sabato 20 marzo 2021

Winter Portraits - RPX100

Some Winter Portraits of Raffaella... wonderful atmosphere at dusk with the snow. Camera: Rolleiflex 3.5f Planar Film: Rollei RPX100 developed in classic Rodinal 1+50 How would our trusty classic equipment work out? Judge yourself.

domenica 15 novembre 2020

Flood 3rd October - Val Brembana SuperPan 200 & E100

 On the 3rd October a consistent flood of the Brembo river, caused by the heavy rains of the whole week and especially the night before, came through the Brembana valley. The peak was in the morning, in the afternoon the sky cleared enough that I took a trip with the motorbike and see if I could capture the immense mass of brown water which ruined many structures near the river.

First I went to iconic San Pellegrino, where the valley is larger and the river banks are walled and and so the water was flowing regular although in a full river bed. Further north, in San Giovanni Bianco, instead, the valley narrows and the power of the flood was more evident.


Black and White images were taken with an Zeiss Ikoflex, Tessar 75/3.5 on Rollei SuperPan 200 developed in Rollei SuperGrain 1+15 for 10' at 21°C and the negatives are pleasant. Shot under harsh light or later in open shade, the film captured all details in a pleasant way.

Color images are Kodak Ektachrome E100 Slides, taken with a Canon E-F. 

 

The Brembo in San Pellegrino:

 

Canon EF - Canon 20/2.8

Canon EF - Canon 20/2.8

Canon EF - Canon 20/2.8

Zeiss Ikoflex - Tessar 75/3.5

 

The river at the old bridge of San Giovanni Bianco, the stones were trembling and shaking at the sheer power of water, but resisted at the end. 

Zeiss Ikoflex - Tessar 75/3.5


lunedì 9 novembre 2020

Fomapan 100 in SuperGrain: a film for everything?

Fomapan 100 in SuperGrain 1+12 for 6'30"
Minolta SRT 303 with Rokkor Glass.

Balanced output with exceptional highlight details and shadow detail.



Very good highlight rendition and overall tonal range in this image of rocks and ice:



But then I did even some aerial shooting from a Plane, with good light but standard haze, views of Padova are still amazing.


lunedì 31 agosto 2020

Ilford Pan-F Rodinal - Ponte San Pietro - Gandino - Giornate FAI Primavera 2019

This time again a classic, Ilford Pan-F 50/18° developmed in Rodinal 1+50 for 13' Agitation every 2' (at 22 °C) which yielded strong negatives, quite pleasing. Almost a little dense.

Some examples, shot with a Minolta 9000 - Rokkor AF 28-8.
Giornate FAI Primavera 2019.

Interiors with strong light result very controlled, with high dynamic range and beautiful rendition:

Inside of Ponte San Pietro new Parish Church


Jacqard loom punched cards - 24mm



An outside view offers a classic film look.

Sisters doing laundry - Gandino - 28-85






martedì 12 novembre 2019

Bergamo - Canon EOS - SuperPan 200

SuperPan 200 developed in Rollei SuperGrain 8 minutes, agitation every 2nd minute, 21°C

The results are slightly thin, but with excellent highlight details, the developers extracts a very interesting character out of this excellent film.

Here some images with difficult lightning. Canon 28mm/1.8


Instead, with sunny light and a blue sky, the details reveals even better:
The sky and clouds are rendered perfectly and the open shadows are rich of details and shades.

lunedì 1 aprile 2019

Rollei RPX400 in SuperGrain

I shot two rolls of RPX400 in two different 35mm cameras and conditions and developed them in Rollei SuperGrain 1+12 for  7', agitating every minute with slight rotation in tank.

I noticed that both films had the first pictures with light leaks - since I hope that both cameras did not suddenly develop sealing issues, I suppose that the canisters are not extremely light tight (I suppose the velvet baffles). I did load the camera in subdued light and the leaks do not look like light-piping: also RPX400 (as well as RPX100) are coated on traditional substrate and not PET/ESTAR like some other Rollei films.

The resulting negatives look a bit thin, 15"-30" more would be advisable, I will test next time. However the dynamic range is impressive as is the compensating effect of film+developer, as can be seen in some examples below, where the dynamic range was very high and the highlights retained full detail.

I used this film during documentation of FAI Giornate di Primavera, which mean a mix of inside/outside lightning: documenting places and people during this unique event.

Here some images with Nikon F501

Here some images with Olympus OM-1

Rural conditions and traditional works:

Olympus OM-1 - Zuiko 50mm/1.4 - RPX400


Olympus OM-1 - Zuiko 50mm/1.4 - RPX400

Olympus OM-1 - Zuiko 28mm - RPX400






Inside the Palazzo Podestà of Vilminore with halogen light the compensating effect of this developer is so strong that the result reminds me of stand development!
Olympus OM-1 - Zuiko 24mm - RPX400




Here similar condition inside the Palazzo Moroni in Bergamo, where ambient light is prevalent, but detail is retained in the highlights and texture in the windows outside!
 Nikon F501 - Nikkor 28/3.5PC - RPX400

Nikon F501 - Nikkor 28/3.5PC - RPX400

Nikon F501 - Nikkor AF 28/2.8 - RPX400

domenica 11 novembre 2018

Minolta 50/1.7 AF Repair (updated)

Another post on a very common issue: sticky diaphgram blades.
From old Exakta lenses to Nikkor AF Zooms, apparently anyone gets there.

This time, the classic Minolta 50/1.7 has the issue, although in its AF version.

Dismounting AF lenses can be tricky, but in here everything seems fine, except the Iris. I want to avoid regreasing the helicoids because I haven't yet found a satisfactory Grease, even if I tried several! I will try unmounting as little as possible from the lens as possible to get to the Diaphgram Iris assembly.

We can work from the front, by unscrewing in sequence the cone with the name plate first, then removing 3 screws to remove the the front part with the retractable sun shade. Without these parts, the lens is still fully functional.

From the rear, we can remove the lens bayonet and put it aside and we see the picture like this:

AF Rokkor 50/1.7 from the back, mount removed (left)

The optical assembly is in the middle and has two guides, clearly seen top and bottom in this picture. Mark the helicoid for convenience and unscrew them
Now it is possible to unscrew the optical kernel to the back of the lens.
Getting it back will be a little tricky, since the infinite setting needs to remain. Even if I marked the helicoid, I needed a couple of attempts.

The hard part is done! The 50mm is a double-gauss type and it is easy to take it apart. Removing three screws enables to remove the front part and the same is for the back.

What remains is just the Aluminum barrel with the Iris mechanism inside. Now you can clean it by flushing or by opening it.

My first attempt of repair was done with a flush-clean: often this is enough if just a little oil is astray. However it worked for a couple of months, but then the blades stuck again. This means there was a lot of oil in the non-accessible mechanism (the ring that acts as governor for every pin), so a more drastic solution was needed: remove the blades with their governor ring.

The open diaphgram blades, the governor on top


Mounting everything back is relatively easily, except for getting the right screw thread and not damaging the delicate Aluminum thread when screwing it in.

Check the infinity focus.. and that the diaphgram is snappy again!