Show us yer film shots then!

Here are a few from the start of the FP4 roll that I took to Castleton. I won't repeat the Castleton photos on here, since they're already in the other thread.

a) New Street (which is, of course, ancient!)

2405EPMXBW03 New Street.jpg

b) Liminal trees in Parliament Piece (about 70 yards from the position of the last photo!)

2405EPMXBW04 Liminal trees.jpg

c) Grungy caravan

2405EPMXBW08 Grunge caravan.jpg

d) Queen Anne's Lace in the graveyard

2405EPMXBW17 Graveyard.jpg

All taken with my Pentax MX using the SMC Pentax "K" 55mm f/1.8 lens and a yellow filter on FP4, devved in XTOL by The Darkroom UK and scanned by me on a Plustek 7500i with Vuescan Pro.
 
The Oldun said:
Yours is done right. My horrible shot on badly expired Gold 100 looks nothing like as good. Chinon CE-4, Chinon 50mm 1.9, Gold 100 developed in Cinestill CS-41.




View attachment 428944
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I think that the slow shutter speed (1/2s) forced by the infrared filter helps by smoothing the water. I shoot very little Colour film these days as I find it hard to get right.
 
Kevin Allan said:
I think that the slow shutter speed (1/2s) forced by the infrared filter helps by smoothing the water. I shoot very little Colour film these days as I find it hard to get right.
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I bought some developer because i had a load of out of date colour film to use up, but some of it is beyond saving.
 
As we stood on the (c2000-y old) Roman road with the sheep, we marveled at the Aiggin stone, reportedly a 600y old waymarker.
Amusingly, the sign telling us of the stone was directly in front of a pile of stones that a group of walkers were setting up to take pictures of, in the belief that the pile of stones was the "Aiggin Stone".

Blackstone Edge, Pentax MZ7 Tamron 35-135 zoom, Kentmere 100.

AginStone.jpg

Road.jpg

EDIT: some think the road might be pack-horse road built over a Roman road. Mostly overgrown, in some places the drain channel is visible, a kind of gutter running next to the cobbles of the road.
 
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Beach Bell(e). Miranda 35ME (P&S cam).

An interesting piece of beach "Art" in Cemaes Bay, Anglesey. The high tide waves move the clapper and cause it to dong... must be fun for those living nearby.

Beach Bell.jpg

Quite a sharp image from a non-focus LOMO style camera.
 
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A trip yesterday to the Classic Car Boot Sale at Salford Quays, just took the Fuji GM670 and a roll of Kodak Gold. Popped into Manchester afterwards for a bite to eat, dropped the film off at Advanced Photo Services before eating, picked up the processed negatives after eating, scanned last night! A very fast turnaround for me!!!


Classic Car Boot Sale, Salford Quays-1 by David Yeoman, on Flickr


Classic Car Boot Sale, Salford Quays-2 by David Yeoman, on Flickr


Classic Car Boot Sale, Salford Quays-3 by David Yeoman, on Flickr


Classic Car Boot Sale, Salford Quays-4 by David Yeoman, on Flickr


Porsche 912, Classic Car Boot Sale, Salford Quays-6 by David Yeoman, on Flickr


Classic Car Boot Sale, Salford Quays-7 by David Yeoman, on Flickr
 
FishyFish said:
Olympus Trip 35
Kodak Colorplus
Lab Developed.
Home scanned and converted with Negative Lab Pro.


Angular hotel by fishyfish_arcade, on Flickr
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I love the look that implies this could have been taken any time since the 1950s. Soft colours, light grain, lack of rooftop clutter like aerials and stalactite dishes, marvellous stuff. :)
 
Nige how do you get such great dynamic range? Is it post processing, maybe the scanner, or simply correct exposure?
I’m asking because In high contrast scenes Im struggling to get the film properly exposed
 
Marino said:
Nige how do you get such great dynamic range? Is it post processing, maybe the scanner, or simply correct exposure?
I’m asking because In high contrast scenes Im struggling to get the film properly exposed
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Hi Marino,

My process is:
  1. Film developed by a lab (in this case The Darkroom UK)
  2. Negatives scanned as RAW DNG files at home using a Plustek OpticScan 8100. (I use the method shown here)
  3. Scans imported into Adobe Lightroom Classic
  4. I use the white balance ey-dropper tool to sample the rebate at the edge of one of the scanned negatives and then sync this value to the rest of the images
  5. I convert to positives using the Negative Lab Pro plugin in Lightroom (I generally use the Lab Standard profile, but occasionally others work better). I change various setting at this stage
  6. After exporting a positive TIF from Negative Lab Pro, I then make further tweaks in Lightroom as required.
If I'm scanning 120 film, then the process is much the same except I use an Epson V700 instead of the Plustek.
 
FishyFish said:
Hi Marino,

My process is:
  1. Film developed by a lab (in this case The Darkroom UK)
  2. Negatives scanned as RAW DNG files at home using a Plustek OpticScan 8100. (I use the method shown here)
  3. Scans imported into Adobe Lightroom Classic
  4. I use the white balance ey-dropper tool to sample the rebate at the edge of one of the scanned negatives and then sync this value to the rest of the images
  5. I convert to positives using the Negative Lab Pro plugin in Lightroom (I generally use the Lab Standard profile, but occasionally others work better). I change various setting at this stage
  6. After exporting a positive TIF from Negative Lab Pro, I then make further tweaks in Lightroom as required.
If I'm scanning 120 film, then the process is much the same except I use an Epson V700 instead of the Plustek.
Click to expand...
Thx very much for the all the info! And what about the exposure meter? Are you using an external or the cameras?
I have a plustek so I’ll try to follow your process to see if it makes a difference because my scanned files are a bit disappointing from a later plustek 8200
 
Marino said:
Thx very much for the all the info! And what about the exposure meter? Are you using an external or the cameras?
I have a plustek so I’ll try to follow your process to see if it makes a difference because my scanned files are a bit disappointing from a later plustek 8200
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Hi Marino.

Exposure will be camera dependent. For the photo of the hotel above, it was metered by the Olympus Trip 35's built-in selenium meter.

For 35mm in general, I always tend to use the camera's meter.

For medium and large format, I usually use a Sekonic L-308 to take an incident reading.
 
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Ok then the dynamic range must be more down to scanning then I suppose. Thanks very much Nige, I’ll try to get scanning right
 
Some from the Contarex Cameras and a Kodak Pro Image 100 film in the film back. Professionally processed and scanned.


Saint-Savinien River View Portrait Web.jpg

Cx Glane View Portrait.jpg

Cx Water Wheel 3 Web.jpg

Cx Bee on Flower 2 WEb.jpg
 
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