Видео

hi, i dont' know if you still own the ruggard filter pouch , but are they well protected even if the pouch seems to be soft protected ? i'm looking for this one for my nisi filters thanks

The unsurmountable problem with outdoor COLOR photography since its invention is that the EV range of a cross-lit or backlit sunny day exceeds the EV range of photographic paper or color reversal (transparency film). I started using Kodak system of changing paper grade to match scene EV back in 1968 and in 1971 learned and converted to a modified version of the Adams system using an early Honeywell-Pentax 1° spot meter directly from Zone 2 shadow detail in the scene. But what I did was adjust the meter’s ISO until the shutter/aperture indicated on the meter dial gave me perfect Zone 1, 2, 3 shadow very time. I then metered the Zone 8 and 9 areas of the scene to determine the scene’s Zone 2 -9 EV range and from that, based on testing, exactly how long to develop the negative to get the same optimal “baseline” full range prints Adams did as the starting point for his selective “artistic” editing of what was actually there and recorded by the camera. My portfolio of Zone System prints helped me get a job as Monte Zucker’s full time assistant from 1972 to 74 and then a job as a lab technician in the National Geographic Photo lab were I specialized in halftone and color separation reproduction using the old analog method of contract screens and litho. Given that it is technically impossible to record a full range of detail in a landscape on film think it is a fool’s errand to try when digital capture makes doing it very simple by taking two exposures - one to record highlight detail and the other to with 3-4EV more exposure to record shadows without any noticeable “noise” due to lack of signal. It’s something I started doing back when Photoshop added layers and masks. I copy/paste the shadow exposure as a new layer on the highlight exposure, add a black filled mask then SELECTIVELY edit in shadow detail the same way I burned and dodged my B&W and color prints under an enlarger. Unlike automated HDR that SELECTIVE editing of shadow detail allow create a “tunnel vision” dynamic within the frame of the photo which on a subliminal and subconscious level guides the viewer of the photo from the edges to wherever the CONTRASTING focal point is located. Having more shadow detail in the center than the edges of the photo allows creating an “entrance ramp” vignette of both increasing detail and decreasing tonal value from edge to center, just like the “tunnel” vision we as photographers tend to get when composing photos and fixating on the focal point. 😊 I own a LunaPro, Pentax 1° and Sekonic Flash meter but realizes I didn’t need them after getting a Kodak DC290 digital camera with playback and histogram. Instead just drape white and black hand towels to create 3D evaluation objects at the two extremes of the scene range over a gray card which is there for a WB reference not exposure control. In ambient only lighting step one is to expose to the right on the histogram keeping the white towel 1/3 stop below clipping. Then looking at the left side of the histogram reveals whether or not the scene EV range exceeds the sensor range. Bracketing with slower shutter speed by 3-4 stops is usually sufficient to prevent the shadows from clipping which is easily seen on the left side of the histogram. I test what the practical EV range of my digital cameras are by using filling the frame with an 18% gray card using a fast 1.4 aperture and starting shutter speed which exposes the card just under the point of clipping. Then I shoot a bracketed series of exposure closing the lens one f/stop: 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22 watching the spike the card creates march across the histogram from right to left. Then to get it all the way to the left I start doubling the shutter speed until spike reaches the left edge. Reading the files on Photoshop with the eyedropper allows correlating numerical 0-255 numerical values to each of the spike locations on the histogram. If you do that same exercise you’ll learn the practical EV of your camera and based on the position if the histogram spikes in the bracketed series what the EV range of a scene “exposed to the right” when it the scene doesn’t exceed the sensor EV. You’ll also discover how linear the correlation between f/stop adjustments and changes in 0-255 values on the gray card and what histogram positions correlate perceptually on your images to Adam’s arbitrary 11 zone definitions. I learned the Zone System from the 1968 printing of the Basic Photo Series and back then it had TEN zones 0 - 9 because Adams had forgotten to assign a Zone definition to specular highlights on Zone 9 solid white objects. That led to a huge amount of confusion because photographers were using the white print paper base for Zone 9 instead of reserving it for the specular reflection of the sun (or flash) on the Zone 9 whites. Adams addressed that confusion in the Forward for The Negative and also suggested the read substitute the term “Print Value” for “Zone” because so many photographers confused Zone being one stop (EV) differences in scene reflectance. In retrospect the Zone System would have been simpler if Adams was a computer programmer like I was starting in the early 1970s and defined either eight 0-7 or sixteen 0-15 “zones / print values” instead of a piano player with ten fingers only finding out later he had to add an eleventh to avoid confusion over how to properly expose the highlights on a print! 😂

are you sure at 5:21 the two images were not inverted? the left one seems more ilfordish with lower tones

Hi! Could you tell me, please, name of IOS app for viewfinder preview? Thanks a lot

Love your videos Stephen. Your enthusiasm for photography is so evident in your commentary. Do you make many videos about your processing of the digital images? A Canadian fan.

Epic photos

I shot RDF||| forever before digital arrived, it’s the closest to reality. It was the best for scanning too. Film stock for National Geographic once, for good reason. I have slides since decades the archival quality is great too Loved it but digital saves money , time and mistakes. That’s why I feel a little weird about film came back so strong. They all shoot Kodak portra 400 or worse. I loved slides only but you needed to be very precise and to this day I love the look over digital but it’s not feasible anymore.

Do I meter for the grey scale by metering the ground ?

For anyone who can't understand his English, he's not saying bucking boards he's saying backing boards.

Great video! Thinking of getting the 150mm lens for portrait. How's the focusing with this lens in the rangefinder?Heard there might be some issues of focus in this len. Any insights? Thanks!

