I am not normally a fan of heavily tone mapped HDR, but there are times when I am willing to resort to it. It is a quick and dirty way to brush up old, washed out slides.
I used Affinity photo to process scans at three different brightness levels and toned down the micro-contrast somewhat from the default setting.
This is a busy time of year for me, so I just about found time to trawl through some more old shots that fit this category. The two street scenes in Moscow are in the same slide set as the older photograph above, but I didn’t pay any attention to them so far. They just looked like opening salvoes on a roll of film at the time.
Looking back, they appear more meaningful, if only because they are snapshots of a time and a place which in this form no longer exists.
Those who developed their own black and white films in the last century are bound to be familiar with Ilford’s signature products.
So much so that some of them barely get noticed. Maybe this is the motive for the FP4 parties recurring among the twitter analogue photography community.
It works for me. For really fine grain, there are slower films, for maximal versatility, there’s HP5 and then there are high speed T-grain offerings …
I didn’t get round to much in April, but at least the FP4 party got me shooting again. I post some shots from this year, and an earlier occasion in 2018.
The last year offered few opportunities for photography, but it offered some. These opportunities were eerie, sometimes depressing but at least they were there, interrupting the monotony centrally planned withdrawal from public space.
Over this period, I shot a roll of Tmax P3200 at ISO1600 in an old Canon FTb. Roaming the streets like Omega man at least came with the unusual attraction of seeing the inner city like a still life, unusually quiet in daylight.
There are some shots in near empty shops when the lock down was relaxed somewhat and some from a sparsely populated gallery.
All in all, the lock-downs left a strange impression. An unusual, strangely tempting photographic backdrop on the one hand coupled with an unsettling sense of foreboding with what the aftermath will bring.
Birkenhead park had more squirrels than joggers while the lock-down was first eased. In time, it will fill again but the empty pubs and shops may not.
I don’t think anybody knows what will happen next, but something tells me this will not end well. At least my Ilfotech-DDX didn’t go off -things could always be worse …
I normally share photos on flickr and Twitter, and normally, this works. Twitter has recently become reluctant to show flickr images though. So I will try and see what happens if the image is embedded in a blog post first:
Which is why I leave this street scene from Chester here. I took this about two years ago on an old Graflex on 4×5 Portra. Unfortunately, the shot had to be framed to keep some unsightly construction works out of the frame.
This time of year, I would normally go through my shots from the summer, do some editing, some uploading and shoot some more. Not now, for obvious reasons. Time to focus on gear and old material for what remains of the year, until the outside world reopens –if ever …
One of the more popular posts on this blog explains how to prevent the button cells in the SQ-Ai from slipping away from the camera contact, using nothing more than a piece of cardboard. This still leaves a problem for those who are missing the battery holder altogether.
About the only alternative to an expensive motor-grip or external pack is a 3D printed replacement holder. Luckily, there is a design freely available. This of course leaves open the question of how to design the electric contacts. I have never tried this, so the best I can do is produce some more detailed photographs. Let’s start with a view of the contact side of the battery holder with a basic scale.