Portrait

Portrait.

Inspiration, Leica M Type 240, Portrait, Q&A, Teaching point, Voigtländer 40mm f/1.4 Nokton

This is an image, of course, but it’s also a test shot.  I’m trying to tackle and tame the shortcomings of the CMOS sensor.

My brief experience with the D800E confirmed for me that “CMOS is CMOS” when it comes to trying to pull out shadow detail (or getting micro-contrast, or getting good skin tones)… i.e., as of April 2014, it’s not as good as CCD, whether we’re talking Nikon or Leica.

Surprisingly, the D800E also made me appreciate the M240 more.

However, going forward I’m going to give the technical stuff a rest and start concentrating on photography again.

And as I go along I hopefully will be able to reduce the time it took to get this image to where I wanted it to be.

—Peter.

Portrait

↑Leica M240 and Voigtländer Nokton 40mm @ f/1.4.

Before the grains of sand.

Film, Inspiration, Leica 50mm Summilux ASPH f/1.4, Life's Little Moments, Portrait, Q&A

The title is both figurative and literal, because I previously posted an image entitled Grains of Sand.

On the very same roll of Tri-X was this frame, taken moments earlier.  I normally choose a favourite image to post, and when I developed the roll, I chose the more dynamic photograph.

Now — almost two years later — I wonder whether I prefer this more contemplative one.

—Peter.

Before the Grains of Sand

↑Leica M3, Kodak Tri-X 400, and Leica 50mm Summilux ASPH @ f/1.4.

Light Reading, Part 2 (different processing, different image).

Inspiration, Nikon D800E, Portrait, Q&A, Teaching point, Zeiss Otus 55mm f/1.4 APO-Distagon (ZF.2 Nikon mount)

Here’s a second image, taken a little earlier from the first (and cropped).

The lighting is different, and I’ve processed it differently too.

I realize I’m comparing apples to oranges, but I’m curious on your thoughts as I work through these D800E/Otus files.

—Peter.

Light Reading, Part 2 (different processing)

↑Nikon D800E and Zeiss Otus 55mm @ f/1.4.

Glenfiddich Window Portrait (Tilt-Shift test shot).

Film, Fujifilm FP-3000B, Inspiration, Mamiya RZ 180mm F/4.5, Mamiya RZ67 Professional Pro II, Mamiya Tilt/Shift Adapter, Portrait, Print, Q&A, Teaching point

This is a test shot using my recently acquired used Mamiya tilt/shift accessory on Fuji instant (“Polaroid”) film.

No alcohol was harmed during the testing process.

Glenfiddich Window Portrait - Mamiya RZ Tilt-Shift Fuji Instant

↑Mamiya RZ67, Mamiya 180mm @ f/4.5, tilt/shift accessory, and Fuji FB-3000.

Brushing Honey.

2014, Favourite, Film, Inspiration, Kodak Tri-X 400, Life's Little Moments, Mamiya RZ 110mm F/2.8, Mamiya RZ67 Professional Pro II, Portrait, Scanner - Plustek 120, Teaching point

This was shot wide open @ f/2.8, but required a relatively slow shutter speed of 1/30 sec to expose the foreground figures correctly.  The camera was braced on the floor to reduce vibration and also to obtain the perspective I was seeking.

I was lucky to hit the shutter at just the right moment — the eye contact was brief.

I wasn’t sure how the 110/2.8 would deal with shooting into the light, but the lens has once again impressed me.

And, I am really enjoying the Mamiya RZ67… more so than I thought I would.  Yes, it’s a large and heavy camera, but the system is so well thought out that it prevents you from “screwing up” while delivering exceptional results.

When I purchased my Mamiya equipment, the 180/4.5 lens was also included, but I haven’t yet photographed with it.

—Peter.

Brushing Honey

↑Mamiya RZ67, Mamiya 110mm @ f/2.8, and Kodak Tri-X 400.

C and H.

Favourite, Film, Inspiration, Kodak Tri-X 400, Life's Little Moments, Portrait, Scanner - Plustek 120, Teaching point, Voigtländer 40mm f/1.4 Nokton

(About a girl and her dog)

This was taken at bedtime, under very dim light.  The film was therefore pushed quite a bit during post processing to lighten things (I should have instead “pushed” it during development).

I’m actually amazed that I ended up with an image that I like, given my previous attempts to capture such scenes in my kitchen without the aid of daylight have never produced satisfactory results, with digital cameras (M9, M8, D3S, D3, D700, etc.) anyway.  Although film doesn’t make up for poor lighting, it certainly is more forgiving.

—Peter.

C and H

↑Leica M3, Voigtländer Nokton 40mm @ f/1.4, and Kodak Tri-X 400.