Tilted frame

Even if I have a 35mm eternally attached to most of my camera bodies (my two M5s have it, and so do my M4 and M4-2, and one of my M6TTL), not always am I able to "take it all" in the frame.  Some times I have the need to tilt the camera in order to capture what I want within the frame.

All these photographs were made with my Konica Hexanon lens, with the exception of the 4th and 5th, in which I used a Voigtlander Ultron 28mm f2.
I do like the tilting of the frame; to me, it shows a slightly different view, less conventional, a bit quirky.  Hence, I do it often, and sometimes even in vertical.  If I find the ones I have in mind, I'll post them.  In the meanwhile, let me know if you have done this, when and why.

Sometimes I use color film

Sometimes I use color film.  My favorite is Kodak Max 400.  I simply like the greens and blues it yields.  I've tried other brands (Fuji, Konica, old Ferrania) and I always returned to the big K. 

Here is the reason.

My favorite corner: Thornbrook Road meets Park St.  There's something with that fire hydrant that draws me in all the time.

The corner of State street and another street in Sycamore, IL, at night.

Still Hall in Northern Illinois University, with a very appropriate sign next to the Photographer Huskie.

Sunset, as it's seen from Thornbrook Road.  Given that this is film, I knew I'd get the orangey tones in the sky (which is where I metered, by the way).

One small variant in all these shots (in addition to the fact that they all were made in February 2014) is that I used a different focal length—which only means new lens: a Cosina Voigtländer Ultron 28mm f2.  Do I like it?  I do, but I keep it on a (new) Leica M4-P body because it has the correct framelines for it.  In this camera, I had to guess a lot, hence the absence of "excentric" (not aligned in the center) subjects.

Film crisis

Some early work with the M4-2...  All of them were made in Chicago, on December 2012, on Kodak BW400CN film, now discontinued, and with my Konica Hexanon 35mm lens. 

And this circumstance throws me the proverbial wrench; I had not bothered to develop and scan film for the longest time because of the existence of chromogenic film and thanks to 1-hour developing.  Why would anyone get in trouble developing when they do it at the drug store?

Well... Not only Kodak stopped making this film, but also my local drug store stopped working on film.  Sure, they will send the occasional roll out, but won't return the negatives and that's not what I want.  Hence, I was forced to return to my developing days, and I placed an order for Ilfosol 3, Ilford quick fix, Heico wash aid... and some Agfa APX stuff (yep, it's still around at B&H).  Let's see how things work out.  Looks like I'm going to spend a nice winter, developing and scanning some of my backlog.  

In the meanwhile, here are some images from a trip to the big city... 

Next time, framing, tilting, composition... What's your take?

How did I learn to like the 50mm lens?

The answer is easy: when I had to pair it with a new body: an M4.

I was interested in playing with a Leica M4, but the real one, the one that came out before the M4-2.  I was lucky to find one in decent shape... but didn't have the cash for another 35mm lens (which is my favorite focal length), so I took out the bag my very underused 50mm Summicron and attached it to this new body.

It was a revelation...

Here's the proof:

This is Washington Street, in Naperville, at Christmas time (1/60th, f2)

My son on a Santa Claus lap (1/15th, f2).  He got some candy...

This is Washington Street, but in Chicago (1/60th, f2)

Art Institute lion, from Chicago (1/1000th, f8-11)

I must admit now that this same M4 body has been equipped with a nice Zeiss 35mm f2 lens (in silver), and that I fell for another Zeiss lens of the same type but in black, currently attached to my M4-2.  The Summicron will return to the M4, of course.  I learned to like it, but right now... I'm having second helpings and indulging in my use of the 35mm focal length.

What's your favorite focal length?  Do you feel that it's the only creative avenue for you?  Have you "forced" yourself to use something different... just to stretch your creative muscle?

Sound off in the comments!

After a long absence...

It's been so long... and I don't want to look it up, because it's slightly embarrassing to have abandoned this blog for so long.  In any event, having these amateurish photographs stolen made me angry and blew the wind off my sails so bad that I simply didn't even want to look at this blog or share them again... ever.

But here I am anyway.  Readers or not, this will be an active blog, just the way I wanted it to be in the past.

In the meanwhile, let's get to the images:

This image is Miller St in DeKalb, IL, in early January, after a very snowy night.  Of course, I used my M4-2 and Hexanon 35 f2 lens, and Ilford XP2.

Possibly that same day, this fountain in Huntley Park, looked attractive enough to deserve a shot.

Tree shadow in my neighborhood.  I gave a two or three-stop compensation exposure (from f11 to f4), for this shot.

In the heart of darkness

I have a problem: I'm bad at puns.

