This week’s roll is Ektar 100, a fantastic color negative film that I ran through the M3. The Ektar sports some really fine film grain as well as fantastic color reproduction. Pretty happy with the film overall.
I’ve been getting a few questions about how I process and scan each roll. Simple answer? I take all my film to Light Waves Imaging, a full service professional lab here in San Francisco where I get all my film processed, scanned, and printed. I can even get very uncommon formats processed, like the 127 I shoot with my old Ansco. Their chemistry is spot on, and I’m always thrilled with the results I get from their services. Here are most of the shots from my latest roll of Ektar:
Leica M3 + 50mm f/1.4 Summilux | Leicameter MC | Kodak Ektar 100
I had a chance to shoot with the brand new Nikon D600 this weekend. It’s so new that I have no way to post process the camera’s RAW files on my computer, so the frames in this post are camera-processed JPEGs with a little oomph added to them in Lightroom.
The D600 feels just like using a slightly heavier, fatter D7000 with an FX format sensor. Typical of Nikon’s latest digital cameras, the image quality is quite fantastic, but a couple of things immediately bugged me with this camera. First of all, the AF system covers a very small center portion of the viewfinder compared to most other DSLRs, and in practice it seems a little silly selecting between the 39 AF points, all of which are sardined into that little center area.
The other thing? Maximum native flash sync on the D600 is 1/200 instead of the 1/250 I’m used to with Nikon bodies. The small flash lover in me goes “awwwwwwwwww.”
Of course, there’s a lot to like about the camera too. It’s relatively small and light weight for a full frame shooter, it’s packin’ an awesome sensor, and the price makes FX more accessible than ever before. But eh, I already have a compact full framer that I’m pretty happy with =)
Images: Nikon D600 + Nikkor 28mm f/1.8G / Nikkor 50mm f/1.8G
I borrowed a 21mm lens from a friend and shot a few frames with it with the Leica M3 this past week. Focusing with the rangefinder and composing with the hot shoe mounted viewfinder turned out to be a very interesting shooting experience:
The 21mm is really wide, so I couldn’t really use it for the whole roll. Switched back to my 50 Lux after a few frames:
This (above) is normally how Suki reacts when I try to photograph her.
Images: Leica M3 + Zeiss 21mm f/4.5 ZM / Summilux 50mm f/1.4 | Kodak Portra 160
Do you shoot film? Then why didn’t you tell me this would be so addictive!!!?!?!?
Right now I’m trying to run a different roll through the M3 each time as I get a feel for the camera. These are scans from a roll of Fuji 160s. So far I think I’m liking Tri-X the most for shooting with the M3, but this color negative film is pretty nice stuff:
Leica M3 + 50mm f/1.4 Summilux | Leicameter MC | Fuji 160S
Second roll with my Leica M3, this time in black and white. This camera is way too much fun.
Next up from the lab: A roll of Fuji 160S. Stay tuned =)
Leica M3 + 50mm f/1.4 Summilux & Konika M-Hexanon 90mm f/2.8 | Leicameter MC | Kodak 400TX
I’ve been searching for a Leica M3 for a good long time, and got a fantastic deal from an original owner who purchased this beauty in Munich back in 1961. I couldn’t believe how well he cared for it. I loaded the first roll of film I could get my hands on and started shooting right away.
In the week since I got it, the camera has been everywhere with me, and I’m absolutely hooked! First roll is back from the lab, and I’ve posted a few frames from it below:
Leica M3 (single stroke) + 50mm f/1.4 Summilux | Leicameter MC | Kodak Portra 400
Yet another roll of 127 film that I ran through my 53-year-old Ansco Cadet. I’ve been trying to put together a small portfolio of images taken with the Ansco, but it hasn’t exactly been smooth sailing. I lost the last roll of film I shot with it before I could get the roll developed, and it’s pretty easy to see from the scans above that my latest roll had some issues.
Seems I was unknowingly overlapping exposures this time around. Oops! But even though I was bummed when I first saw the negatives, out of curiosity I decided to scan them anyway while preserving the overlapping frames. I must admit, I kind of like the results. Might be a mistake worth knowingly repeating
The image above shows the three complete scans that were done at the lab, and I added some crops below to show more detail:
Totally digging the multiple Suki frames here.
All Images: Ansco Cadet | Bluefire Murano 160