View allAll Photos Tagged manipulation
Athens put in a whirlpool...
I don't like flashy awards, since they're mostly given because of an obligation to stupid group rules. If you got something to say, say it in your own words and not by copying and pasting. I don't follow such rules, so if you have the sweaper running, don't even bother to invite me please. As of now the flashy awards will be removed, no offence!
The Autochrome Lumière (Wikipedia) was an early color photography process patented in 1903 by the Lumière brothers in Lyon, France, and first marketed in 1907. Autochrome was an additive color "mosaic screen plate" process. It was the principal color photography process in use before the advent of subtractive color film in the mid-1930s.
When I got the processed film from the laboratory, I had this feeling to get "Autochromes" views, in particular in the 6x6 medium format. The color saturation, the contrast and precision of each views was simply amazing, observable as they were taken, straight on the film out of the camera!
On August 31, 2024, I decided to use a Fujichrome Velvia 100 film roll I had in the fridge since several months for my first reversible color film attempt of my life in 120 format. I choose my Hasselblad 500 C/M equipped of its normal lens Carl Zeiss Planar 2.8/80mm with a simple Anti-UV filter and a metal shade hood Bronica adapted to the lens with a B60 mount to the 67mm thread adaptor.
The film was carefully exposed for 100 ISO using my Minolta Autometer III either with its 10° selective viewer taking care of the high lights or using the incident light dome to measure the incident light.
Documentary smartphone picture of the session at
Parc de la Tête d'Or, August 31, 2024
69006 Lyon
France
The exposed roll was then given to a professional lab equipped for E6 reversal process.
Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) held on a Minolta vertical macro stative device and adapted to a Minolta MD Macro lens 1:3.5 f=50mm. The light source was a LED panel (approx. 4x5') CineStill Cine-lite fitted with film holder "Lobster" to maintain flat the 70mm film.
The RAW files obtained were inverted within LR and edited to the final jpeg pictures without intermediate file. They are presented either as printed files with frame or the full size JPEG's together with some documentary smartphone color pictures.
About my Hasselblad 500C/M:
I remember that somewhere around 2002, I considered to buy a Hasselblad camera. I gave up because I had no more access to a darkroom and I found too complicated to recreate one or to delegate the processing to a service lab. Afterward, I started digital photography that distracted me to operate again with films until more recently. It is only when I could manage in 2022 a reliable and quality way to exploit my negatives in a reasonable time, that I really could enjoy again of analog photography.
On July 17, 2024, I decided to buy "my" Hasselblad in a very traditional way, almost as I could in the 90’s, in a local real photographic store, Lyon, France. The store « Carré Couleur » of Jacques Larger, rue Servient, Lyon, France, is a long-time specialist of professional medium-format camera’s including Hasselblad ones. They had on display several revised and 6-month guaranteed camera’s and a large choice of lenses and accessories.`
I choose a 500 C/M year 1978 and a Carl Zeiss lens Planar T* 1:2.8 f=80mm of the CF series year 1986, plus a small set of little Hasselblad goodies. The 500 C/M is totally mechanical without any electrical nor electronic circuitry. The 500 C/M's were produced in Göteborg, Sweden, from year 1970 to 1994. They followed the production of the 500C camera’s (1957-1970). The latest V-series camera (503 CX, CW, CWI etc) ceased in 2006 and Hasselblad then produced only digital camera’s but also digital camera backs that could fit to the V-series includingbthis 500 C/M (www.hasselbladhistorical.eu/HS/HSTable.aspx)
This CF lens series has central shutter Prontor (Synchro-Compur for the earlier Zeiss series). They are more cylindrical than earlier series and equipped of the proprietary bayonet filter mount B60. The delayed shutter realease was also abandoned. The focusing screen is the « Bright » series with the Dodin stigmometer in the screen centrer and the squared cross-ruling lines. Later 501 and 503 were basically equipped with an even more brighter screen called « Acute-mat ». The camera back could dated from year 1977 is an « A-12 » back « A » standing for « Automatic ». The film advance automatically stops at view 1 with view counter on the right camera side.
After a complete demo by Jacques Larger, I studied the camera manipulation at home with the user manual in hand (an original edition of 1980) before doing the decisive « film d’essai » (test film) on a sunny morning of July 20, 2024.
The results show very high-quality, highly-contrasted negative views, perfectly exposed and spaced proving the good technical state of the camera, film magazine, and the lens/shutter.
“Magnificent Manipulation”
Totally composed of several photos..Hoping to enter a contest lol
Created for 2nd MMM Challenge
Source image with thanks to AlicePopkorn