So, what else to choose as the title of this post on night photography but a bad allusion?

Here you go. All these images were made with my black M5 and a Nokton 35mm f1.4 wide open. The B&W set belongs to Chicago, IL, and they were shot in Scala film rated at ISO 200. Not too bad...

The color ones come from Cartagena, Colombia, a beautiful city in the Colombian Caribbean coast, that preserved its colonial architecture and has been a Mecca for South American tourists for some time.

Let's begin with Chicago...

This is from the corner of Washington and Lasalle Streets, just like the one below.

From a purely technical point of view... nothing particular. However, I like the taxi turning here because it seems to add a certain "urban grit" to it.

Patrons at the Lyric Opera in Chicago.

Now, for the "grand finale," Cartagena. BTW, these photographs were made with Fuji C-41 film ISO 200.

Art fair, or art market near Plaza Bolívar.

Street vendor of a particular delicacy called "arepa." I bought one from another vendor and ate it shortly before taking this photograph. This is a block away from the Santa Teresa convent (now hotel).

Young bicyclists running about at past 8 PM.

Now, for the nitty gritty... I sent the Scala film to David Wood at dr5, which seems to be the last place on earth to get Scala developed. This was one of my last rolls... I am truly sorry about it.

Regarding the C-41 stuff, I sent it to Snapfish, a lab currently owned by HP. It's a pity they won't work on chromogenic film, because their color work (and digital prints) are quite satisfactory. And the prices too! BTW, this is not a sales pitch, but an explanation only. Those interested in getting Scala film developed or print film nicely processed should try their luck with these places. In the meanwhile, since Snapfish won't work on Ilford XP2 or Kodak BW400CN, I'm stuck with other places (locally, alas!). However, when it comes to real B&W, I'll soon return to working on my own.

So long and thanks for making it this far!

Using Transparency Film

Transparency film doesn't scare me. I load it in my camera and shoot it calmly, without any worries... And then, I get my results back. These photographs, made with my legendary M4-2 and Hexanon 35, simply show that slide or transparency film gets the job done as long as the metering is adequate. Look at the detail in the first image...

Farm equipment in a field in Sycamore, IL, fall of 2010. I really like Provia ISO 400 because not only shows all the detail there is, but also can be pushed up to ISO 1600 without a glitch.

The same tractor above, only now, from a distance, showing all its glory.

And now, the human touch: Mr Larsen, baker, on one of the last days of the farmers' market in Sycamore, IL (this one was done with my Summicron 90mm). Not too bad, huh?

Well those were the photos I have been offering for a while. But don't despair, there are more... And I'll be back soon with additional results from the M4-2 and a Nokton 35mm f1.4.

Metering

Can be a pain... But I've been lucky with it. Here are some samples of relatively "hard" metering.

As the rule goes, with E-6 film, meter on the highlights. With B&W film, meter on the shadows and with color negative film, in the areas in between. Is it really true? The photograph above (a good friend of ours staying at home) was metered on her face... Not the brightest spot in the frame, neither is it the darkest. With very little PP, I think this is a printable copy.

Metering this scene was tricky. I must admit that I didn't think about it at the moment (after all, it's a snowy scene). However, in cases like this, the sky is my criteria.

Now, for the last one, I chose to meter on the visible ceiling. So, I aimed my Sekonic L-208 at the area in question and used that as my measure.

From these experiences, I came to realize that the mantra above is not entirely the best. It's a useful criteria, but when push comes to shove, that is, you're there with your camera and meter in hand, the best thing to do is try to meter for the subject, or the subject area of interest in the frame.

Sure, I had done this in the past, not as often as I'd like, but it only became very obvious when I got my Leica M5 bodies. With these cameras, given their metering design, you are far better off metering on your subject than on anything else. Even the manual says so!

Good that we can apply the same principle of a lot of our work.

Coming soon... using the Leica M5.

Xmasy Winter Photographs

Some photographs of Chicago, through the eye of my black M5 with a Nokton 35mm f1.4 on Fuji and Kodak ISO 400 color film.

Near the Art Institute of Chicago

German Christmas Market

Streetwise Newspaper vendor, in front of the Art Institute.

There are more to come... while I scan some slides made with my M4-2. After all, that's the camera for which I started this blog.

Of course, I must confess and inform that I am currently expecting delivery of a new family member, pictured below...

Rear view...

Front view...

Of course, the photos are not mine, but rather courtesy of Don Tamarkin, of Tamarkin Camera, who kindly send them to me before sending the actual camera. I don't know when it'll come, but the payment was already sent. Of course, I'm trying to get busy, so I don't fret and get jonesing about it.