Looks awesome. I’m so tempted to try 1. I want compact rangefinder w/ good flash sync & carry around

Hi, is the Logan 350 as accurate as it seems in the video? Or would you rather recommend some higher model if I want my cuts to be really clean and sharp?

Beautiful landscapes! Isn't there a kind of spray the smell of which keeps the flies away?

Helps a lot! 🤜🤛 Did you take the photos analogue or digitally?

I'm sure this was pretty helpful, I'm just not grasping this concept for some reason.

What Sekonic light meter model did you use for this?

Hyper focus - old as the hills 😎👍

I want to print logo and images on 35mm film To prepare slides in projector for logo projection Can you suggest me what are the printer and films required for this?

A quick way to be humbled is to look at the best work that is being done with one's "old camera" and compare it to one's own. This mind game has saved me a lot of money. Good video.

You, and most people, get this wrong - partly. By not emphasizing the fact that your images are “acceptably sharp” front to back and not “critically sharp”. Only photos taken at the actual hyperfocal distance will be critically sharp. From that point towards the camera and towards infinity sharpness will fall off to what is considered acceptably sharp. There is nothing magic about hyperfocal focusing, your camera will not produce sharp images from 5 yards to infinity just because your lens or camera has a depth of field scale on it.

Stephen, where are you? I miss your videos.

Amazing colour palette. Unmistakably Velvia yet almost monochrome.

Price just keep getting higher and higher… I bought some 5294 and was told it is almost the same as e100

ektachrome is far better. It is really the king of slides!

for the love of god, stop rubbing your hands in front of the mic! lol, othewise great vid!

Thanks for your very informative video. I note that you have removed the parallel mat guide from your Logan 350 mat cutter. Didn't you find that helpful when cutting mat windows?

Hi again Stephen , when you say should have shot at 800 iso instead of box speed ! Is there an option on this camera to dial in box speed ? I didn’t think there was ? I’m still teaching myself pretty much everything self taught ! Cheers Tommy.

Lovely set of images. Well done.

What light meter did you use in this?

Fantastic Stephen. I've seen a lot of your later work but not your earlier film work. Feels like we go on the journey with you :) Hi from Hawkes Bay

Do you know anybody who knows fuji provia will be again or it is stopped

Wait, how do you get a polarizer setup correctly on a rangefinder? I'm used to just using my viewfinder on SLRs/Mirrorless to tell when I'm setup correctly and just pointing the camera 90 degrees from the sun. Do you just take the filter off and just look through the filter with your eye to see if you're dialed in?

Some very poetic images and I think solid proof a good digital camera can rival film. Not knocking film I’m an Analogue guy but Digital does have many advantages - perhaps the greatest is control and productivity! Keep up the good work - a nice change from “glamour postcard images”!

Hi Stephen, Thank you for taking the time to compare these films side by side with shots of exactly the same subjects. I guess that's one of the advantages of the 503CW with interchangeable backs. It shows how Tri-X has higher contrast and is more punchy than HP5 Plus. However, for some subjects, HP5 could be the winner as it has a little lower contrast. It just depends on what you're shooting and what look you want to achieve.

Much needed content. 🤛🫡👏🙏👍 thanks

Thanks from such good contant

Thank you, Stephen for the beautiful video!

modern digital Hasselblad backs CFV50c, CFV50CII, CFV 100C don't need any sync cable between body and back, they sync with the internal legacy film back mechanical sync rod.

First time seeing your channel , its incredible ! Such inspiring!!! You deserve far more recognition and followers !!! Thank you

I like the way you "built" the composition by looking at the different elements in the scene and describing how one leads to the next as you pan the camera. That first shot was beautiful. Ever tried a tilt-shift? I use a 24mm Samyang/Rokinon, creating the pano using the shift function. It has the additional benefit of the tilt for dealing with depth of field. The Samyang/Rokinon is essentially a Canon clone but with manual aperture control, meaning you only need a dumb adapter. Its image circle easily covers the MF sensor with plenty of room for shifting.

Really interesting. I've been doing a lot of work with this camera and I've been doing handheld panels and they actually work really well. You can do it handheld. Just make sure you get the horizon line in the top one third and it's pretty easy and I've actually been using this method for quite awhile you don't need to do it on a tripod sometimes is easier on a tripod but it can be done handheld for your videos once again always enjoy your channel. I'm curious are you gonna be updating to the new camera? The 100s ii

This is posted about a year later, but I ended up with this camera and I absolutely love it. I'm considering upgrading to the new 100s ii. But I really love this camera and it takes amazing photos with good glass on the front. You can even use some third-party glass with adapters but I would recommend getting a couple of the FujiFilm lenses. I now have three FujiFilm lenses and that's a big statement because they are so expensive, but it is my dream kit for landscape photography I find the 50 megapixels is a sweet spot for medium format. The low light performance of this camera is just absolutely blowing and the level of detail is incredible. Thank you for your video. I'm interested to see whether you are going to upgrade to the hundred at any stage.

Great Video! Very informative with side by side. I was surprised by the green filter also as I have always heard it would make green foliage brighter

This is great - are you still making videos?

Awesome video! Thanks a lot!

here’s the easiest way if you’re outdoors, do an incident reading, then go one/two stops over for details in the shadows applies for negative film only

when it shows you the EV value is that based on the EV value from the average amount of the readings?

Helpful video, just got mine looking forward to having more control over light

haha, I've had this camera for half a year now and it never crossed my mind that I could just zoom in with touch to check pictures with the touchscreen... I am runninb to check it out right now :D

Ciao Stephen, solo una domanda: una volta calcolata l’esposizione giusta della scena, sovraesponi di 3 stop per il filtro ND. Poi sovraesponi ancora di 1 stop per il filtro GND. Ma quest’ultimo è di 3 stop. Quindi non dovresti sovraesporre anche questo di 3 stop? Grazie a presto