We’ve not had any frost (at least not that I’ve been up early enough to witness!) for a few weeks now. This was shot six weeks ago.
It’s not the best ever picture of a frosty leaf (I’ve taken better ones myself), but it was a decent test of the 70-200mm lens on close-up subjects. Parts of the leaf have fallen out of focus due to the the closeness of the subject from the lens.
Nikon F80 and Nikkor 70-200mm f/4 ED VR on Fomapan 400 (@320asa). Semi-stand in Rodinal 1+100 for 1 hour @ 20°.
Last month I wrote about how I was unsatisfied with the quality of the Tamron 28-200mm lens I had and how I’d traded it in for a Nikon 70-200mm.
So far I’ve shot the Nikkor on a few occasions and the results have been noticeably sharper than those from the Tamrom, which is good. The downsides that I also discussed (size, weight, and lack of flexibility mostly) have also been borne out, but I knew this would be the case, and the improved image quality win out.
I’ve already posted a digital picture I took with the lens, but these are the first film shots I’ve shared on the blog. They were taken during a walk around the local country park, which has a healthy population of waterfowl.
Nikon F80 and Nikkor 70-200mm f/4 ED VR on Fomapan 400 (@320asa). Semi-stand in Rodinal 1+100 for 1 hour @ 20°.
I like my Holga. Its lo-fi images have a definite charm, I feel.
This time though, the “fi” is as low as I’ve ever seen it. I really don’t know what has happened with this roll of Fomapan 400.
The white speckles from the faulty batch of which this is a part are present and correct, and the scratches that the camera has started adding to the negs have made an appearance (although I’ve cloned the worst of them out), but as for that blothcy mottling? Well, I really don’t know.
It looks like the film is damaged, or has gotten wet, but it’s been stored in it’s sealed box and wrapper since I got it and kept in the fridge, so that seems unlikely.
I suppose my development could also be to blame, although I’ve not encountered such issues before. The only thing that I can think of that might possibly have had an effect is that it was quite cold in the room when I developed the film, so it’s possible the chemicals cooled by a couple of degrees over the course of the hour’s semi-stand process, but I’m not sure if this would have been the outcome.
Despite all the problems though, if anything can carry off this distressed look, it’s the Holga, and it still manages to do so with aplomb.
Yashica Mat 124G and Ilford Ilford HP5+. Ilfotec DD-X 9mins @ 20°.
I was quite happy with a lot of the pictures I made on this particular outing, but this one especially. My only issue with it is that I wonder if it might have been improved with a lower POV to hide the distant scenery?
Yashica Mat 124G and Ilford Ilford HP5+. Ilfotec DD-X 9mins @ 20°.
A subject I often seem to find myself drawn to is houses. Not all of them, but ones which I find to be interesting for some reason, whether it be the architectural style, the period they were built, their decor, or even just the way the light is hitting them.
Here are three I photographed recently.
Apart from the aerials and antennae, I expect they wouldn’a’t have looked that different had I photographed them sixty years ago.
Yashica Mat 124G and Ilford Ilford HP5+. Ilfotec DD-X 9mins @ 20°.
Steel City Snapper photography 