View allAll Photos Tagged Rollei_Retro_80S
From thedailylumenbox.com Rollei Retro 80s shot with Canon 28mm f/2.8 screw mount lens on Canon IVSb2. Developed for 14 min. at 70° F in Bellini Eco-Pro (Xtol).
More experiments with Rollei Retro 80s and an R72 filter. About 6 minutes with the addition of a 10 stop ND.
Film: Rollei Retro 80S @ 80 ISO | Develop: Caffenol C-H (Stock), 15 mins @ 20°C | Scan: Plustek OpticFilm 8200i
Location: King's Rd, Quarry Bay, Hong Kong
Canon EOS-1V HS
Canon EF 28-70mm f/2.8L USM
Rollei Retro 80s as ISO 50
Red filter
Kodak HC-110 (H)
10 min at 24ºC
Leica M2
Leica Summilux 35mm f/1.4 II
Rollei Retro 80S
Rollei Supergrain (1+12)
8 min 20°C
Scan from negative film
Leica M2
Leica Summilux 35mm f/1.4 II
Rollei Retro 80S
Rollei Supergrain (1+12)
8 min 20°C
Scan from negative film
Location: Post Headquarters, 2 Connaught Place, Central, Hong Kong
Leica M5
Leitz Noctilux-M 50mm 11821 (E60)
Rollei Retro 80s @ 50
Semi-stand development
R09 One Shot (1+100)
1 hr @ 20˚C
Film: Rollei Retro 80S @ 80 ISO | Flash: National PE-164 | Develop: Rodinal 1+25, 8:00 mins @ 20°C | Scan: Plustek OpticFilm 8200i
Zenza Bronica SQ-A with Zenzanon-S 105mm f/3,5 and extension tube S-18
Rollei Retro 80s, sepia reversal processed, EI 32/15°
Development:
- 8min@20°C in Ilford Multigrade 1+5
- 15min@18°C in Fomatoner Sepia toner
- 15min@18°C in Fomatoner Sepia bleach
- Fixing
Digitised with a Pentax-M Macro 4/100 on a Pentax K-x.
(Image taken with an Analog film camera).
Black & White Film: Rollei Retro 80s @ISO 64.
Camera: Canon A2 (1992)
Lens: Canon EF 28-105mm f/3.5-4.5 II USM (2000)
Filter: Red, Support: Tripod with timer.
Copy negative with a DSLR, reverse with Adobe Camera Raw.
Edit contrast with Nick Silver Efex Pro2 & ACDSee Photo Editor 11.
Shooting data recorded with Film Shots app.
Exif data input with AnalogExif.
Note: Film grain almost not visible on this one.
(Location: Green Springs Park, Deltona, Florida).
(Press "L" or click on the image for a large view).
Thanks for your visits, comments, faves, and views.
Plaubel makina 67
Rollei Retro 80S developed in Caffenol CLCS (Cold Start) stand 60min @ 15°-20°C
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio
Château du Hohlandsbourg • Haut-Rhin • Alsace • France
Caffenol CLCS
500 ml Filtered Water
8gr Anhydrous Washing Soda
5gr Vitamin C
20gr Instant coffee ("Cora")
60 sec. slow agitations then let stand for 59 minutes
Location: Cheung Chau, Hong Kong
Canon New F-1
Canon FD 20-35mm f/3.5L
Rollei Retro 80s @ 50
Stand Development
R09 One Shot (1+200)
1 hr 5 min @ 20˚C
Leica M2
Leica Summilux 35mm f/1.4 II
Rollei Retro 80S
Rollei Supergrain (1+12)
8 min 20°C
Scan from negative film
Film: Rollei Retro 80S @ 80 ISO | Develop: HC-110B, 5:00 mins @ 20°C | Scan: Plustek OpticFilm 8200i
Leica MP
Leica Elmarit 28mm f/2.8 III
Rollei Retro 80s
Kodak HC-110 dil.B (1+31)
8 min 20°C
Scan from negative film
A piece of advice to share tonight as I was reminded of this recently... heck, I am reminded of it most anytime I get together with a group of photographers whose intent is to share their work with you and one another. That advice is simple: don't introduce your work by apologizing for it. Put another way, don't show me your image and then tell me everything wrong with it. This happens a lot, and mostly with newer photographers who have not yet developed a level of comfort with the presentation of their photography with others. The interactions go something like this, "So here's my photo, the focus is not quite right and I should have cropped the side a bit and it is a little blown out in the sky there, and I wish the color was a bit more vibrant... but what do you think of it?" That last question is optional by the way. Sometimes the interactions don't get that far and instead focus on the photographer picking apart every flaw in their image. I think part of this stems from wanting to preempt any negative criticism you might receive. By pointing out the flaws in your image before your audience can point them out, I guess you maintain some sense of control over it. Or maybe it is harder to hear that criticism from others, so you deliver it yourself. Or our work is so deeply personal and we have a tendency to focus on our shortcomings. Yet when a parent introduces their son/daughter, they don't tell you all that child's flaws (that would be kind of hilarious though). Also this doesn't seem as pervasive in other art forms. I don't think I have ever had a painter or sculptor stand by me while I looked at their work and told me everything they did wrong, or didn't do right. There might be something to ponder there...
But here is the problem. The point of showing your work to an audience is to hear what they think, to get feedback, to learn via how and what they see in your creations. If you start off by telling them all the faults, then that is exactly what they will see. You bias them before it has even really begun. Following this logic, I could also advise not to introduce your work by telling your audience why it is so great as you are simply achieving the same bias in the other direction (and sounding full of yourself in the process). There is another thing and that is often the people looking at your photography won't see the faults that seem glaring to you. I long ago lost track of how many times I had looked at an image, been moved or caught by it only to have the photographer then point out something they considered a flaw that I had not even noticed. In that moment the spell is broken a bit, the magic lost, because then I am looking at that blemish they so kindly pointed out.
It is good to be able to look at your images and see how they could be better or different. In fact, the day you look at your photography and think the photos are perfect is the day you should panic. The trick though is to learn how to let your photographs be what they are, and to present them as such, and then to listen carefully to what others think they are. You take that feedback and weigh it against your initial assessment and see what you have at that point. It is not an easy process to learn... or maybe it is just not a short process to learn. Or both. But that is my advice and encouragement for tonight.
Hasselblad Flexbody
Rollei Retro 80S
Leica M2
Leica Summilux 35mm f/1.4 II
Rollei Retro 80S
Rollei Supergrain (1+12)
8 min 20°C
Scan from negative film
Alien-looking half-domes scattered near the Erdödy Castle in Jastrebarsko, Croatia. These domes are most likely scaffolding used in the castle renovation just outside the photo. August 2024.
Taken with Olympus OM-1 film camera and Olympus S Zuiko MC Auto-Zoom 35–70mm F4 lens on Rollei Retro 80S black and white film. Developed in Adox Adonal, 1+50 dilution at 22.5°C.
Scanned with Plustek OpticFilm 8100 film scanner using VueScan.
Nothing really special about this image ... what I really like of it are its tones.
Taken in Omegna (VB) - Italy.
Seagull 4a-103 - Lens HAIOU SA-85 75mm f 3,5 - Rollei Retro 80S in Rodinal
At 4000 meters above sealevel a storm takes another meaning. It's a cold-to-bone blizzard where rain is replaced by sharp ice particles attacking your exposed skin in very high winds.
Press "L".
Pentax 67, SMC 200mm f4, Lee GND 0.6 HE, Rollei Retro 80s developed in Kodak Xtol 1+0, wet-mounted drumscan.