Sony A7RV Pixel Shift

The largest grain elevator in the world when it was built in 1915. It could load 20 railroad cars per hour and 3 ships at a time.

Sony A7RV Pixel Shift

I'm back to listening on the Alien Shozy paired with the Fiio A1 amp, a really pleasing combination.

The Velvet 56 lens also likes rendering sharp edged objects as well as curvy stuff.

Image 1

On the South Lawson Loop Circuit, unfortunately not much rain flow, still an enjoyable walk though.

A stacked image, one Pixel-shifted, the other a long exposure for the water.

Taken with the Pentax KP + DA 15mm

A pixelshift shot of what we're referring to as Frank's ol' man (Frank being the baby Huntsmen we have living in the bathroom).

Post processed in LR and Topaz B&W effects.

Another digitization test. More extreme this time: a 10x6.66mm crop, it would take 13 images this size to make a full 35mm frame. But this has 2048 pixels on the long side and due to the high resolution Velvia 50 film and Pixel Shift, it's full of usable detail.

This bridge was completed in 1897. It replaced the Niagara Falls Suspension Bridge, constructed in 1855, the world's first railway suspension bridge. Previously a heavily used railway connection between the United States and Canada, now it only transports around 500 people per day on the upper rail deck, and no cargo. The lower deck is a road for cars. The bridge received extensive maintenance in 2009, so it looks very good for its age.

This was the first test roll of the Adox CMS II 20 film and Adotech IV developer. I shot this entire roll at ISO 16 and developed it at a time and temperature in between their ISO 12 and 20 recommendations, 10 minutes at 24C in 1+14 dilution, with a gentle rotation every minute for agitation. Stop bath was called for so I used dilute citric acid. Fixing time only one minute and washing time 5 minutes. I did do about 5 prewashes to avoid uneven development, even though the instructions recommended against it. It doesn't seem to have harmed anything. I added a slight increase in contrast to this image using curves and cropped the left side in slightly for symmetry.

Early impressions are that tonality is reminiscent of Fuji Acros 100, which makes sense as both have similar spectral sensitivity, being labeled Orthopanchromatic. It also reminds me of Agfa Copex Rapid in the way that it renders detail. I used a plastic slide mount to keep this film flat for its DSLR scan - any difference in sharpness you see in the center versus the edges is likely due to that small variation in flatness. No digital sharpening was performed as I dislike its look. In the next round of digitization, I will use anti-newton ring glass to keep it flatter and compare the quality difference. Previous results were that the glass does slightly muddy the contrast and slightly reduce center sharpness, but also increases edge sharpness, compared to the plastic slide mount. The film dries curly due to its thin PET base, a definite drawback when recording fine detail where flatness is crucial.

The film and the developer can both at times be hard to find in stock. Together their cost for home development results in at least $13 per roll. You may need to stock up at a time when both are available if you have an interest in this film. Unless you are a highly technical user who is able to a maintain a process to a very fine tolerance, I believe this film is going to seem like overkill. I will see if my opinion changes with familiarity as I shoot and develop it more.

My lilac bush is tarting to bud out - leaves only at this point - and here is a macro shot of some of the leaf buds:

About 1.5x lifesized, made with Pentax DFA 100mm f2.8 macro on extension tubes. (I'm lucky to have a set of K mount extension tubes that have full contacts so that all auto modes are present with A, F, FA and DFA lenses.)

This is made form 55 files stacked in Zerene tsacker - 2 separate stacks that were combined in Photoshop. This image wa smade from out of camera JPG's. I also shot raw files and converted them using th eSIlkyPix raw file converter supplied with the camera, but the stacked images displayed some subtle aberrations (well - "smudges" better describes it) in the white space around the image. Hopefully with practice I'll get adept at using Silkypix in order to unleash the full detail contained in the iamge. As it - this image at full resolution show far more detail than I can see in the subject, even with effective 10x magnification.

MCCP2157-MCCP2203_v2_tu2

A composite of two frames was required, as there was no way to get enough depth of field.