Show us yer film shots then!

Cressing Temple Barns near Witham, Essex ( England) hosted it's annual War re-enactments -- I went on the Saturday -- it was heavily over-cast all day except for 15 minutes ! I used my classic ROLLEICORD VB made 1962 fitted with the '16-on' kit. i loaded 1993 dated ORWO NP22 from my fridge which I rated 100ASA and processed in 'Liquid Promicrol' 1+14 for 11 mins @ 20oC. I used a weak 'Fill-in Flash' for all shots -- good job I did as the light was poor and it gave good detail. I got 1/125 @ f6.3 so set the flash to f4.I have some C41 Colour to show when film is processed but here are the first 8 shots on B&W.
Temple at War 2017 by Peter Elgar, on Flickr
Temple at War 2017 by Peter Elgar, on Flickr
Temple at War 2017 by Peter Elgar, on Flickr

Temple at War 2017 by Peter Elgar, on Flickr

Temple at War 2017 by Peter Elgar, on Flickr

Temple at War 2017 by Peter Elgar, on Flickr

Temple at War 2017 by Peter Elgar, on Flickr

Temple at War 2017 by Peter Elgar, on Flickr
 
Nice pictures Peter, It would be easy to blow the bright tent and sky bg's when metering for the subject, I think flash has really negated that and given em a bit of punch.(y)

Apart from the guard in his guard box, you can't really tell.
 
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Here's a "finishing off the roll" shot from the Bergger Pancro 400. It was taken on the walk to drop the film off at Peak Imaging (I went on a deliberately circuitous route to try and find a shot for the last frame).

Pentax P30T & Rikenon 50mm f/2.


FILM - Just another mystery path by fishyfish_arcade, on Flickr
 
A few shots taken yesterday at Victoria Quays in Sheffield. These are taken around the wharf buildings, and I'll post the shots from the canal basin later when I've uploaded them. I managed to use a roll of Fomapan 200 in the Yashica Mat 124 G AND most of a roll of Agfa Vista Plus 200 that's been in the Minolta Hi-Matic G2 that has been my pocket camera of late. I've started documenting my photo outings in a blof recently, so if anyone wants any background on my stuff, you can find out more there.

One question about the Fomapan... This is the second roll I've had back where there's been something akin to a staple hole in the final frame. In both cases I've been able to crop the image without really losing any impact, so no massive loss, but this has never happened with any other brand of 120 roll film I've used, just the Fomapan. Any ideas?

1

FILM - Canal wharf, Sheffield by fishyfish_arcade, on Flickr

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FILM - Merchant's Crescent by fishyfish_arcade, on Flickr

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FILM - To weigh 20 tons by fishyfish_arcade, on Flickr

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FILM - Hoist by fishyfish_arcade, on Flickr

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FILM - The White House. Staff only by fishyfish_arcade, on Flickr
 
Slyelessar said:
I prefer grainier photos myself, and nice and contrasty please.
Click to expand...

...b..bu..but.. anyone can do a soot and whitewash and full of grain picture, the skill is to get the full range of tones (erm well if it's in the picture). ;)
 
I think it's more a matter of preference rather than skill - I could use a print developer on a fast black and white film, develop for an hour and print a 20x16 from a half frame negative and get grain and S&W. Alternatively, I could use a fine grain developer on 20x16 FP4 without taking any special care and get a grain free 20x16, probably with a full range of tones.

Personally, I prefer not to have to worry about skill in processing and concentrate on the first (the subject) and last (the print) terms in the photographic series. But I don't like S&W and I don't like grain :D

:film:
 
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All depends on the scene as well! Some images suit more contrast, some suit a range of tones.
 
StephenM said:
I think it's more a matter of preference rather than skill - I could use a print developer on a fast balck and white film, develop for an hour and print a 20x16 from a half frame negative and get grain and S&W. Alternatively, I could use a fine grain developer on 20x16 FP4 without taking an special care and get a grain free 20x16, probably with a full range of tones.

Personally, I prefer not to have to worry about skill in processing and concentrate on the first (the subject) and last (the print) terms in the photographic series. But I don't like S&W and I don't like grain :D

:film:
Click to expand...

erm well I think exposure comes in to it as well whether doing high or low key or whatever, but then I gave up serious B\W before Photoshop was invented maybe things have changed. ;)
 
excalibur2 said:
...b..bu..but.. anyone can do a soot and whitewash and full of grain picture, the skill is to get the full range of tones (erm well if it's in the picture). ;)
Click to expand...

I would argue anyone can get a clean sharp picture, as it isnt a hard feat if practiced. It is rarer to find someone who is able to keep the artistic value and detail of the grain and get a subjecticely good photo. It all boils down to taste, but grain is important to me for photos, and I do not mean in every single photo, just as a preferred rule of thumb. I see where you are coming from with the tonal range, as there is that aspect to photography (and I used to prefer it that way).

However, grain is important to my work. Especially current projects.
 
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I didn't show THESE on this site -- so here are a selection of B&W taken at the 'Temple at War' event, Cressing Temple Barns, Essex ( England) on my 1962 Rolleicord Vb, 1993 dated ORWO NP22 rated 100 ASA, Promicrol 1+14 for 11 mins @20oc. I used a small Philips flash 25CB set to under-expose for fill-in -- light was very poor -- I got 1/125 @ f6.3 if i was lucky !
War 01.jpg
War 04.jpg
War 05.jpg
War 07.jpg
War 13.jpg
 
Canon 7 with Jupiter 12 lens on Kodak Ektar. Taken at the Sheffield half marathon. I didn't get many shots that I liked, the runners were pretty spread out and it was hard to fill the frame with enough interest.

This is a small scan from Filmdev, didn't pay the extra as I wasn't sure how these would turn out.

IMG_20170513_102911.jpg
 
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