No I don't shoot Film anymore, however I recently acquired the Epson V700 Photo Scanner.
I have a large collection of 35mm and 2.25Sq Negatives that I wish to scan.
4 here are Mamiya C3/80mm lens Agfa 100ASA In GemBrook upper Beaconsfield Victoria and the fifth is an Agfa 2.25SQ slide shot with a Hasselblad 500C / 80mm lens at Monselvat Victoria (an Artist Colony) me on the lhs rolling a ciggy I had LOTS more hair then ;-) .
All are late 70's and neg. dev. I did with Tetanal process chemicals (very famous in its day) (German chemicals)
Bear in mind its early days with this stuff so still some learning.
I sold the C3 a few years ago (Its VERY heavy) and is 3 lenses which in total would need a truck to cart around
Scanned using SilverFast AI and correction in PS CS5 Also bear in mind there is some deterioration of the negatives and colour balance needed PS work and even then results still not perfect
THere may be some Film look in these images that still attracts people I'm not so sure when I think how good today are the results from the Pen's
At the risk of sounding too 'negative' why are we looking at Pentax 67 and Mamiya C3 images on a site called serious compacts - compact they certainly are not. I would also question the use of a Pentax 67 for family snaps, your decision of course, but it shows little of interest to members of this site I would think. Just wondering.
Nothing wrong with a bit of fun and nostalgia of course, but I still think compacts whether film or digital should be the main 'focus'.
Anyway I've dug one out from the great Fuji DL Super Mini Zoom taken on Agfa Scala and chemically toned.
Thanks Herman there some images I NEVER printed and the 3rd one is one of them, the thing is colour (color)
The thing is colour printing was laborious THEN
This is how I did it
1. Exposure in the darkroom first had to done on a test strip ie. on the enlarger base with a colour mosaic.
The result was analyzed to find one colour patch on the DEVELOPED test strip that was neutral GREY
That neutral patch told you the colour combination for the combination of colour filters to place in the enlarger filter drawer
(I used a DURST 600) lens was the best Nikon considered better than even the top German enlarging lenses then.
So the nfor the final print...
2. I had a special drum type developer it allowed chemical in and the drum was then rolled for the correct time then emptied, repeated for the other chemicals.
3. Finally the print was removed to dry.
4. You had to have achieved both correct print exposure AND colour balance so the first print may not be optimum SO repeat the whole process
With skill 1 test strip and 1 final print worked the whole process for an 8 X 10 was over an hour, chemicals and paper was expensive.
At the risk of turning this thread into a nostalgia thread, here are three more of mine. I believe they are appropriate for this thread because: (1) they were taken with a "serious compact" (1940s Brownie Reflex, Synchro Model); (2) they were taken on film (Kodak Verichrome Pan, the only B&W film available back then in 127 format as I recall); and (3) I remember having a lot of fun taking them.
The shots were taken in 1977, when I was 11 years old and getting into photography. The camera belonged to my paternal grandfather Juan, and was a very old camera even back then. I still have it, even though it no longer works, along with his Kodak Signet 35, Argus A2F and Minolta Autopak 700.
The photos are of my youngest sister Susana, who was 1 year old at the time, and of my maternal grandfather Rafael, who passed away 11 years ago.
Thank you for putting up with this bit of nostalgia.
Well, I've missed some of these until just now. Antonio, I love your walk down memory's lane. No need to apologize!
Bill, I was hoping I might find you here with your arsenal of film cameras and lenses! What a great scene - so much texture and those great clouds! Where was this taken - Spain? You know me, I'm a colonial and once we see Spanish tiled roofs, we just jump to conclusions so easily.