Three Rolls of Kodak Ultramax 400Presented ChronologicallyPreviously: >>4509044
This roll was shot with a 50mm lens.
I shot all these at f/1.4 between 1s and 1/8s or so, metering with the in-camera meter.
This lens has a really beautiful lens flare characteristic.
It's petal-shaped, and presents a whole rainbow.
end of roll one
start of roll two
I shot this roll with a 24mm lens.That's (not) me in the window. Everyone say hello.
Framing was much easier with the 24mm than the 50mm.
RIP John Partridge, the kind old man who ran this place.
I had a cable release for this roll and used bulb mode a few times, as well as a metering app on my phone.
"ProMaster" brand: it was awful. It fell apart when I pulled it from my shirt pocket for this shot: the outer rubber sleeve flopped off the end, making a slinky metallic whizzing sound as it brushed against the inner wire. Don't buy one.
This was one of the longest exposures: 20ish seconds. I had to hold the cable release together. Yeah, it fell to bits but I wasn't going to press the shutter on the camera body, either. I had to hold it together for the remainder of these shots until I could get to the camera store where I bought it and return it. I wasn't gonna go earlier; I wanted to kill two birds with one stone and take my latent film in at the same time.
The metering app I use is called "Lightme." The UI is not very intuitive but it has the most features of any free one I've tried.
Not pictured: the homeless man opening his door of bins, greeting me "good morning" and asking if I was photographing ghosts with "spectral lenses."
start of roll three
This roll I used a 28mm. Possibly my least favourite: I felt like it was just a less useful 24mm.
This one I really felt the missing 4mm. I didn't want to tilt the camera since it would make the pole look like it was tilting and the ground actually went downhill behind me until I would have backed into a hedge anyway.
Those 4mm also would have helped more of the bloom remain in frame. Alas!
The cable release slipped from my fingers and fell apart and I didn't get the count I metered so I reshot this one. It really seems like that will be unnecessary in the future, there's barely any difference despite exposing for a further four seconds, so 1) five seconds was more than enough despite the meter recommending nine seconds and 2) reciprocity failure makes the extra time barely any more effective anyway. I do think nearly all of these from all three rolls are overexposed. Film is quite, quite different to digital. I have much to learn.
It almost seems like metering film is unnecessary. I could just wing it and end up with a usable exposure. That might be the characteristic of Ultramax 400 moreso than film in general, though: as I understand it, it was designed to be very forgiving of overexposure.
finfeedback welcome
+1 to street lights
For 72 shots you had more than a couple of interesting pics, more than i couldI also dislike 28mm and don't know how to use a 50mm, i always go wider or longer in that normal-ish range.My question is how are you going to order them for a thematic work.
>>4511448>My question is how are you going to order them for a thematic work.I've already done the theme and order (see the title post), probably more straightforward than one might expect.>More than I could.Don't be bashful, I haven't done anything incredibly difficult or skillful. Do you have any threads up or photos in /rpt/?
I'm not really familiar with urban landscape photography or whether this should even fall into that category. I'd just wish there were subjects rather than just interesting light. A hobo, an opossum, a street sign or a graffitti. As they are, they seem more like a study than a set of photographs>>4511348>This lens has a really beautiful lens flare characteristic.>>4511335>>4511354I really liked the flaring and the sun stars in these.>>4511379>the homeless man asking if I was photographing ghosts with "spectral lenses."Welp, there were optical ghosts there somewhere I suppose and the lenses were spectral in one sense....
>>4511452>I'd just wish there were subjects rather than just interesting light.Me too, I would like to have "scenes" going on in these environments but that's considerably more planning and organizing than I am prepared for. Not to say I don't think it would be a good idea to make these into scenes, I just don't have the producer skills. >As they are, they seem more like a study than a set of photographsI agree with that, I did set out at one level to simply experience how film reacts to street lighting at night. Still, I did want to make "good" photos, so, noted. I need some actors somehow or some way... a few local photography groups come to mind, as well as Model Mayhem, although I'm hesitant to engage a model for this kind of stuff since I don't really have a plan on what they would do or how much I would pay them, if at all. It makes doing a photography or videography course seem more appealing purely for the networking aspect.>>4511452>I really liked the flaring and the sun stars in these.Me too! I was so surprised to see the way the 50mm flared, it's gorgeous. I wonder if the fungus in the lens adds at all to its character? It's all over the internal elements. The hexagonal flares of the 24mm are great too. The 28mm was really unimpressive by comparison although, on the other hand, it's good to note it does control flares really well. It probably has the cleanest rendering.
>>4511451>probably more straightforward than one might expectQuite so to be fair, as long as you like it yourself>Do you have any threads up or photos in /rpt/?No, i am re-learning for fun and haven't taken a pic in a while but i am trying to consume much more photography than before. >I wonder if the fungus in the lens adds at all to its character? It works kinda like haze but unpredictable, completely destroys bokeh balls too similar to cracked or separated elements.
>>4511361this has a backroom vibe about it
