
24x30 paper exposed directly in camera, reversal development of Ilford multigrade MGIV paper.
Rated at ISO3, preflashed.
Lens: Darlot Petzval ~330mm
Route 66 at Fenner, California. The film is Svema MZ3 from the Film Photography Project (FPP). The film is contrasty and fine gran. The film is also rated at ISO 3 which requires a still hand or a tripod.
EOS 3
ZE 50mmf2 Makro
Svema MZ3
Egretta garzetta
The Little Egret (Egretta garzetta) is a small white egret with dark grey-black legs, black bill and a bright yellow naked face. In the breeding season the plumage includes two ribbon-like head plumes, and abundant plumes on the back and breast. The Little Egret is also called the Lesser Egret.
This Egret has been photographed at Rosser Park, Gold Coast, Queensland, Australia.
Many thanks to all my Flickr photostream followers I have now more than one million views, thank you. Thanks for viewing my photos and for any favourites and comments, it is very much appreciated.
My Blog: www.alldigi.com
Captured with the Nikon D810 with a 200mm f/4D Nikon Micro lens at f/4.5, 1/320 Sec, ISO3,200.
Shot in bright daylight with a film made for laser light to produce printed circuit boards. ISO 3, no green sensitivity, high contrast.
Hasselblad Super Wide, Zeiss Biogon 38mm f/4.5 lens.
Thomaston, Georgia
Handheld shot edited from RAW at 16mm, f2.8 and ISO3,200.
Shot with the new Sony FE16-35mm f2.8 GM lens.
I did not originally intend to buy this lens since I already have the Sony Zeiss version FE 16-35mm f4.0 OSS which at f8 for landscape, should perform close to the f2.8 GM.
I figured the 1 stop advantage will come in handy for illumination shots especially when tripods are banned in Japanese temples and so went ahead with the purchase.
After shooting with the FE16-35mm f2.8 GM for 2 weeks, I have no choice but to admit that it is indeed superior to the f4 version even at f8.
Resilient pine.
Expired (2007) Maco Infrared film with Hoya R72 filter at ISO3 developed in Rodinal 1+50.
Nº 3 Folding Kodak Special (118 film) iso 3, in POTA, 12 min.
Someone's abandoned front steps, Virginia
The comet was drifting fast toward northwest in Aquila. Fan-shaped dust tail was toward west southwest, and bluish ion coma was small, around 16 arcminutes in diameter. North is up, and east is to the left.
Sun distance: 1.223AU
Earth distance: 0.652AU
equipment: Takahashi FSQ-130ED, F3 Reducer 0.6x, and EOS R-SP4II, modified by Seo-san on Takahashi EM-200FG-Temma2Z-BL, autoguided at a star nearby with Fujinon 1:2.8/75mm C-Mount Lens, Pentax x2 Extender, ZWO ASI 120MM-mini, GPUSB, and PHD2 Guiding with comet tracking on
I must have made some mistake while inputting numerical number for tracking the comet, and stars trailed oddly as you see.
exposure: 21 times x 4 minutes at ISO3,200 and 10 x 1 minutes at ISO 1,600 and f/3.0
The first exposure started at 16:27:33UTC April 10, 2021.
site: 1,240m above sea level at lat. 37 40 05 North and long. 140 15 20 East near the entrance of Bandai-Azuma road in Fukushima. SQM-L was 21.30, and ambient temperature was around -5 degrees Celsius or 23 degrees Fahrenheit. Wind was mild.
Testing how the film works in the new old camera. Will need to give an extra stop. However, this shot at the winery came out interesting.
Canon Elan II
Canon 50f1.8 (Shot at 1.8)
Svema MZ3 (ISO3)
26-Jun-2023 13:05 - Rollei 80S @ EI 50 (ISO 3 for IR72)
Prewash 4 min (necessary for Rollei films)
Developed in Rodinal 1:50 (12ml +600) : 10 mins @ 20C
Kodak Agitation (30 sec + 2 inversions every 30 sec)
Two "stop" washes in water, 1 minute each
Ilford Rapid Fix : 4 mins
10 Minutes washing with several water changes
2 mins Ilford Ilfotol (1.5ml + 600ml)
Bronica SQAi + 50mm
Highlight = 13
Shadow = 9
Midpoint = 11
Filters : IR72
Final LV=11 (ISO3)
Reciprocity : 2 sec foes to 3 sec (Bronica has 4 sec)
4sec @ f11